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4021 |
Personality patterns and psycholinguistic differences in response to music
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4023 |
Music perception with current signal processing strategies for cochlear implants
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4024 |
Quantitative analysis of the relationship between linguistic tones and melody in jingju using music scores
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4025 |
Information extraction for knowledge base construction in the music domain
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4026 |
A rule-based approach to extracting relations from music tidbits
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4028 |
In my name and the name of all people who live in misery: rap in the wake of revolution in Tunisia and Egypt
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4029 |
Carn Mor de Chlachan Beaga, A Large Cairn from Small Stones: Multivocality and Memory in Cape Breton Gaelic Singing
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4030 |
Revealing Our Commonessence: A Collaborative Self-study Involving Choral Music Educators
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Abstract:
The purpose of this qualitative study was to better understand how five choral music educators’ life experiences, prior knowledge, attitudes, values, beliefs, and understandings surrounding the formation of their musical selves have come to shape their professional practice. A secondary purpose of this research was to examine institutional context and governing ideologies of the choral music discipline. The study involved five choral music educators—including the researcher—of various ages, genders, and cultural backgrounds from Winnipeg, Manitoba. This research is grounded in what Beattie (1995) terms the dialectical and collaborative nature of narrative inquiry, but also looks to reflexive inquiry and life history methodologies (Cole & Knowles, 2000), as well as the practice of collective biography (Davies & Gannon, 2006) to shape its methodological framework. As such, autobiographical forms of self-study research are reconceptualized as collaborative self-study. Data collection methods included journal writing, personal in-depth interviews, and participant observation. In particular, regular focus group sessions, which included peer interviewing, played a central role throughout the research process. This forum allowed participants to share their musical life histories and interrogate each others’ narratives, thereby triggering musical memories and exposing the interconnectivity of musical pasts to current professional practice. Data is re-presented in rich narratives which trace the path of each participant’s musical life history in interaction with theory and relevant literature. Numerous themes, sub-themes, tensions, and epiphanal episodes (Denzin, 1994) are illuminated. Moreover, connections between participants’ experiences and resultant ways of knowing are exposed, and we are confronted with “the unexpectedness of universality” (Hofstadter, 2007, p. 242). Thus, our commonessence is revealed. Participant chapters are followed by a postlude featuring the researcher’s personal narratives, an examination of researcher voice, and questions regarding the practice of choral music education that have surfaced through reflexive analysis of the data. This research strives to be a model for personal professional development among choral music educators, and provides a template for future purposeful discussion in the choral discipline. ; PhD
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Keyword:
0413; 0515; 0522; 0530; 0745; choral music education; collaborative inquiry; life history; music education; musical self; narrative inquiry; professional development; qualitative; reflexive inquiry; self-study
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URL: http://hdl.handle.net/1807/32320
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4031 |
The Recorded Voice and the Mediated Body in Contemporary Canadian Electroacoustic Music
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4032 |
Stylizing Lives: Selected Discourses in Instrumental Music Education
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4033 |
Mediating between the Humanities and the Sciences: Gadamer on the Inner Voice ; Médiation entre les sciences humaines et les sciences : Gadamer sur la voix intérieure
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4036 |
Musikaren egituraren ulermen gaitasuna eta adimen anitzak ; La competencia de la comprensión estructural en música y las inteligencias múltiples
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4037 |
Audiological and electrophysiological assessment of professional orchestral musicians
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In: Revista CEFAC, Vol 22, Iss 2
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4038 |
Otoacoustic emissions in young adults exposed to drums noise of a college band
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In: Revista CEFAC, Vol 19, Iss 5, Pp 645-653
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