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Thunderbird : piano suite, op. 63, founded upon American Indian folk songs and dances / arranged from the incidental music for an Indian drama by Norman-Bel Geddes ; by Charles Wakefield Cadman.; Thunderbird. arr. Suite;

Cadman, Charles Wakefield (1881 - 1946); Geddes, Norman Bel (1893 - 1958)
Fonte: White-Smith Music Publicador: White-Smith Music
Tipo: Musical Score Formato: Dimensions:32 cm; Number of Pages:29 p.
ENG
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"Pl. no. 14995-23." --- "With the exception of the first 2 selections, the music is based upon Blackfeet Indian (Montana) tunes." --- "With a short account of the music and reasons for idealizing the folk-tunes of the American Indians." --- From the village.--Before the sunrise.--Nuwanas̓ love song.--Night song.--Wolf song (War dance).

Am I a founder or am I a fraud? Music therapists’ experiences of developing services in healthcare organizations

Ledger, Alison Jane
Fonte: University of Limerick, Irish World Academy of Music and Dance Publicador: University of Limerick, Irish World Academy of Music and Dance
Tipo: Doctoral thesis; all_ul_research; ul_published_reviewed; ul_theses_dissertations; none
ENG
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peer-reviewed; Developing new services is a commonplace responsibility for music therapists worldwide. Starting a job often entails being the first music therapist in a facility, and even the first music therapist many staff and clients will ever have met. To date, little research and reflection is available about the challenges that arise when music therapy is introduced in an established healthcare team. This study was therefore founded with three main aims: 1) to learn more about music therapists’ experiences of developing new services in healthcare organizations, 2) to uncover some effective strategies for introducing and establishing new music therapy services, and 3) to further explore the contribution of qualitative research approaches to understand facets of music therapy service development. Narrative inquiry, arts-based research, and ethnographic fieldwork were employed to reflect on the experiences of twelve experienced music therapists from Australia, Canada, Ireland, the United Kingdom, and the United States. Findings from this novel combination of methods indicate that the processes of music therapy service development are complex. Music therapy respondents conveyed strong feelings of isolation, insecurity, and uncertainty in relation to their service development experiences...

Providing music therapy to the unconscious child in the paediatric intensive care unit

Kennelly, Jeanette; Edwards, Jane
Fonte: Australian Music therapy Association Publicador: Australian Music therapy Association
Tipo: info:eu-repo/semantics/article; all_ul_research; ul_published_reviewed
ENG
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peer-reviewed; This paper describes techniques used in the provision of music therapy to two children in a Paediatric Intensive Care Unit during the phase of admission when they were unconscious. The presentation of known songs and adaptations of known songs elicited a range of responses in these children. Further study of the role and effects of music with this patient group is required following positive outcomes for these children receiving music therapy while unconscious in an intensive care unit.

Music therapy for children with severe burn injury

Edwards, Jane
Fonte: American Music Therapy Association Publicador: American Music Therapy Association
Tipo: info:eu-repo/semantics/article; all_ul_research; ul_published_reviewed
ENG
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peer-reviewed; Music therapy for children with severe burns is a developing field of practice and research interest in pediatric music therapy. The following article presents an overview of the nature of severe burn injury and provides a rationale for the use of music therapy in the Burn Unit. The application of song writing techniques to address needs of children receiving care for severe burns in a hospital setting is presented.

Self-concept and music: making waves in education

Rosevear, J.
Fonte: Australian Society for Music Education; Australia Publicador: Australian Society for Music Education; Australia
Tipo: Conference paper
Publicado em //2011 EN
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This paper explores various aspects pertaining to self-concept, with a particular emphasis on self-efficacy and self-regulation and the impact that self-beliefs may have upon learning and achievement. Such beliefs can determine how much effort is applied and whether effort is maintained. It is well recognised that strategies for self-regulation can be developed and can assist with sustaining effort, particularly in the face of difficulties. Self efficacy beliefs and self-regulatory processes are strong factors that can be significant in how individuals choose tasks, persist with them, and achieve outcomes. Enjoyment is also a feature of the learning process which may be perceived as having a positive effect on achievement outcomes. As an area of the curriculum, Music provides many opportunities for students to be self-determined which may have the potential to transfer to other areas of learning. Teachers can assist students to develop self-regulatory strategies, and they can also plan learning, which seeks to optimize enjoyment in the learning process.; http://search.informit.com.au/documentSummary;dn=927451439335130;res=IELHSS; Jennifer Rosevear

How does a Latin American Music Initiative impact an American Charter School Community? Observations from El Sistema Boston [full paper]

Campe, Katherine L.; Kaufman, Brian L.
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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Rooted in Venezuela, El Sistema is a visionary global movement that has transformed the lives of youth through music since 1975. A Boston public charter school restructured and invigorated its’ curriculum with the El Sistema music program in September 2010. The pedagogical focus of El Sistema is the orchestra, a model for an ideal community that advances the social and performance skills of students empowering their personal and musical development. Our project aimed to assess the impact of El Sistema, a Latin American education initiative, on an American urban charter school. Self-regulation, motivation, peer-respect and responsibility are the skills and behaviors that were of interest and markers for cognitive, emotional and social development beyond academic achievement. We observed and collected perceptions of social and behavioral changes in students and assessed the potential positive musical influence of El Sistema through a qualitative and quantitative music literacy test. In our observations, the El Sistema curriculum has been perceived as a positive influence on the students’ social and behavioral development. Participating in the program provides students with valuable social interactions, enabling them to engage in collaborative learning...

Robert M. Stevenson’s Inter-American Music Review: Thirty Years of Landmark Publishing [full paper]

Clark, Walter Aaron
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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One of the most significant events in the history of Ibero-American musicology is certainly the launching, almost 33 years ago, of Robert M. Stevenson’s journal Inter-American Music Review. Unique in conception as well as execution, it became a major venue for leading research on an impressively wide array of topics, covering all of the Americas and related themes in Europe, Africa, and Asia. Inter-American Music Review was notable precisely because there was nothing else like it. Though its name recalled Béhague’s equally important Latin American Music Review, the scope of Stevenson’s journal was larger. A random sampling of titles illustrates this point: “Pedro de Escobar: Earliest Portuguese Composer in New World Colonial Music Manuscripts,” “Brahms’s Reception in Latin America, Mexico City: 1884-1910,” “Charles Louis Seeger, Jr. (1886-1979): Composer,” “Ignacio Jerusalem (1707-1769): Italian Parvenu in Eighteenth-century Mexico,” “Marianna Martines = Martínez: Pupil of Haydn and Friend of Mozart,” and “Albéniz in Leipzig and Brussels: New Data from Conservatory Records.” Numerous distinguished scholars contributed to this journal, though many of the articles were written by Stevenson himself...

El Dorado in Philly: Latin American Symphonic Music in the Fleisher Collection [abstract only]

Galván, Gary
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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While la Musica may have fostered the legend, it is la musica that makes the Edwin A. Fleisher Collection of Orchestral Music at the Free Library of Philadelphia the El Dorado of Latin American symphonic music. Believing that no collection of orchestral music could be considered complete without the inclusion of the works of South and Central American composers, Philadelphia music philanthropist Edwin Fleisher began working directly with the United States Government in the 1940s to establish and cement cultural relations and personally commissioned Nicolas Slonimsky to visit Latin America in 1941-1942 in order to secure Pan American orchestral works so that they might be copied for the Fleisher Collection. Fleisher also attracted enthusiastic support from valuable resources such as Walter Burle Marx, Francisco Curt Lange, the Pan American Union, and the Library of Congress to mark the Federal Music Copying Project’s enlarged entrance into the field of producing full performance sets of unpublished contemporary South and Central American orchestral music. Ultimately, Fleisher amassed the largest collection of orchestral performance sets of Latin American orchestral music in the world. Through my research into this collection, I have recently uncovered over 70 uncatalogued Latin American works on microfilm which lack complete materials for performance. This presentation examines the history of the copying project through primary source documents...

Music in the Bernardo Mendel Collection [abstract only]

Gordillo, Bernard
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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In late January of 1969, musicologist Robert M. Stevenson visited the Lilly Library at Indiana University, where he requested permission to study three Latin American manuscripts???Ram??rez del Aguila???s Noticias politicas and two others simply labeled ???Peru??? and ???Guatemala.??? His visit, the first of several undertaken over a period of many years, was most likely due to an open invitation extended by the library just months before. The manuscripts that Stevenson studied, and from which he would later refer to in his writings, were all part of the Mendel Collection???a unique and extensive archive focused on the Spanish Empire in Latin America and the Philippines???whose foundation was the personal library of Austrian businessman Bernardo Mendel. Now containing approximately 40,000 printed items and 26,000 manuscripts, which embrace the Age of Discovery through the early 20th Century, the collection has been at the library for five decades, in which time its reputation as one of the largest in the United States has not only grown, but attracted much interest from many a scholar. Of particular consideration is the music contained within the collection. And while modest in comparison to other areas, it is nonetheless significant for a handful of items...

The Rockefeller Foundation and Latin American Music during the Cold War: Meeting Points of Music, Policy, and Philanthropy [abstract only]

Herrera, Eduardo
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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In the beginning of the 1960s the Rockefeller Foundation gave two grants for the study of Latin American music. Their aim was to help the creation of institutions that would provide a ???sustaining environment in which cultural work may flourish.??? The first grant was for the Centro de Altos Estudios Musicales at the Torcuato Di Tella Institute in Buenos Aires, Argentina, which under the leadership of Alberto Ginastera offered advanced training in musical composition. The second grant was given to Indiana University, Bloomington, ???to establish the first center in the United States for the study and performance of Latin American music???1 under the direction of Juan Orrego-Salas. Major emphasis was to be put on the cooperation between both centers. Behind these two projects was John P. Harrison, Assistant Director for Humanities at the Rockefeller Foundation. Studies on public and private support for the arts, often called the ???economics of the arts,??? frequently fail to recognize the personal connections between the people formulating foreign policy, pushing forward specific corporate interests, and deploying resources through grants, endowments and donations. By looking at the Rockefeller Foundation???s project to create the CLAEM in Buenos Aires...

Music and Pan Americanism: New Directions in Historiography [abstract only]

Hess, Carol A.
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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What do we in the United States know about Latin American art music and how do we know it? For several decades now, our understanding of this repertory has been informed by constructions of difference, often sustained by exoticist, nationalist, or essentialist rhetoric. One scholar, for example, proposes that Latin American music is filled with ???irresistible, exotic color??? whereas another proffers unelaborated references to ???national effect??? and ???national character.??? As for essentialism, adjectives such as ???distinctive??? or ???characteristic??? abound, ensuring that Latin American art music is perceived as ???particular and thus oppositional,??? to quote Ruth A. Solie???s pioneering study of musicology and difference. Indeed, as recently as 2005 one US scholar argued that Aaron Copland was attracted to Latin American music for its ???potential for transgression.??? Yet things were not always this way. From the 1920s through the early 1950s, any number of US critics, scholars, composers, and performers considered Latin American music in terms of what Kofi Agawu has called ???embracing sameness.??? Instead of situating some tantalizing Other in a ???colorful??? South-of-the-border locale, these historical actors embraced universalism...

Bordering Spaces and Encounters in Music of Gabriela Ortiz [abstract only]

Kielian-Gilbert, Marianne
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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The Mexican city of Cuidad Ju??rez, Chihauhaua, across the river from El Paso, Texas, has become a flashpoint for the complex of values of border relations between the United States and Mexico. Two works of Mexican composer Gabriela Ortiz confront ever-present problems of drug trafficking and violent death (the ???disappeared women of Cuidad???) in, respectively, her video-opera ????nicamente la verdad! (Only the Truth!) (2008-10) and 2009 ???requiem??? setting R??o Bravo for six female voices and crystal cups to text by M??nica S??nchez Escuer. ????nicamente la verdad! crosses boundaries of fact and fiction, myth and reality, documentary, opera, and corrido (Mexican ballad). Drawing on specific journalistic reports, it explores border imaginations of Camelia La Tejana, a woman fictionalized in the narcocorrido Contrabando y traici??n (Smuggling and Betrayal) made popular by the norte??o music band Los Tigres del Norte in the 1970s. In multiple musical references (corrido, la m??sica ranchera, cumbia del norte, art/popular music), scene five enacts the journalist C??sar G??emes???s interview of Camelia Mar??a, one of the ???Camelias??? of the opera, and her resistance to his attempt to pin down the ???real??? Camelia. Ortiz???s 2009 work...

Music schools and musical activity in 17th Century New Mexico Missions [full paper]

Lozano, Tom??s
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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Before borders were established between Mexico and the US as we know it today, a great section of the latter was previously part of New Spain. This paper will present a part of musical history that to this day remains dimly recognized. By taking Franciscan documents from the 17th Century, I will demonstrate that by 1630 there proved to be large amounts of musical activity, including orchestras, performed by natives from La Provincia de la Nuevo M??jico???what today is New Mexico. They played musical instruments including chirim??as, bajones, trumpets, and organs, and sang Gregorian and polyphonic chants, following the same pattern and structure of all other missions in New Spain. Among other activities, the missions assumed the role of teaching both how to read and write music. I will even say that the craft of musical instrument making also took place at the missions of La Provincia de la Nuevo M??jico. The musical activity that transpired in these missions during the 17th century will perhaps always retain an air of mystery, but enough documentation exists to offer a window into the past. All this activity occurred more than one hundred years before the Treaty of Guadalupe Hidalgo (1848) in which Mexico ceded its lands to the US Government. New Mexico became then a US Territory but was not a member of the Union until 1912. This music schools from La Provincia de la Nuevo M??jico were the first music schools of what today is the United States.

Increasing Cultural Awareness through Choral Music [full paper]

Meisten, Kimberly D.
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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This paper examines the impact of a unique community engagement program called ??Cantar??!, which places Mexican composers in Minnesota classrooms to serve as composers-in-residence. Since 2008, the Minnesota-based chorus VocalEssence has connected eight different Mexican composers with more than 20 school, college and community choruses. Urban, suburban and rural communities have participated. The composers work directly with the singers and write new choral works specifically for each group. Through the VocalEssence !Cantar??! program, more than 5000 people have heard 35 new choral works, commissioned and premiered in community concerts throughout the state. The paper will clarify the effects of the program on audiences, composers and performers by reviewing evaluation results and exploring the cross-cultural influences of the compositions. Data has been collected from student, teacher and composer surveys; teacher and student focus groups; classroom observations; Cultural Advisory Committee meeting notes; audience and budget statistics; and related ??Cantar??! educational resources developed for music teachers and conductors. Key findings reinforce the profound impact of the arts (in this case, contemporary choral music) in the assimilation process of immigrant populations. As the public face of the immigrant group...

Save the Children or Save the Music: Venezuela???s El Sistema as Syncretic Aesthetic and Pedagogical Export [full paper]

Pedroza, Ludim R.
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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El Sistema defines itself as a ???Venezuelan government social institution for the systematization of instruction and collective practice of orchestral and choral music as instruments of social organization and community development.??? The program trains mostly poor children throughout their elementary and secondary education. Some will ultimately join the famous Sim??n Bol??var Youth Orchestra, and a handful, such as conductor Gustavo Dudamel, might become world-renown musicians. Founder Jos?? Antonio Abreu emphasizes the social objectives of the program and exhibits a keen consciousness of the versatile nature of Latin America???s modernity and the program???s adaptability and mutability. On the other hand, Abreu???s belief in the ???unique??? power of music to ???transform??? echoes Romantic ideologies specifically exemplified in Lisztian philosophy. In short, the program???s history, documentaries, and performances, reflect an aesthetic negotiation between European musical mythology and Venezuelan socio-artistic identity; the resulting entity both nurtures the ???classical??? canon and challenges it through the inclusion of Latin-American composers and adapted popular dances. Foreign musicians and media, nevertheless, appear to understate the social and musical syncretic potential of the El Sistema phenomenon...

Cuban Art Music in the U.S. before and after the Cuban Revolution [abstract only]

Quevedo, Marysol
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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The wellspring of U.S. Pan-American sentiment toward Cuba dried up quickly after the 1959 Revolution. Prior to the Revolution exchanges between Cuban and U.S. composers was vigorous, however, the events following the Revolution not only changed economic and political relations between Cuba and the U.S., but also composers??? and musicians??? ability to maintain ties between the two countries. This paper traces the pre-Revolutionary exchanges between Cuba and the U.S. through Henry Cowell???s New Music Society and its related publications (which included Amadeo Rold??n???s R??tmicas), the Pan-American Association of Composers, as well as Cuban composers who studied in the U.S. (including Gisela Hern??ndez, and Julian Orb??n). The decrease in exchanges between the two countries is most noticeable in festivals and concert series in the U.S., such as the Inter-American Music Festival (IMFA), revealing the embargo???s effect on cultural matters. A quick survey of the programs of the IAMF reveals that after their first festival in 1958 the only Cuban composers included in performances were those who were exiled in the U.S. The lack, and some years complete absence, of Cuban works in the IMFA and the dearth of scholarship about Cuban art music form this period suggests a lack of compositional activity in Cuba. In reality...

Radio Dialogues: U.S. Musical Influences on Cuban Alternative Music [abstract only]

Thomas, Susan
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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U.S. accounts of post-revolutionary Cuban music history tend to focus on the island???s isolation, constructing a narrative that explains more about our own isolation from Cuba than Cuba???s isolation from the rest of the world. This paper works against such narratives by examining contemporary Cuban musicians??? pervasive and tactical engagement with U.S. music in the 1980s and 1990s. The generation that created the eclectic and experimental genre now known as Cuban Alternative Music (Borges-Triana, 2010) was born roughly two decades into Cuba???s socialist experiment. Coming of age during the revolution???s greatest prosperity and optimism, they experienced the economic crisis that followed the collapse of the Soviet Union in 1991. There may not been an open market for ???imperialist??? culture in Cuba, but young people actively sought out U.S. and British popular music by listening to Miami radio broadcasts and acquiring recordings via relatives who worked as merchant marines or diplomats, or who traveled abroad for educational or military purposes. Michael Jackson; the Jackson Five; Earth, Wind, & Fire; and Cool and the Gang are routinely cited as major influences along with Argentine rock and Brazilian jazz and bossa nova. This paper examines the role of recordings as well as direct Cuban-U.S. collaborations in shaping contemporary Cuban music. Such musical engagement should not be viewed as another example of U.S. hegemony. Rather...

The role of commercial recordings in the development and survival of Irish traditional music 1899-1993

Hamilton, Samuel Colin
Fonte: University of Limerick [Irish World Academy of Music & Dance] Publicador: University of Limerick [Irish World Academy of Music & Dance]
Tipo: Doctoral thesis; all_ul_research; ul_theses_dissertations; none
ENG
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non-peer-reviewed; No abstract available; 1 The social and historical context of traditional music in Ireland - 2 Early media involvement in Irish traditional music- print in the pre-recording era – 3 The Irish in America and their music - 4: Commercial Irish recordings in America - 5 Decline at home and abroad - 6 Revival - 7 Commercial recordings 1956-1993 - 8 Other sound media and recent developments - 9 Evaluation and conclusions

Brazilian styles and jazz elements: Hybridization in the music of Hermeto Pascoal [full paper]

Côrtes, Almir
Fonte: Latin American Music Center Publicador: Latin American Music Center
Tipo: Artigo de Revista Científica
EN_US
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By the late 1960s, the Brazilian composer Hermeto Pascoal (1936) started producing a musical oeuvre that would become a representative part of the repertory of modern Brazilian instrumental music (known internationally as Brazilian jazz). During his non-formal musical training, Pascoal was exposed to and practiced important Brazilian urban genres such as samba, choro, baião, frevo, and bossa nova. In 1970 he moved to the US, where he lived for around four years. During this time he became intimately involved with jazz music. Among other activities, he collaborated, played, and recorded with the jazz giant Miles Davis (1926-1991). This paper intends to show how Brazilian styles and jazz musical elements are articulated in the music of Pascoal. The discussion is based on a definition of hybridization as a social and cultural process in which structures or discrete practices that developed separately are combined in order to generate new structures, objects, and practices (CANCLINI, 2003). The depth of this cross-cultural process will also be examined, showing the boundaries of Pascoal's blending. Recordings and transcriptions of important pieces by Pascoal will be analyzed in order to illustrate which elements are hybridized and which are not.

The use of music therapy to assist children who have severe burns

Edwards, Jane
Fonte: Australian Music Therapy Association Publicador: Australian Music Therapy Association
Tipo: info:eu-repo/semantics/article; all_ul_research; ul_published_reviewed
ENG
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peer-reviewed; Music therapy is a valuable tool in distracting children with severe burns for the pain experienced in daily debridement baths. Music therapy allows choice. facilitaling the child's sense of being in control. and provides an atmosphere of safety and comfort. This paper reports on the role of music therapy in assisting children aged from eighteen months to five years during daily debridement procedures in the burns unit of a children's hospital. Songs of the child's choice were sung by the therapist. accompanied by guitar. The observations of the therapist indicate that music therapy presented in this way can offer relief from anxiety prior to the bath and is helpful in comforting and distracting children during the bath