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1
Hurley, Therese. "Jeanne d'Arc on the 1870s Musical Stage: Jules Barbier and Charles Gounod's Melodrama and Auguste Mermet's Opera." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12991.
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The purpose of this study is to examine the presentation of Joan of Arc's life in two lyric works, Jules Barbier and Charles Gounod's Jeanne d'Arc (1873) and Auguste Mermet's Jeanne d'Arc (1876), that premiered in Paris following the upheaval of the Franco-Prussian War and Paris Commune. Relying on Parisian journals of the day, I follow two trends: some critics called for a historically-informed presentation of Joan's life and others appealed to retain certain supernatural elements, specifically the Fairy Tree and the Voices, of Joan's story. In addition to these trends, I consider an article printed shortly before the premiere of Mermet's opera and discuss the political and religious implications of the final scene (Charles VII Coronation in Reims or Joan's execution in Rouen) in these two stage works.
After an introductory chapter and a chapter tracing the geneses of the melodrama and the opera, the remaining chapters each deal specifically with one of the three above-mentioned lines of inquiry as they relate to Joan of Arc's story. Chapter III discusses historical characters (Charles, duc d'Orléans, King René, and Agnès Sorel), historical music (minuet and Vexilla regis), and music believed to have been sung in the presence of Joan of Arc (Veni Creator Spiritus and Orate pro ea). Chapter IV addresses the continuing presence of legendary, supernatural elements--specifically the Fairy Tree and the Voices--and how these elements have changed in nineteenth-century stage works about Joan. In Chapter V, the difficulty of adapting Joan's life on the stage is examined. A closer look reveals that differing views existed during the 1870s as to exactly what her mission entailed. The two works reflect the changing attitudes on this topic.
As a whole, this dissertation offers an examination of two rarely discussed stage works that reveal the political, religious, and musical climate surrounding the figure of Joan of Arc in the 1870s.
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Yegnan, Angeline. "Les arcs musicaux d'Afrique dans quelques musées d'Europe : une étude organologique, acoustique, musicologique et ethnologique." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040214.
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Si dans son aspect physique l’arc musical est simple, à l’issu de notre étude, nous nous rendons compte qu’il n’est plus indiqué de le qualifier comme tel. Car dans sa forme fondamentale (branche arquée maintenue dans cette position par une lanière), il renferme une complexité qui se dévoile à nous par les liens qui existent entre les différents éléments qui composent l’arc. Sa complexité est également apparente dans la variété des arcs musicaux, dans le jeu propre à chaque arc et dans la divergence des techniques et circonstances de jeu. L’analyse acoustique des sons de cet instrument en révèle d’avantage sa complexité à travers la variété de la nature des sons puis leur fluctuation que nous avons eu le temps de constater. Enfin, dans la signification que les populations donnent à cet instrument, la complexité de l’arc musical se fait plus flagrante car elle laisse se dévoiler un aspect de l’identité sociale des peuples aussi bien ceux qui l’observent dans les musées que ceux chez qui sont collectionnés ces instruments. Car si pour les uns il est instrument de divertissement, pour les autres, il est objet de rituel, instrument parleur et médiateur, objet chargé d’une profonde et riche histoire des peuples d’Afrique. Nous espérons enfin que notre étude permettra une bonne collaboration entre le nord et le sud, pour une connaissance plus juste de l’autre, une connaissance fondée sur des valeurs et non des préjugésIf the mouthbow appears simple in its physical aspect, the research we have undertaken proves the opposite. In its basic form (a hooked branch held together by a strip), it contains a complex reality which could only be understood by considering the links which exist between the different elements which make up the bow. Its complexity can equally be perceived in the variety of musical bows, the uniqueness of each bow as well as the divergent techniques and circumstances under which they are played. The acoustic analysis of the sounds of this instrument reveals even more its complexity through the variety of the nature of the sounds, as well as their fluctuation that we have been able to observe through our study. Finally, through the meaning that the people give to this instrument, the complexity of the musical bow is even more blatant in the sense that it brings to bare an aspect of the social identity of the people to those who observe this instrument in the museums as well as those who keep them as private objects. If for some it is a simple instrument for entertainment, for others, it is a ritual object, a talking and mediatory instrument which encloses a deep and rich history of the people of Africa. It is our hope that our research will call for a deeper collaboration between the North and the South in such matters, a real desire to know the other based on values and not on prejudices
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Brocardi, Agnès. "Africanité et brasilianité de la capoeira : vers une pratique transversale." Paris 8, 2001. http://www.theses.fr/2001PA082647.
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Badalì, Enrico. "Strumenti musicali, musici e musica nella celebrazione delle feste ittite /." Heidelberg : C. Winter, 1991. http://catalogue.bnf.fr/ark:/12148/cb366781942.
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Yamamoto-Naji, Aki. "Musica des Éditions Pierre Lafitte & Cie : un magazine musical pour un public familial ? /." [Paris] : [École des Hautes études en sciences sociales], 2007. http://catalogue.bnf.fr/ark:/12148/cb41457230h.
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Annexes au: Mémoire de Master 2--Sciences sociales, Mention théories et pratiques du langage et des arts, Spécialité Musique--Paris--École des hautes études en sciences sociales, 2007.Notes bibliogr.
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Padilla, Alfonso. "Dialectica y musica : espacio sonoro y tiempo musical en la obra de Pierre Boulez /." Helsinki : Suomen musiikkitieteellinen seura, 1995. http://catalogue.bnf.fr/ark:/12148/cb358110288.
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Garfi, Mohamed. "Musique et spectacle : le théâtre lyrique arabe : esquisse d'un itinéraire, 1847-1975 /." Paris : l'Harmattan, 2009. http://catalogue.bnf.fr/ark:/12148/cb41478159m.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Mendes, Michel. "Os sentidos da música Roma Antiga." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269175.
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Orientador: Patricia PrataDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O trabalho tem por objetivo apresentar algumas considerações acerca da música na Roma Antiga, a partir de excertos de obras de autores latinos dos séculos II a.C. a II d.C. (como Plauto, César, Cícero, Quintiliano, Sêneca, Vitrúvio, entre outros). Embora não tratem especificamente do tema, os textos selecionados deixam transparecer certas impressões dos romanos a respeito da música e podem ajudar a montar pelo menos parte do cotidiano musical dessa civilização. A partir dos excertos, discutimos o funcionamento e a utilização dos instrumentos musicais na guerra, na mitologia e nas práticas religiosas, bem como tecemos breves comentários sobre a tradução proposta modernamente para os nomes desses instrumentos. Por fim, analisamos a presença da música no teatro de Plauto, através do estudo de excertos das peças do autor que mostram os músicos em ação ou que expressam a opinião das personagens acerca deles e de breves apontamentos sobre questões referentes à musicalidade das falas das personagens
Abstract: This work presents some considerations about music in Ancient Rome, drawing upon excerpts of works by various Roman authors from the second century B.C. to the second century A.D. (such as Cicero, Quintilian, Julius Caesar, Seneca, Vitruvius, and Plautus, among others), who, although not always specifically treating music, reveal in their writing distinctive impressions about music held by Romans, and which, in turn, can help us in the attempt to reconstruct at least part of everyday musical practices of this civilization. From the excerpts, it is possible to identify the operational features of the musical instruments found in war, mythology and worship, and, consequently, to comment briefly on the modern translations put forward for designating these instruments. Lastly, we analyze the presence of music in the dramaturgy of Plautus, through excerpts from his plays which reveal musicians in action, or which express the characters' opinions about them, thereby revealing some interesting questions about musicality in the words of his characters
Mestrado
Linguistica
Mestre em Linguística
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Johnston, Dennis A. (Dennis Alan). "Trained Musical Performers' and Musically Untrained College Students' Ability to Discriminate Music Instrument Timbre as a Function of Duration." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935621/.
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The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to discriminate timbre better than musically untrained college students, musicians cannot discriminate timbre significantly better then those subjects who have not participated in musical ensembles. Additionally, instrumentalists tended to discriminate timbre better than vocalists, but the discrimination is not significantly different. Recommendations for further research include suggestions for a timbre discrimination measurement tool that takes into consideration the multidimensionality of timbre and the relationship of timbre discrimination to timbre source, duration, pitch, and loudness.
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Bellia, Angela Maria <1967>. "Le raffigurazioni musicali nella coroplastica della Sicilia greca (VI-III sec. a.C.)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/227/.
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Liadis, Nicholas. "[MUSO-ARCH]itectonics." PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Caballero, Carlo. "Fauré and French musical aesthetics /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122166m.
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Tarleton, Angela Brannon. "Raven's Song: an Original Musical." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500310/.
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Raven's Song is an original musical dramatizing the conflict between paganism and Christianity. The play revolves around a woman who has become disillusioned by her people and her gods. The only gods she has ever known were blood-thirsty, appeased only by the blood and entrails of human sacrifice. Therefore, Raven resists all religion. Through providential circumstances, she is married into a Christian family and is overwhelmed by their love, and the kindness of their God. In search for truth, Raven begins to question her disbelief. All men search for truth in their own way, and all, at one time, will question the existence and nature of God. The play does not presume to answer these questions, but allows each participant to decide for himself, as Raven must decide for herself.
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Odom, Gale J. (Gale Johnson). "Four Musical Settings of Ophelia." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332625/.
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This paper presents a detailed comparative analysis of four important settings of Ophelia's song texts from Shakespeare's Hamlet composed by Brahms, Strauss, Chausson, and Pasatieri. Each of the first three represents a different facet of song composition during the period 1873-1919. The "Five Songs of Ophelia" by Brahms recall the simplicity of Volkslied. Strauss's "Drei Lieder der Ophelia" assume a more complex and formal demeanor, while Chausson's setting, "Chanson d'Ophelie," demonstrates French preoccupation with setting the natural speech rhythms of language. Pasatieri's "Ophelia's Lament," from 1975, uses operatic gestures within the context of piano-accompanied song. An interview with Pasatieri which defines this song as monodrama is transcribed in the appendix.
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Vail, Kimberly Gail. "Musical Priming and Operant Selection." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062812/.
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Language is a cultural construct, and the relationship between words is taught. Priming research has long investigated the relationship between related and unrelated words. Similar research has been seen in music relationships, but most of these investigate harmonic relations despite the melodic relationship being the one listeners are mostly likely to describe. Further, these studies typically measure existing relationships and do not attempt to teach a new relationship, nothing that most adults are experienced musical listeners. This study seeks to establish a new melodic relationship (the enigmatic Scale) in addition to a familiar one (the major Scale) while measuring response time to the musical sequences. A baseline was conducted in which participants listened to a musical sequence and selected via response box if the final note is consonant (major Scale) or dissonant (enigmatic Scale). Following baseline a training section occurred in which participants heard sequences ranging from 2-7 notes and were provided feedback for correct and incorrect responses. Following completion of the training participants completed a post-test identical to baseline. Behavioral results are discussed in relation to Palmer's (2009) concept of the repertoire.
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McCachren, Jo Renee. "Antoine Reicha's Theories of Musical Form." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330751/.
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Antoine Reicha stands as an important figure in the growing systematization of musical form. While Traite de melodie (1814) captures the essence of eighteenth-century concern with tonal movement and periodicity, Reicha's later ideas as represented in Traite de haute composition musicale (1824-26) anticipate descriptions of thematic organization characteristic of his nineteenth-century successors. Three important topics emerge as crucial elements: melody, thematic development, and schematic categorization of complete pieces.
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Chong, Lok-Shing. "The Last Seven Words." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500283/.
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The Last Seven Words is an orchestral piece with double woodwind, double brass, and two sets of timpani. The duration of the work is seventeen minutes. The forty-six pages which precede the musical score present a discussion and an analysis of the composition. The purpose of this project was to provide the composer an opportunity to write an orchestra piece with a single scale and seven rhythmic patterns.
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Glann, Kerry. "Musical Borrowing in the Choral Music of Andrew Rindfleisch." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822847/.
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American composer Andrew Rindfleisch (b. 1963) has contributed twenty-one pieces to the repertoire of contemporary choral literature to date. His works have been commissioned, premiered, and recorded by notable choral ensembles and performed in significant venues around the country. Influenced by his own early choral singing experience in his native Wisconsin, much of Rindfleisch’s choral music is infused with influences of the music of earlier composers and choral idioms. With these works, Rindfleisch participates in a long-standing trend in choral composition of looking to the musical past for inspiration and procedure while writing in a contemporary harmonic vocabulary, and his efforts can be evaluated through the lens of a study of musical borrowing. Through a case study of five of Rindfleisch’s choral works – “In manus tuas,” “Mille regretz,” “Psalm,” “Anthem,” and “Graue Liebesschlangen” – this document identifies common characteristics of Rindfleisch’s choral music and demonstrates his uses of musical borrowing and allusion. The influence of Renaissance polyphony, Debussy, Brahms, and German expressionism is revealed.
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Santos, Wilson Rogério dos. "Educação musical coletiva com instrumentos de arco: uma proposta de sistema em níveis didáticos." Escola de Música, 2016. http://repositorio.ufba.br/ri/handle/ri/24067.
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O presente trabalho tem como assunto a educação musical coletiva com instrumentos de arco (EMCIA). Trata-se de pesquisa qualiquantitativa de viés prático que propõe um levantamento e uma análise documental dos atuais métodos de ensino coletivo de instrumentos de cordas. O objetivo é sistematizar, padronizar e, posteriormente, verificar se e como estes métodos podem atender aos critérios apresentados pelos Parâmetros Curriculares Nacionais (PCN) para o ensino da música nas escolas regulares brasileiras, indicando caminhos para incentivar que professores de música utilizem o sistema de ensino coletivo de instrumentos no atendimento à Lei n.º 11.769/08. O processo deu origem a um trabalho documental e bibliográfico, que utilizou na coleta de dados o procedimento de notação orientada por guia e, na interpretação, organização e apresentação dos dados obtidos, a estatística descritiva e o processo de emparelhamento (Pattern Matching). A tese está estruturada em seis capítulos: revisão da bibliografia, fundamentação teórica, metodologia, análise dos métodos coletivos de ensino de cordas, sistematização dos dados obtidos na análise e sugestão de conteúdos para aplicação nas escolas, e contraposição dos dados obtidos com as propostas dos PCN de música. Como fundamentação teórica utilizou-se o paradigma da complexidade, proposto por Edgar Morin, que preconiza uma nova maneira de pensar e perceber o mundo, abandonando a concepção simplificadora, idealizada pela ciência positivista, e buscando uma abordagem mais profunda que procura lidar com as diferentes realidades que se nos apresentam nos dias de hoje. Como referências na área da educação musical utilizou-se a teoria praxial idealizada por David Elliott, que é baseada na transmissão dos conceitos e desenvolvimento da criatividade e musicalidade por meio da prática, e as propostas de Joel Barbosa, relacionadas à utilização do ensino coletivo como estratégia para trazer para o ensino musical os valores históricos, culturais e psicológicos do povo brasileiro, atuando no processo de descolonização cultural ao qual somos submetidos permanentemente. Dois trabalhos também serviram de referência técnica: o Teaching of instrumental music e o ASTA String curriculum. A parte prática do trabalho envolveu a análise de quinze métodos de ensino coletivo de instrumentos de cordas, sendo cinco brasileiros e cinco estadunidenses, estes tendo sido escritos em dois volumes. As informações obtidas foram utilizadas para encontrar, no capítulo quinto, um padrão pedagógico proposto pelos métodos. Após serem confrontados e demonstrarem que poderiam atender aos modelos teóricos, os dados obtidos foram utilizados para fundamentar a confecção de uma proposta didática, dividida em seis níveis e que se destina a ser utilizada nas escolas de ensino fundamental (mas não apenas). No capítulo sexto, foi feita a análise final com o cruzamento dos dados anteriores frente os objetivos e conteúdos dos PCN. Na conclusão, constatou-se que a educação musical coletiva com instrumentos de arco pode se constituir numa ferramenta adequada para o ensino da música nas escolas regulares, por ser uma alternativa eficiente e, principalmente, viável para a realização da educação musical no Brasil.
The present work´s subject is the collective music teaching of stringed instruments. It is a cuali-quantitative research of the practical bias that proposes a survey and a documentary analysis of current collective teaching method of stringed instruments. The objective is to systematize, standardize and, subsequently, verify if and how these methods can meet the criterion presented by the National Curriculum Parameters (NCPs) for the teaching of music in Brazilian regular schools, showing the ways to encourage music teachers of using the collective instruments teaching system in compliance to Act nº 11.769/08. This procedure resulted in a bibliographical and documental work, which used the guide-oriented notation procedure for data collection, and the descriptive statistics and pattern matching for interpretation, organization and presentation of obtained data. The thesis is structured in six chapters: revision of bibliography, theoretical foundation, methodology, analysis of collective teaching methods of stringed instruments, systematization of data obtained in analysis, suggestion of contents to be applied in schools, and comparison of the obtained data with NCPs proposal for music. As theoretical foundation it was used the complexity paradigm, proposed by Edgar Morin, which preconizes a new way of thinking and perceiving the world, abandoning the simplifying conception, idealized by the positivist science, and seeking a deeper approach to deal with the different realities presented to us nowadays. As reference in music teaching area it was used the praxial philosophy proposed by David Elliott, which is based on transmission of concepts and development of creativity and musicality through the practice, and Joel Barbosa´s proposals, related to the usage of collective teaching as strategy to bring the historical, cultural and psychological values into musical teaching, acting in the cultural decolonisation process in which we are permanently submitted. Two works also served as technical reference: Teaching of instrumental music and ASTA String curriculum. The practical part of work involved the analysis of fifteen collective teaching methods of stringed instruments, five of them Brazilian and five North-American, the latter of which being written in two volumes. The information obtained was used to find, in chapter five, a pedagogic pattern proposed by these methods. After being compared and demonstrated that is possible to attend the theoretical models, the data obtained was used to substantiate the preparation of a didactic proposal, divided in six levels and intended to be used in elementary school teaching (but not exclusively). In chapter six, the final analysis was made, by cross-checks of previous data with objectives and contents of NCPs. At the conclusion, it was found that the collective music teaching of stringed instruments can constitute itself as an appropriate tool for music teaching in regular schools, by being an efficient alternative and, mainly, viable for the accomplishment of music teaching in Brazil.
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Tung, Anne An-Yi Lin. "A Study Of Lu-Pitch Name Signification: A Translation with Commentary." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500549/.
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The purpose of this thesis is to provide translation of documents on lu from two primary sources for a study of the theory of ,lu, with the main focus on the interpretation and the signification attached to each of the twelve lu-pitch names. To establish the background information of the lu-10 system, an explanation of its acoustical properties is first presented. Based on the most important and widely used tonal system in ancient China -- the san-fen-sun-i system, the illustration is provided for the process of tone generation. Methods proposed by the main theorists who engaged in the discussion of the system of lu are presented. The introduction of the concept of yin and yang in reference to the twelve lu and the signification of the lu-lu system in relation to the human and natural world will also be discussed. The main body of this study is devoted to the translation of written references on the meaning of the twelve lu. The first part is the translation of the selected passages from The Anthology of the Historical Document of Ancient Chinese Music. edited by Tsai-Ping Liang; the second part is the translation of a modern exegesis from an article written by Deh-I Liu. This translation offers a perspective to understand the concept of l-pitch names from the ancient points of view in relation to philosophy, education, religion, and science.
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Chen, Yung-jen. "Analysis and performance aspects of György Ligeti's Études pour piano Fanfares and Arc-en-ciel /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1167697657.
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Ribas, d'Avila Nicia. "Approche sémiotique du fait musical brésilien "Batucada"." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37609336c.
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Patterson, Jason 1982. "Multidimensional Musical Objects in Mahler's Seventh Symphony." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505248/.
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Gustav Mahler's Seventh Symphony seems to belie traditional notions of symphonic unity in that it progresses from E minor in the first movement to C major in the Finale. The repertoire of eighteenth and nineteenth century composers such as Haydn, Beethoven, and Brahms indicates that tonal holism is a significant factor for the symphonic genre. In order to reconcile Mahler's adventurous key scheme, this dissertation explores a multidimensional harmonic model that expands upon other concepts like Robert Bailey's double-tonic complex and transformation theory. A multidimensional musical object is a nexus of several interconnected chords that occupy the same functional space (tonic, dominant, or subdominant) and can be integrated into a Schenkerian reading. Mahler's Seventh is governed by a three-dimensional tonic object that encompasses the major and minor versions of C, E, and A-flat and the augmented triad that is formed between them. The nature of this multidimensional harmony allows unusual formal procedures to unfold, most notably in the first movement's sonata form. To navigate this particular sonata design, I have incorporated my own analytical terminology, the identity narrative, to track the background harmonic events. The location of these events (identity schism, identity crisis, and identity reclamation) is critical to the entire structure of the Seventh.
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Mickey, Samuel Robert. "Sounding sacred: Interpreting musical and poetic trances." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5261/.
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This essay investigates the relationship between trance and various musical and poetic expressions that accompany trance when it is interpreted as sacred. In other words, the aim of this investigation is to interpret how experiences of the entrancing power of the sacred come to expression with the sounds of music and poetry. I articulate such an interpretation through the following four sections: I) a discussion of the basic phenomenological and hermeneutic problems of interpreting what other people experience as sacred phenomena, II) an account of the hermeneutic context within which modern Western discourse interprets trance as madness that perverts the rational limits of the self, III) an interpretation of the expressions of trance that appear in the poetry of William Blake, and IV) an interpretation of expressions of trance that appear in the music of Afro-Atlantic religions (including Vodu in West Africa, Santería in Cuba, and Candomblé in Brazil).
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Espinel, Miguel Angel. "Replenishment: A Musical Narrative Inspired by Sleep." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062888/.
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The Replenishment cycle contains five works that allude to the experience of sleep, beginning with awake drowsiness and ending with the piece inspired by rapid eye movement (REM) sleep, titled Conceiving Realities. This last piece is an intermedia work composed for chamber ensemble, live painting with biofeedback, computer, and audiovisual processing. This critical essay describes the composition of Conceiving Realities within the context of the Replenishment cycle, followed by a thorough analysis of the research involved in the technological aspects of the piece, and finally, a description of the instrumentation, notation, intermedia elements, and technology comprising the work. Conceiving Realities uses a system of interactions between painting, biofeedback, music, and video, in which a painter wears brainwave and heartbeat sensors that send data to a computer patch processing the sound of an ensemble as the painter listens and creates the painting while responding to the music. This requires a passive biofeedback system in which the painter is focused on listening and painting. The computer uses the data to process existing sounds, instead of synthesizing new lines. The score blends elements of traditional notation, graphics, and guided improvisation; giving the performers some creative agency. This alludes to the way in which scenarios in dreams occur without voluntary control of the dreamer. Finally, a camera captures the painting and projects three video screens applying individual types of processing to the original video stream, controlled in real time by the amplitude of the ensemble. All these elements create an immersive experience for the audience that is mediated by the interaction of sight and sound.
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DiFalco, Elaine. "Cosmophonia: Musical Expressions of Astronomy and Cosmology." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1259404/.
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Astronomy and music are both fundamental to cultural identity in the form of various musical styles and calendrical systems. However, since both are governed by incontrovertible laws of physics and therefore precede cultural interpretation, they are potentially useful for insight into the common ground of a shared humanity. This paper discusses three compositions inspired by different aspects of astronomy: Solstitium e Equinoctium, a site-specific composition for four voices and metal pipes involving an inclusive communal musical ritual and sonic meditation; Helios, a short symphonic work inspired by helioseismology; and Perspectives, a piece for soprano and percussion based on a logarithmic map of the universe.
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Hornstein, Daniel L. (Daniel Lather). "Relationships Between Selected Musical Aural Discrimination Skills and a Multivariate Measure of Intellectual Skills." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331803/.
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This study attempted to explore the strength and nature of relationships between specific intellectual information processing skills included in a multi-dimensional model conceived by Guilford, and measured by Meeker's Structure of Intellect - Learning Abilities Test, and specific musical aural discrimination skills as measured by Gordon's Musical Aptitude Profile. Three research questions were posed, which involved determining the strength and the nature of the relationship between MAP melodic, rhythmic, and aesthetic discrimination abilities and the intellectual information processing skills comprising the SOI - LA. Both instruments were administered to 387 fourth, fifth, and sixth graders from schools in the Dallas area. After a pilot study established the feasibility of the study and reliability estimates of the test instruments, multiple regression analysis determined that 10% to 15% of the variance between intellectual information-processing skills and the individual musical aural discrimination abilities was in common (r = +.32 to r = +.39). It was further determined that only six specific SOI intellectual dimensions, all involving the skills of "Cognition" and "Evaluation", were significantly related to the musical aural discrimination abilities. Through the use of the Coefficient of Partial Correlation, the strength of each individual information-processing skill's unique contribution to that covariance was determined. The study indicated that "Semantic" mental information processing skills, involving the ability to recall an abstract meaning or procedure given an external stimulus, play an extremely important part within this relationship. Skills of a "Figural" nature, which involve comprehending either a physical object or an non-physical idea and separating it from other impinging stimuli also enter into the relationship, although not to so high an extent. Finally, it was observed that the dimensions involving an understanding of "Systems", those mental skills which deal with groupings of figures, symbols, or semantic relationships, also was important to the relationship.
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Jean, de Murs Falkenroth Christoph. "Die Musica speculativa /." Stuttgart : F. Steiner, 1992. http://catalogue.bnf.fr/ark:/12148/cb35548361q.
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Rolli, Paolo Caruso Carlo. "Libretti per musica /." Milano : Francoangeli, 1993. http://catalogue.bnf.fr/ark:/12148/cb356843089.
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Tesi--Zürich, 1989.Contient les livrets suivants : Narciso, Muzio Scevola, Floridante, Scipione, Alessandro, Riccardo I, Arianna in Naxo, David e Bersabea, Enea nel Lazio, Polifemo, Ifigenia in Aulide, Orfeo, Festa d'Imeneo, Deidamia. Bibliogr. p. XLVII-XLIX. Index.
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May, Brack M. (Brack Miles). "An Investigation into the Stability of Students' Timbre Preferences from the Sixth through the Tenth Grade." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277703/.
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The purpose of the study was to determine whether students' timbre preferences in the sixth grade remain stable through the tenth grade. The investigation also examined whether gender, band instruction, or musical home environment makes any difference in influencing the stability of students' timbre preferences from grade six through ten. Students' timbre preferences at the beginning of the study were compared to their preferences four years later. The students' timbre preferences were obtained by employing Gordon's Instrument Timbre Preference Test (ITPT). A questionnaire was also utilized at the conclusion of the study to determine which students had musical home environments and which did not. All sixth grade students enrolled in a single school district took the ITPT. Each student's scores were tallied and ranked in order to determine their timbre preferences; four years later they were retested and their scores were ranked again.
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Allgeier, Anthony Joseph III. "The Works for Clarinet Commissioned by the Concours International d'Exécution Musicale de Genève: A Critical Survey and Performance Guide." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31524/.
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Beginning in 1939, the Concours International d'Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. These works are examined as well. This survey provides a critical, analytical, historical, performance-related and biographical review of the published and unpublished works commissioned for the clarinet by CIEM. The composers, competitors and the significance of these works and winners in the clarinet literature and history are included. A chapter is dedicated to each piece which includes performance considerations, critical, analytical, and historical information as well as biographical information regarding the composer and the competitors where available.
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Zwick, Robert A. (Robert Alan). "Jazz Improvisation: A Recommended Sequential Format of Instruction." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330678/.
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The problem with which this study is concerned is that of developing a recommended sequential format for jazz improvisation instruction. The method of content analysis is used. Seventeen subject matter categories (instructional areas) are established upon which the data is analyzed. Coding instructions are constructed with adjustments for additional emphasis placed on the instruction areas by the respective authors. By selecting instructional areas recorded above the median per cent of emphasis, and co-ordinating these areas with the mean sequential introduction of each instructional area, a recommended format of instruction is developed.
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Criswell, Madeleine L. "Animations: A Composition for Percussion and Computer Music on Tape." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500962/.
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Animations is a composition in six movements (Fish, Seals, Birds, Cats, Zebras, Snakes) for percussion and computer music on tape. One percussionist performs on various percussion instruments: two suspended cymbals, crotales, triangle, vibraphone, glockenspiel, marimba, three bongos, snare drum, field drum, large tom-tom, bass drum, kettle drum, temple blocks and vibraslap. The computer music on tape employs sampled sounds in a MIDI sequencing environment. The melodic and harmonic materials for the piece are derived from a matrix of twelve heptatonic scales. The individual movements are notated using both traditional and proportional notation systems. The score is 37 pages long with a twenty-two page analysis preceding the score. Animations is approximately nine minutes in duration.
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Syer, Katherine Rae. "Altered states : musical and psychological processes in Wagner /." Ann Arbor : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40043395c.
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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.
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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.
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Daley, Paul B. (Paul Byron). "An Investigation of Textural Activity and Its Hierarchical Structures in Selected Works by Krzysztof Penderecki." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500894/.
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This study focuses on temporal aspects of the music of Krzysztof Penderecki and deals with these on the level of textural activity. The analyses are based on a referential idea called a "discrete sound event," defined as an occurrence of a sound or collection of sounds which, as a unit, is distinct from the surrounding texture. These sound events are then used to appraise textural activity from layer fluctuation and composite density. The pieces selected for applying these techniques are the Threnody to the Victims of Hiroshima, from 1960, the Fluorescences, from 1961, and the 1965 Capriccio for oboe and strings.
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Bellenger, Xavier. "El espacio musical andino : modo ritualizado de producción musical en la isla de Taquile y en la región del lago Titicaca /." Lima : Instituto francés de estudios andinos, 2007. http://catalogue.bnf.fr/ark:/12148/cb413576088.
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Thèse de doctorat--Paris III, 2004. Titre de soutenance : L'espace musical andin, mode ritualisé de production musicale sur l'île de Taquile et dans la région du lac Titicaca.Bibliogr. p. 305-316.
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Novak, Jennifer J. Doud. "Music Preferences 1980 Versus 1989 and Their Relationship With Selected Environment and Listener Variables." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278214/.
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The purpose of this study was to determine differences between the same subjects' music preferences at the elementary and high school levels, and the relationship between these findings and the following variables: peer preferences, musical training, excerpt familiarity, grade, gender, and race.
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Gomez-Sandro, Pablo D. "PART 1 – MUSIC COMPOSITION “Not Worth the Bullet That Kills Them” (for large ensemble and reciter)PART 2 – MUSIC THEORY“The Historical Development of Consonance/Dissonance and a Model for Its Assessment”." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1583928640691947.
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Chen, Yung-jen. "Analysis and performance aspects of GYÖRGY LIGETI'S ÉTUDES pour piano: fanfares and arc-en-ciel." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1167697657.
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Sapir, Sylviane. "Processeurs audio-numériques temps réel et informatique musicale mise en oeuvre d'un système d'exploitation et utilisations pour la recherche, la production et la pédagogie musicales /." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37609643g.
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Chang, Debra Wei Kwen. "Songs of the wind." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332464/.
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Songs of the Wind is a five-movement composition for reader, chamber choir, and chamber orchestra. The work is approximately twenty-five minutes in duration. The title describes the programmatic nature of the piece, which depicts an animistic ritual invoking the wind as a deity. The texts are drawn from translations of American Indian poetry as well as original poems by the American Indian scholar Hartley Alexander.
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Michon, Jacques. "Le "Ballad-Opera" forme originale du théâtre musical anglais." Lille : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb36105622j.
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Bonney, Michael. "The Compositional Transformation and Musical Rebirth of Leo Ornstein." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103292/.
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This study focuses on the transformation of Leo Ornstein’s (1893-2002) musical language of his early years into the strikingly different approach found in his later years. Ornstein’s initial radical compositions from the mid-1910s were no doubt representative of the direction in which modern music was moving. Despite the intense fame and notoriety of his early works, Ornstein did not feel connected to the trends of modern music development, and by the end of the 1930s he withdrew from the public scene and turned to teaching. By the 1950s Ornstein had been almost forgotten, and in later life he became a very private person. He worked in almost total isolation composing a substantial amount of music well into his nineties, and died at the age of 109. The music of Ornstein’s “second life” is very different from the initial works of his early years, and most of it is unknown to the public and should be brought into scholarly light, especially since Ornstein has been considered by historians as a pivotal figure in twentieth-century music. This study examines selected music from different stages of Ornstein’s career: Wild Men’s Dance (1913), Suicide in an Airplane (1913), Arabesques (1918), A Long Remembered Sorrow (1964), Piano Sonata No. 7 (1988). A discussion of the selected compositions will provide an understanding of Ornstein’s compositional transformation, and will familiarize musicians and scholars with this widely unknown music.
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Blasko, Benjamen. "Visual Music: The Use of Film Composition Devices to Develop Form in the Wind Band Music of Bruce Broughton." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248377/.
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As a film composer, Bruce Broughton uses themes, motives, gestures, tropes, and other film composition devices; however, he is also able to develop them into compelling formal structures through the use of film composition techniques in his concert music. Traditional musical form is not necessarily applicable to film music. The film dictates the pacing and structure, whereas concert music allows for the creation of form and more complex musical development. Through his extensive experience composing in the film industry, Broughton instinctively uses his film composition techniques as a means to reach his audience with his concert music. He establishes a common ground through film score vernacular to draw the listener into a more sophisticated musical conversation. This is particularly evident in his extensive wind band catalogue. In this dissertation, I identify Bruce Broughton's film composition techniques and examine how he employs them to create a stand-alone form using those techniques in his wind band music. The film composition techniques that are examined include character association, character interaction, motivic snippets, programmatic associations, and musical tropes. These aspects are demonstrated as they influence form in three of his most frequently performed and highly acclaimed pieces for wind band: In the World of Spirits, Celebration, and Spacious Skies. Through the examination, Broughton's use of formal development through film composition devices is demonstrated.
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Sabbatini, Stefano Marinucci Marcello. "I forestierismi nel linguaggio musicale /." Trieste : Scuola superiore di lingue moderne per interpreti e traduttori, 1995. http://catalogue.bnf.fr/ark:/12148/cb36960456q.
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Bosch, Alexis. "Expérience intérieure et écriture musicale." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375961761.
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Souza, Marcelo Miguel de. "Os aspectos poético-musicais nas obras de Homero: multitextualidade e performance (Séc. VIII a.C)." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7279.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
We propose in this thesis to revisit the works of Homer (8th century BC), taking into account aspects of his poetic composition that refer to the elements of multitextuality and performance, as well as the temporalities in which they were composed and conceived. We start from points of view that dialogue with archeology, linguistics and musicology and relate these areas and their knowledge to the techniques of composition and improvisation of aedo. We have as objective to discuss the relations between the techniques of composition in performance and the text that we have contemporarily, suggesting a multitextual approach. We point out traces of its construction, its form, its style and we try to understand better the interactions implied in the poetic-musical constitution of the poems.
Propomos com esta Tese revisitar as obras de Homero (Séc. VIII a.C), tendo em vista aspectos de sua composição poética que remetem aos elementos de multitextualidade e performance, bem como as temporalidades em que os mesmos foram compostos e concebidos. Partimos de pontos de vista que dialoguem com a arqueologia, a linguística e a musicologia e relacionem essas áreas e seus conhecimentos às técnicas de composição e improvisação do aedo. Temos por objetivo problematizar as relações entre as técnicas de composição em performance e o texto que possuímos contemporaneamente, sugerindo uma abordagem multitextual. Apontamos traços de sua construção, de sua forma, de seu estilo e procuramos com isso compreender melhor as interações na constituição poético-musical dos poemas.