Dissertations / Theses: 'Contemporary music'

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Kay, Marja Liisa. "Contemporary vocal music : language, technology and contemporary vocal music of Finland." Thesis, University of York, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583263.

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This thesis is centred on a number of contemporary vocal performances and projects I encountered, and often single-handedly organised, during years of study and exploration. An introduction provides insights as to how I came to connect my original performance research goals with additional subject matters in an effort to provide a more complete illustration of the broad span of the music at hand. The bulk of this submission lies within the recordings of performances, which are supported by three exploratory chapters that discuss the relationships of the works to one another. The first chapter examines Finnish contemporary vocal music from a performer's point of view. Following this are two chapters that look at selected vocal works of two of the most internationally famous composers today, Esa-Pekka Salonen and Kaija Saariaho, in juxtaposition with an array of non-Finnish composition that share common themes. These chapters are accompanied by five audio CDs and one DVD, an extensive listing of recording tracks and performances, programmes and notes from all relevant concerts, press releases and reviews where applicable. An afterword sums up conclusions I arrived at regarding the role ofthe contemporary vocal artist and our responsibilities to the future of musical art.

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Mynett, Mark. "Contemporary metal music production." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/19314/.

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Distinct challenges are posed when conveying Contemporary Metal Music’s(CMM) sounds and performance perspectives within a recorded and mixed form. CMM often features down tuned, heavily distorted timbres, alongside high tempi, fast and frequently complex subdivisions, and highly synchronised instrumentation. The combination of these elements results in a significant concentration of dense musical sound usually referred to as ‘heaviness’. The publications for this thesis present approaches, processes and techniques for capturing, presenting and accentuating heaviness, as well as intelligibility and performance precision which facilitate the listener’s clear comprehension of the frequent overarching complexity in the music’s construction. Intelligibility and performance precision are the principal requirements for a high commercial standard of CMM, and additionally can enhance a production’s sense of heaviness. This synoptic commentary defines heaviness from an ecological perspective, by highlighting invariant properties that shape the embodied experience of being human. Heaviness is primarily substantiated through displays of distortion and, regardless of the listening levels involved, the fundamentals of this identity are ecologically linked to volume, power, energy, intensity, emotionality and aggression. In addition to distortion, a vital component of heaviness is sonic weight, which refers to CMM’s low frequencies being associated with large, intense and powerful entities. CMM’s heaviness is also considered in terms of the perceived proximity of activity, apparent size of performance environment, and level and type of energy being expended. In particular, CMM provides the listener with the sense of utmost proximity to the band, usually without any significant perspective of depth. Production strategies for achieving a high commercial standard in CMM are then presented. This is followed by a reflective commentary on the portfolio of productions, which includes discussion of the author’s transition from emulative to professional level of production and considers originality within this body of work. By presenting the subject as an important, valid and authentic scholarly discipline, this work bridges the gap between the worlds of academia and music production practice for this style.

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Mokhtabad-Amrei, Seyed Abdolhossein. "Iranian contemporary art music." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.

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Hansen, Chris Robert. "Contemporary choral arrangements product /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Thesis (M.C.M.)--Western Conservative Baptist Seminary, 1987.
Bound with accompanying tape of the arrangements recorded, by the mixed choral ensemble from Milwaukie First Baptist Church, Milwaukie, Oregon and the men's chorus from Western Seminary in Portland.

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Moretti, Francesco. "Musicians Can Fly : Heterogeneous material, Renaissance sources and contemporary group improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2557.

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Begay, Diane. "Contemporary music in Canada: Alexina Louie." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/6901.

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Alexina Louie (1949-) is one of Canada's foremost composers of contemporary classical music. She was named "Composer of the Year 1986" by the Canada Music Council in the International Year of Canadian music. Her compositions have been commissioned and performed by Canada's major orchestras, ensembles, and soloists and have been played extensively throughout Canada and abroad. Due to the incessant demand for her music, Louie is among the numbered few in Canada who are able to make a living solely by composing. The first chapter of this study outlines Louie's life from childhood until 1993. The second looks at the media's portrayal of Louie, from 1980 until 1992. The ways in which Louie composes are discussed in the third chapter, and the fourth analyses three contrasting pieces: (1) Music for a Thousand Autumns (1983), (2) The Eternal Earth (1986), and (3) The Ringing Earth (1985). A list of works, recordings, and published compositions follow an extensive bibliography. A cassette containing excerpts of Louie's work accompanies the thesis. This study reveals Louie to be an outstanding Canadian musician. She is greatly respected and admired for her compositions as well as for her promotion of contemporary music. Through her expertise, her art, her culture, and her philosophy, Louie has helped put a new face on Canadian contemporary music.

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Ranyard, Marie Phyllis. "Transcontextual mechanisms in contemporary art music." Thesis, City University London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264241.

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Ferlaino, Christian. "Confluences : folk wisdom in contemporary music." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33213.

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This thesis explores ways of adopting elements of Calabrian folk music in compositions of contemporary music beyond the mere adoption of melodies and instruments. Through this work, I aim to create a practice for contemporary improvisation and composition that is deeply imbued with elements derived from the music theory, the sonic environment and the performance practices of Calabria. The work described in this dissertation consists of two components: ethnomusicological research and a practice-based enquiry. This research focuses mainly on three aspects of Calabrian folk music: generative principles, the tuning system and processes of bagpipes, and soundscapes created by animal bells. These aspects guided both the ethnomusicological enquiry and the creative exploration. They are first described and analysed in their original context: folk music was studied in the field, amid and within the tradition bearers; research was conducted from a cultural and musicological perspective within the methodological and ethical framework of ethnomusicology. The data emerging from the ethnomusicological investigations informed the creative enquiry carried out through practice-led research. The outcomes of my investigation into Calabrian music became the core principles of my compositions of contemporary music. Generative principles were explored from the perspectives of both composition and improvisation They informed primarily a series of pieces for saxophone solo and a composition for chamber ensemble. The tuning system and processes of Calabrian bagpipes were investigated in compositions centred on pitch and extended harmonic spaces. They informed two compositions for string quartet and a piece for saxophone quartet. Soundscapes informed the composition of a piece of spatial music for goat bells that adopts indeterminacy methods for structuring the performance. The creative work, attached to this thesis as a portfolio of compositions, is analysed through self-reflective methods and in relation to the work of other contemporary music practitioners. My enquiry of the folk sources contributes to the field of ethnomusicology with new insight into Calabrian music. The creative processes and the techniques developed throughout this research also have implications for the broader field of contemporary music, as they offer a perspective on new ways of engaging creatively with folk materials.

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Nederberg, Annelie. "Corporeality in music for contemporary dance." Thesis, De Montfort University, 2012. http://hdl.handle.net/2086/9879.

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The focus of this thesis is how the body and its corporeal articulations can be used as a tool for composing for contemporary dance, with the aim of creating music with corporeal qualities that communicates on a physical level. For this purpose the author has collaborated with choreographers in a practice-based approach to examine how the body of the composer can be exploited in composition and performance, and how the voice can be exploited as a mediator between body movement and music. The body and its sensorimotor system is the foundation for our understanding of abstract concepts in music; the immaterial movement of music can serve as a foundation for a deep bodily-sensed understanding of complex concepts. By reversing this process of understanding, or rather by engaging in the action-perception loop of conceptual understanding, this understanding can help encapsulating abstract and complex concepts artistically in music. For this purpose the Feedback Instrument has been created, representing a direct way of engaging the sensorimotor system of the composer, where the intuitive body resonances are engaged in close connection with the sounding music.

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DeBoer, Amanda R. "Ingressive Phonation in Contemporary Vocal Music." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1353356284.

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Parshall, Joshua Hinson Glenn. "Contemporary klezmer music, identity, and meaning /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2619.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Oct. 5, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Folklore Program, Department of American Studies." Discipline: Folklore; Department/School: Folklore.

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Kasper, Matthew J. "Schleiermacher's influence on contemporary worship music." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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Hepfer, Jonathan David. "Thoughts on contemporary percussion." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1467909.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from 1st page of PDF file (viewed Sept. 16, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains sound files of the thesis recital in 44K stereo. and 96K formats. Includes bibliographical references: P. 15.

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Esler, Robert Wadhams. "A phenomenological approach to contemporary music performance." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3258703.

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Thesis (D.M.A.)--University of California, San Diego, 2007.
Title from 1st page of PDF file (viewed July 12, 2007). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 121-124).

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Dodge, Kimberly A. "Fusión peruana contemporary Peruvian musical hybrids /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453366.

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Thesis (M.A.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed July 22, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 120-125).

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March, Daniel. "Beyond simplicity : analytical strategies for contemporary music." Thesis, University of York, 1997. http://etheses.whiterose.ac.uk/2441/.

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Thomas, Julian Philip. "Interpretative issues in performing contemporary piano music." Thesis, University of Sheffield, 1999. http://etheses.whiterose.ac.uk/3482/.

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This thesis explores practical and theoretical issues in interpreting contemporary notated piano music. Interpretative problems and approaches are discussed with a practical bias, using a varied selection of musical sources mostly from the last fifty years. The diversity of compositional styles and methods over this period is reflected in the diversity of interpretative approaches discussed throughout this thesis. A feature of the thesis is that no single interpretative method is championed; instead, different approaches are evaluated to highlight their benefits to interpretation, as well as their limitations. It is demonstrated how each piece demands its own approach to interpretation, drawing from different methodologies to varying degrees in order to create a convincing interpretation which reflects the concerns of that piece and its composer. The thesis is divided into four chapters: the first discusses the implications and ambiguities of notation in contemporary music; the second evaluates the importance of analysis and its application to performance and includes a discussion of the existing performance practice literature as well as short performer-based analyses of three pieces (Saxton's Piano Sonata, Tippett's Second Piano Sonata, and Feldman's Triadic Memories); the third chapter considers notions of style and performing traditions, illustrating the factors other than analysis that can 'inform' interpretation; and the fourth chapter draws together the processes demonstrated in the previous chapters in a discussion of the interpretative issues raised by Berio's Seguenza IV. Although each chapter selects examples which illustrate the concern of that chapter, the discussion of each extract is informed by processes found in the other chapters. Discussion is based upon personal experiences and those of nine professional pianists, well-known for their performances of contemporary music. This allows for an objective attitude which accepts a range of possible approaches to a single piece as being valid. It is intended that consideration of these approaches will combine to widen interpretative possibilities and illustrate the complexity and multiplicity of the interpretative process.

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Carlile, Solfa. "Characterisation in contemporary opera and music theatre." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:dd3468ba-dba6-49c2-88d4-82c2bb23af5c.

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This doctoral research comprises a practitioner-based reflective enquiry to bridge the gap between theory and practice and enhance my compositional output. In tandem with the composition of my chamber opera, The Exile, I have undertaken research into characterisation within the context of opera and musical theatre, with a focus on both the delineation of individual characters and the context in which they appear. Parameters of the work are discussed in comparison with canonic works of both opera and music theatre. Contemporary uses of leitmotif, representation of speech and folk music within operatic works are acknowledged and their influence on the composition is presented along with musical examples. The conventional composer-librettist partnership is discussed, along with suggestions for how respective roles for composer and librettist have evolved in recent times. An insight into the collaborative compositional process is presented in the final chapter, as my work with librettist Gillian Pencavel is discussed. The Exile is an original work informed by this research and is a contribution to the repertoire as well as an investigation into many compositional techniques presented in this thesis.

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Fuhr, Jenny. "Experiencing rhythm : contemporary Malagasy music and identity." Thesis, University of Southampton, 2010. https://eprints.soton.ac.uk/344774/.

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My thesis is about experiences of ‘rhythm’ in ‘Contemporary Malagasy Music’ (Randrianary 2001), a field that has hardly been researched. I argue for the importance of integrating musical practices into ethnomusicological research. Despite an on-going debate on the need for a more performative approach, only very few scholars have put this aim into action (Baily 2008). Most music research so far, particularly studies on African music, are marked by prevailing and dominating Western discourses on and approaches to music with musical notation remaining the main analytical tool. This has been criticised as a constant search for difference, ignoring indigenous theories and understandings of music (Agawu 2003) and for carrying the risk of ‘essentializing music’ (Bohlman 1993). The challenge of competing discourses in my research becomes obvious with regard to ‘rhythm,’ a topic that seems to be the starting point for the musicians’ search for a collective identity for which music is a powerful tool (Stokes 1994, Frith 1996, Connell and Gibson 2003, Biddle and Knights 2007). In present day Madagascar where more and more musicians are transnationally connected (Kiwan and Meinhof 2011), but where musicians still struggle to access an international music market, questions of identity are regularly negotiated through the term and concept of ‘6/8 rhythm.’ Yet at the same time this term and concept is highly contested by the musicians as well. In Western music theory it is based on the idea of musical notation which at first glance seems to contradict the musicians’ emphasis on the Malagasy concept of oral tradition, the lova-tsofina (lova = heritage; sofina = ear) that many describe as the base for Malagasy music making. In order to tackle this challenge and go beyond the study of seemingly contradictory discourses, I argue that we need to analyse discourses and musical experiences in a constant interrelation. My thesis therefore takes on an interdisciplinary perspective, combining ethnomusicological methods, referring to the so-called ‘new fieldwork’ (Hellier-Tinoco 2003), with a discourse analytical approach to interview data. I focus on individuals and individual experiences as proposed in Rice’s ‘subject-centred ethnography’ (Rice 2003) as it is only through creating a shared space of experience that encompasses the researcher and the researched in an equal manner (Rice 2003: 173-174) that we can implement a ‘presumption of sameness’ (Agawu 2003).

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Baker, Wesley L. "Worship, contemporary Christian music, and Generation 'Y'." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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Banks, Zane. "The electric guitar in contemporary arts music." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11805.

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Since 1950 the electric guitar has occupied an ever-increasing presence in contemporary art music both as a solo and chamber instrument. Although the electric guitar is still on the fringe of mainstream classical music, the instrument is more popular now amongst contemporary art music composers and contemporary art music ensembles than in previous times. This dissertation is divided into three sections. The first, Section A, is an introduction to the electric guitar, with a focus on its history and role in both western popular music and western art music. Chapters 2 and 3 address the development of the electric guitar, the electric guitar in American popular music and the development of art music repertoire featuring the electric guitar. Section B (Chapter 4) includes the analysis of forty-eight interviews given by musicians involved in composition, performance and musicology for the electric guitar. The focus of this section is on the interviewees’ experiences with and common views, perceptions and attitudes towards the electric guitar’s role in art music. It also contains common recommendations made by the interviewees regarding writing successfully for the instrument, and addresses the nature of previous collaborative partnerships between composers and electric guitarists. The final section, Section C (Chapter 5 and 6), is partly an auto-ethnography. It includes the proposition of useful collaborative models. This section also features an in-depth discussion regarding how technological mediation can affect the collaborative process as well as proposing performance and recording logistics that composers should keep in mind when composing for the electric guitar. This dissertation culminates in a detailed, first-hand account of a successful composer-electric guitarist collaboration so that future composers1, considering writing for the instrument, have a model to assist them in their artistic endeavours. Included in the ‘Creative Work’ portfolio of this dissertation is an mp4 recording (on a USB) of my performance of Georges Lentz’s unaccompanied electric guitar composition Ingwe at the 2012 Amsterdam Guitar Heaven Festival and my Naxos CD recording of Ingwe2. 1 The term ‘composer’ in this context refers to composers who have never written for the electric guitar but are interested in writing a work for the instrument. 2 Georges Lentz, "Ingwe from ‘Mysterium’ (“Caeli Enarrant...” Vii) for Solo Electric Guitar (2003–2009) Performed by Zane Banks," ([Hong Kong] Naxos, 2011)

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Williams, Jeffrey C. "Love and Loss: A Contemporary Song Cycle." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1588778516530969.

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Kinnear, Tyler. "Music in nature, nature in music : sounding the environment in contemporary composition." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/61354.

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This thesis examines nature as both a concept and source material in contemporary music. Composers reinforce, revise, and challenge existing conceptualizations of nature through their engagement with natural settings, live or recorded environmental sounds, and/or non-sounding environmental information. How composers understand nature informs the ways in which they employ aspects of the physical world in their music. This study explores the interplay between nature-as-concept and nature-as-source-material in art-based walks, outdoor music, electroacoustic composition, and concert-hall pieces. Through analysis of works representative of these wide-ranging genres, this thesis offers a critical assessment of how nature is imagined in a contemporary musical context. The concept of a continuum is used as both a structural and theoretical tool in this study. A gradual transition from real-world encounters with nature to an abstracted experience of it is made over the course of the thesis. The works discussed in Chapter Two exist as lightly edited recordings made by artists during an outdoor walk/improvisation. The outdoor theatre piece considered in Chapter Three takes place at a lake and draws on that environment in several ways during a performance. The two electroacoustic compositions investigated in Chapter Four combine unmodified and modified nature sounds. The natural world is still present in the concert-hall works discussed in Chapter Five, but recorded nature sounds are combined with live instrumental music based on environmental properties and processes. In addition, this thesis traces four themes across works. These are technology, human presence, myth, and the transformation of the environment. The works under consideration demonstrate a range of approaches to composing with and conceptualizing nature. Some of the works comment on environmental issues, such as noise pollution and climate change. Others aim to drive understanding beyond the limits of human perception; that is, to open up new psychological spaces. In different ways, the works under focus illuminate the relationship between humans and the natural world. By stimulating discourse around how we think about nature, these pieces encourage critical thought regarding our place as humans in the physical environment.
Arts, Faculty of
Music, School of
Graduate

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Lee, Erin Gilligan. "New Audiences for New Music: A Study of Three Contemporary Music Ensembles." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1240423668.

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Lee, Erin. "New audiences for new music a study of three contemporary music ensembles /." Akron, OH : University of Akron, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1240423668.

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Thesis (M.A.)--University of Akron, School of Dance, Theatre, and Arts Administration, 2009.
"May, 2009." Title from electronic thesis title page (viewed 8/1/2009) Advisor, Durand Pope; Faculty Readers, Neil Sapienza, George Pope; School Director, Neil Sapienza ; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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Kim, Yeji. "Hybridity in Flute Music of Four Contemporary Composers." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.

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Kim, HaeOk N. "An Examination of Selected Contemporary Korean Piano Works." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/254512.

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Fernando, Samantha A. M. "Music and text : centre and absence." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:d4f7f4fc-7119-45e6-8c5b-ac0aa0909972.

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This dissertation examines Boulez's notion of 'centre and absence' in relation to his use of text in composition and how his ideas have acted as a springboard for my own compositions. Boulez's writings about 'centre and absence' are investigated as well as its implementation in two vocal works: Improvisation II of Pli selon Pli and Cummings ist der Dichter. This is followed by a detailed commentary on my own music, demonstrating why and how I became interested in Boulez's notion of 'centre and absence' and the effect this has had on both my vocal and my instrumental music. The culmination of this study is my work Sense of Place, for large ensemble, which uses the novel Invisible Cities by Italo Calvino as a 'centre and absence'.

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Ealy, Gregory. "Medieval Russian chant and the contemporary church." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p015-0469.

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Lloyd, Emma Jane. "Determinacy, indeterminacy and collaboration in contemporary music-making." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31382.

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This thesis is structured around three key phases in the process of collaborative music-making - composition, preparation, and performance - examining the function of indeterminacy at each stage, and the way in which musical factors are determined. At what point in the creative process a musical decision is made, the path chosen, and critically, by whom the decision is taken, are all explored in the context of a portfolio of pieces performed and recorded as part of this practice-led research. The portfolio comprises recordings of projects undertaken with composers, as well as pre-existing repertoire, and the written commentary explores my creative role as a performer in relation to that of the composers and the other performers I have worked with. Practical issues faced in collaboration, practice, and performance are dealt with, as are questions of musicality, and the notion of success in musical performance.

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Kilburn, Katherine Margaret Kilburn. "Pedagogical Approaches to Conducting Gesture in Contemporary Music." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1466978207.

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Titus, Stephanie. "Japanese Contemporary Piano Music: Cultural Influence and Identity." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1604259509513433.

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Johnson, Maya Ayana. "Harem Fantasies and Music Videos: Contemporary Orientalist Representation." W&M ScholarWorks, 2007. https://scholarworks.wm.edu/etd/1539626527.

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Rogers, Kallie. "Wil Offermans| The pedagogy of a contemporary flutist-composer." Thesis, The Florida State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3705916.

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Wil Offermans is a flutist-composer with a holistic approach to contemporary flute pedagogy. At present day, there are very few English-language publications on Offermans; thus, in comparison to his contemporaries, the broader English-speaking flute community knows very little of the Dutch flutist-composer. The purpose of this treatise is to present Offermans's pedagogical ideas as a modern day flutist-composer so that his knowledge, creativity, and unique perspective may be made available to a larger flute population.

A brief overview of the development of contemporary flute music will set the stage for the emergence of Offermans's role in the flute world. A biographical sketch of Offermans follows, along with a discussion of his teaching philosophy and four pedagogical themes that reoccur in his teaching and methods: extended techniques, interculturalism, improvisation, and body movement. Other pedagogical applications associated with these themes are discussed in addition. Finally, the concept of holism in education is explored using Offermans as an example of a holistic pedagogue.

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Ferraro, Mario. "Contemporary opera in Britain, 1970-2010." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1279/.

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This study of contemporary opera in Britain considers first, the theoretical aspects of the creation of an opera, then moves to a survey of British opera companies and their productions of modern opera over the past 40 years. There follows a detailed study of three works produced in Britain during this time, all of which are of particular significance to this composer: Maxwell Davies’s The Lighthouse, Saariaho’s L’amour de loin, and Birtwistle’s The Minotaur. The final chapter concerns the production of my own opera, The Moonflower (2011). The study was informed by established theories about opera and its history; an examination of scores, libretti and programme booklets for some operas produced in Britain, 1970 – 2010; direct contact between the author and composers, co-creators, and the works themselves (including attendance at many recent operatic productions in London), and the analysis of excerpts from the three contemporary operas mentioned above, while investigation of opera companies active in the period aimed to identify some possible trends in programming. The creation and performance of the author´s own opera was the culmination of this investigation; it illuminated many of the issues raised above, concerning the process of composing, designing and staging an operatic work in the early twenty-first century.

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Bartlett, Irene Mary. "Sing Out Loud, Sing Out Long - A Profile of Professional Contemporary Gig Singers in the Australian Context." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367201.

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Globally and nationally, the vast majority of professional singers work in the contemporary commercial music industry, yet little is known about them as a population. This research project sought to create an accurate profile of professional contemporary gig singers (PCGS) as a population in the Australian context by giving voice to the livedexperience of PCGS. Using a mixed-methods model, the study collected data from 102 PCGS who met the criteria for inclusion by performing, “6 or more hours per week” calculated as an annual average. The participants provided information about current and past career characteristics including: singing training and performance styles, performance environments, on the gig and after the gig behaviours, voice problems and symptomology, and beliefs about factors which affected their vocal health. They did this by completing a survey questionnaire and their responses to the closed and open question format were analysed using quantitative and qualitative methods. This research led to a number of outcomes. It provides the first profile of the professional attributes and experiences of a representative group of Australian PCGS. Importantly, the knowledge gained from the self-reports of the 102 PCGS participants in this study highlights the complexities of their performance working lives and challenges the widely asserted view in the literature that there is an ‘inevitability of vocal damage’ resulting from the performance of contemporary music styles. In so doing, it provides an important context for the development of an effective and appropriate pedagogy for PCGS and all singers of Contemporary Commercial Music styles.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
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Masone, Jolene. "The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849603/.

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As the bassoon has evolved over time, the music written for the instrument has evolved around it, and was many times the catalyst for its evolution. Bassoon music of the seventeenth through early twentieth centuries has defined much of the curricula for bassoon studies, and has established how we consider and experience the bassoon. We experience, write, and consume music in vastly different ways than just a generation ago. Humans use technology for the most basic of tasks. Composers are using the technology of our generation to compose music that is a reflection of our time. This is a significant aspect of art music today, and bassoonists are barely participating in the creation of this new repertoire. Performance practice often considers only the musical score; interactive electronic music regularly goes beyond that. The combination of technological challenges and inexperience can make approaching electroacoustic music a daunting and inaccessible type of music for bassoonists. These issues require a different language to the performance practice: one that addresses music, amplification, computer software, hardware, the collaboration between performer and technology, and often the performer and composer. The author discusses problems that performers face when rehearsing and performing interactive electroacoustic works for bassoon, and offers some solutions.

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Sauer, Vincent Philip. "Short Opera for Five Voices." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1490715372901732.

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Munk, James N. "Agency, physicality, space : analytical approaches to contemporary Nordic concertos." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:d4c79a2a-0836-4921-b33c-9a3fd2aa0f8a.

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The concerto enjoys a position of centrality within the oeuvres of many contemporary Nordic composers: the genre often functions as a vehicle for the exploration of advanced compositional techniques and aesthetic preoccupations, and the resulting works are well-represented on recordings and in the concert hall. Yet this repertory has largely been neglected in scholarship. Through detailed analysis of works by Per Nørgård, Kaija Saariaho, Magnus Lindberg, and Pelle Gudmundsen-Holmgreen, this thesis develops analytical technologies for a genre which has received less musicological attention than it deserves. Placing a particular emphasis on the theatrical aspects of concerto performance, the project explores the application of three lines of enquiry, each of which has been theorised in some detail: agency (Cone, Maus, Cumming), physicality (Clarke, Cox, Larson), and space (Brower, Williams). Each of these lines of enquiry has been directed at the concerto sporadically, if at all – even though concertos make particularly compelling and potentially enriching case studies for the theoretical models in question. This thesis represents the first sustained attempt to explore the concerto with reference to these bodies of literature. The analytical models developed have wider applicability, to concertos both within and without the Nordic arena. I draw attention at numerous points to ways in which they can illuminate works by Ligeti, Birtwistle, Musgrave, Berio, and Lutosƚawski, among others. The project also has wider implications for our understandings of Nordic identity, virtuosity, and musical modernism at the turn of the twenty-first century.

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Faia-Harrison, Carl. "Collaborative computer music composition and the emergence of the computer music designer." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/11917.

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This submission explores the development of collaborative computer music creation and the role of the Musical Assistant, or Computer Music Designer, or Live Electronics Designer, or RIM (Réalisateur en informatique musicale) and does so primarily through the consideration of a series of collaborations with composers over the last 18 years. The submission documents and evaluates a number of projects which exemplify my practice within collaborative computer music creation, whether in the form of live electronics, tape-based or fixed media work, as a live electronics performer, or working with composers and others to create original tools and music for artistic creations. A selection of works is presented to exemplify archetypes found within the relational structures of collaborative work. The relatively recent development of this activity as an independent metier is located within its historical context, a context in which my work has played a significant role. The submission evidences the innovative aspects of that work and, more generally, of the role of the Computer Music Designer through consideration of a number of Max patches and program examples especially created for the works under discussion. Finally, the validation of the role of the Computer Music Designer as a new entity within the world of music creation is explored in a range of contexts, demonstrating the ways in which Computer Music Designers not only collaborate in the creation of new work but also generate new resources for computer-based music and new creative paradigms.

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Luckman, Susan Heather. "Party people : mapping contemporary dance music cultures in Australia /." [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16686.pdf.

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Reimer, Benjamin N. "Defining the Role of Drumset Performance in Contemporary Music." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121034.

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Traditionally considered an instrument used primarily for improvisation in popularmusic, the drumset has emerged in contemporary music as a solo instrument with prescribednotation. While there is a growing interest in this repertoire today, composers have drawninspiration from the drumset since the early developmental stages of the instrument itself in theearly twentieth century.In the context of popular music, generations of drummers have explored new musical andtechnical possibilities of drumset performance. It is this history that remains linked to thedrumset even when crossing over into the context of contemporary composition. Drummers inpopular music have influenced the musical content, the approach to performance, and even ourpreconceived ideas of the musical and technical potential of this instrument when it is used incontemporary art music.This thesis presents four unique approaches to composition identified and defined as theTourist, the Snapshot, the Non-idiomatic and the Confluent. Although many works are discussed,the chapters focus on Darius Milhaud’s La Création du Monde, Christopher Rouse’s Bonham,James Dillon’s Ti.Re.Ti.Ke.Dha and Nicole Lizée’s The Man with the Golden Arms.The purpose is to highlight new performance techniques and musical possibilities fordrumset performance used in contemporary art music, while identifying the composedrepertoire’s links to traditional and fundamental drumset practices. This will show that anawareness of the drumset’s roots in popular music styles has a significant effect on bothcomposer and performer.
Considérée traditionnellement comme un instrument utilisé principalement pourl’improvisation et la musique populaire, la batterie a fait son apparition dans la musiquecontemporaine comme un instrument soliste, avec des partitions entièrement notées. Alors quel’intérêt pour ce nouveau répertoire connaît un succès grandissant, il est à noter que lescompositeurs se sont inspirés de la batterie dès ses débuts, à l’aube du vingtième siècle.Dans le contexte des musiques populaires, les générations successives de batteurs ontcontinuellement exploré le potentiel musical et technique du jeu de la batterie, et c’est cettehistoire même qui crée un lien fondamental avec son utilisation dans le contexte de lacomposition contemporaine. Les batteurs populaires ont eu une influence déterminante sur lecontenu musical et sur l’approche de l’interprétation, et en fin de compte sur l’idée préconçueque nous avons du potentiel musical et technique de la batterie lorsqu’elle est utilisée dans ledomaine de la musique contemporaine.Cette thèse présente quatre types d’approche compositionnelle : le Touriste, l’Instantané,le Non Idiomatique et le Confluent. Parmi les oeuvres discutées, on s’intéresse plusparticulièrement à La Création du Monde de Dairus Milhaud, à Bonham de Christopher Rouse, àTi.Re.Ti.Ke.Dha de James Dillon et à The Man with the Golden Arms de Nicole Lizée.L’objectif est de mettre en exergue l’existence de nouvelles techniques d’interprétationset de possibilités artistiques pour le jeu de la batterie dans la musique d’art contemporaine, touten identifiant les liens qui unissent le répertoire actuel aux pratiques instrumentalestraditionnelles. On démontrera ainsi que la sensibilité des compositeurs et interprètes aux racinesde la batterie dans les styles de musique populaire, a une influence tangible sur leur approcheartistique.

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Mendonça, Maria Alice Cardoso de. "The evolution and transformation of multi-dimensional music in contemporary culture." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1779690131&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Sideris, Nikolaos. "Music technology in contemporary concert hall music : Portfolio of musical compositions and accompanying commentary." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531328.

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Bochanty-Aguero, Erica Jean. "Music that moves television music, industrial travel, and consumer agency in contemporary media culture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Viol, Claus-Ulrich. "Jukebooks: contemporary British fiction, popular music, and cultural value." Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2772862&prov=M&dok_var=1&dok_ext=htm.

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Fu, Lok-yi Alice. "Contemporary Cantopop reception of crossover music in Hong Kong /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39634334.

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Thesis (M. Phil.)--University of Hong Kong, 2008.
Includes Chinese version of questionnaire (leave 132-133), transcript of interviewees in Chinese (leave 134-141) and Chinese texts of translated songs (leave 142-154). Also available in print.

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Lo, Ting-cheung, and 盧定彰. "Structural ordering in contemporary music: the perceptibility factor reconsidered." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B48199539.

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The multi-faceted nature of twentieth-century music is anything but familiar to listeners who are accustomed to hearing Western music based on ideas steeped in the classical tradition. The emergence of new tonalities and atonality as well as new temporalities challenged and revolutionized commonly accepted notions of musical sound and musical motion. The surge of new music characterized by the treatment of sound as independent entity, the absence of functional tonality and the dissolution of metric order has created new demands on the perceptual-cognition abilities of the listener. The perception of atonal musical works has been a subject of interest for many scholars in the field of music cognition. The findings of recent studies addressing this issue have pointed to the presence of salient features as an aid to the comprehension of relationships between musical events in an atonal composition. Salient features which effectively serve as structural cues include change/contrast and repetition, with the latter emerging as the most frequently used and easily acknowledged form of salience. An examination of the role of repetition in the music of the post-serial American composer George Crumb sheds light on how repetition, a common ingredient in many conventional models of organization, is able to operate in atonal pieces as structural cue to patterns underpinning the musical form. The investigation further reveals the possible role of repetition, where it is associated with timbre, as clue to structural direction in compositions that subscribe to the contemporary notion of musical motion.
published_or_final_version
Music
Master
Master of Philosophy

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Cox, Elizabeth J. "Reducing noise : multimedia and the appreciation of contemporary music." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435271.

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Burgess, Jean E. "High Culture as Subculture : Brisbane's Contemporary Chamber Music Scene." Thesis, The University of Queensland, 2004. https://eprints.qut.edu.au/28527/1/28527.pdf.

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The aim of the dissertation is to discover the extent to which methodologies and conceptual frameworks used to understand popular culture may also be useful in the attempt to understand contemporary high culture. The dissertation addresses this question through the application of subculture theory to Brisbane’s contemporary chamber music scene, drawing on a detailed case study of the contemporary chamber ensemble Topology and its audiences. The dissertation begins by establishing the logic and necessity of applying cultural studies methodologies to contemporary high culture. This argument is supported by a discussion of the conceptual relationships between cultural studies, high culture, and popular culture, and the methodological consequences of these relationships. In Chapter 2, a brief overview of interdisciplinary approaches to music reveals the central importance of subculture theory, and a detailed survey of the history of cultural studies research into music subcultures follows. Five investigative themes are identified as being crucial to all forms of contemporary subculture theory: the symbolic; the spatial; the social; the temporal; the ideological and political. Chapters 3 and 4 present the findings of the case study as they relate to these five investigative themes of contemporary subculture theory. Chapter 5 synthesises the findings of the previous two chapters, and argues that while participation in contemporary chamber music is not as intense or pervasive as is the case with the most researched street-based youth subcultures, it is nevertheless possible to describe Brisbane’s contemporary chamber music scene as a subculture. The dissertation closes by reflecting on the ways in which the subcultural analysis of contemporary chamber music has yielded some insight into the lived practices of high culture in contemporary urban contexts.

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Dissertations / Theses on the topic 'Contemporary music'

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