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Relevant bibliographies by topics / Contemporary music / Dissertations / Theses

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Dissertations / Theses on the topic 'Contemporary music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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2

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

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3

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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4

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.<br>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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5

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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6

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

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7

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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8

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 prin

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9

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;

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10

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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11

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.<br>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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12

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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13

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.<br>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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14

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.<br>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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15

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.<br>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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16

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

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17

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 t

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18

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 o

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19

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 crit

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20

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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21

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 developme

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22

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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23

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. T

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24

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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25

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.<br>"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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26

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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27

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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28

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 t

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29

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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30

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 repe

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31

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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32

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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33

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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34

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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<p> 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. </p><p> A brief overview of the development of contemporary flut

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35

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 o

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36

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 pa

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37

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 signi

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38

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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39

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

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40

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 co

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41

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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42

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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Note:<br>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 ove

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43

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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44

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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45

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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46

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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47

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.<br>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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48

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. Th

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49

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 s

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