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Dissertations / Theses on the topic 'Counting – Songs and music'

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Published: 26 July 2024

Last updated: 19 July 2025

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1

Hubbard, Colton M. "Tea Songs." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116378208.

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Lanci, Michael P. "Songs for Joe Hill." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin149580760300849.

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3

Hung, Justin. "Songs about Words." Digital Commons @ Butler University, 2020. https://digitalcommons.butler.edu/grtheses/523.

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A song cycle for baritone and mixed chamber ensemble, "Songs about Words" consists of five songs for everyday concepts and subjects, and explores deeper themes of communication and identity. The ensemble consists of piano, accordion, tenor saxophone, percussion and double bass. The text was inspired by Pablo Neruda and written by the composer.

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Baron, Michael David. "The songs of Franz Liszt." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234717504.

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Hood, Errik M. "Teaching the Songs of Ivor Gurney:An Applied Studio Guide to the Utilization of Fourteen Songs." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1448468099.

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6

Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.

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Jones, Reba Pestun. "An examination of coal mining song repertoire in the Virginia elementary music curriculum with the creation and incorporation of a suggested coal mining musical unit of study /." < Digital Thesis and Dissertation Collection > Username and password required for access, SU only, 2003. http://www.su.edu/library/digitalthesis/jonesreba.pdf.

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Wood, Kenneth Edward. "An investigation and analysis of selected Victorian art songs /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004204.

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9

Van, Rhyn Chris. "Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.

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Thesis (PhD)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.<br>AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.

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Sigurjónsson, Jóhannes. "Reference Music As Guidelines : Using reference music to create better songs." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-73989.

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This essay examines how reference music can be used as a tool to fix weaknesses within my own songwriting and production process. The weaknesses were found by analysing feedback from other students on my own music. Four reference artists were then analysed with the intent of finding solutions to these weaknesses. Four new songs were then written and produced by implementing the solutions from the reference artists into the creative process. The results were mostly positive, as the songs had improved on various issues found in the feedback analysis. However, the method restricted the creative process in some occasions rather than inspiring it. The reasons for this are in part due to the choice of reference artists and which aspects of their music were in focus for the analysis.<br>I detta arbete undersöker jag hur referensmusik kan användas som ett verktyg för att stärka svagheter i mitt eget låtskrivande- och produktionsprocess. Svagheterna hittades genom att analysera feedback från andra studenter på min egen musik. Därefter analyserades fyra referensartister med syftet att hitta lösningar på dessa svagheter. Fyra nya låtar skrevs sedan och producerades genom att implementera lösningarna från referensartisterna till den kreativa processen. Resultaten var mestadels positiva, eftersom låtarna förbättrades på olika svagheter som hittades i feedbackanalysen. Metoden begränsade dock den kreativa processen i vissa tillfällen snarare än att inspirera den. Anledningarna till detta beror dels på valet av referensartister och vilka aspekter av deras musik som analyserna var inriktade på.

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Fisher-Giorlando, Marianne. "Prison culture : using music as data." Connect to resource, 1987. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1214249344.

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12

Morcom, Anne Frances. "Hindi film songs and the cinema." Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268674.

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This thesis explores the relationship of Hindi film songs with Hindi cinema from the 1950s, especially emphasizing the present day. It is based on fieldwork completed in Bombay from 1998-2000 and the analysis of film songs and their picturizations. The main question addressed is: 'How far can film songs be seen as an independent tradition of popular music and how far are they a part of their parent films and Indian cinema?' Chapter 1 surveys previous scholarship on film songs and introduces their cinematic study. Chapter 2 deals with the production process of film songs, identifying the role of various personnel in their creation including the music director (composer), lyricist and singer(s). Chapter 3 addresses the musical style of film songs and its development in the light of both their cinematic and popular music roles. Chapter 4 turns to the use of Western music in film song from the perspective of meaning. Is Western music used in the same way in Hindi films as in Hollywood films, and if so, how, if music is not a universal language? Is the presence of Western music in film songs just due to hegemony? Song and background score material is analysed in its dramatic context, and Indian and Western music theory and interview material drawn on to answer these questions. Chapter 5 looks at the commercial life of film songs, addressing the question of whether songs sell films or films sell songs through an examination of the marketing and profitability of film songs in various eras. Chapter 6 discusses the reception of film songs, their popularity, how audiences come into contact with them, and their appropriation by audiences. Adorno's profile of mass music as alienating is revisited with reference to film song.

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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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14

Kreider, Paul Kevin. "The art songs of Daron Hagen: Lyrical dramaticism and simplicity with an interpretive guide to "Rittenhouse Songs" and "Resuming Green"." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/288968.

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This document examines lyrical and dramatic aspects of the songs of composer Daron Hagen. The study shows how Hagen's uses of articulation, melody, form, dynamics, harmony, text painting, word painting, and tonality enhance the dramatic elements of the poems without sacrificing lyricism. The research began with performances by this writer of the works of Hagen and continued with interviews and further performances. Discussion of the lyrical and dramatic elements of Hagen's vocal works forms the body of the document and illustrations facilitate study of the works. An interpretive guide for two song groups will assist vocal performers to understand these songs and possibly lead to improved interpretive practices. A complete listing of the composer's vocal works concludes the document.

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Ballinger, Rebecca. "Sacred songs of Dvořák, Menotti, Ravel and Wolf." Kansas State University, 2012. http://hdl.handle.net/2097/13747.

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Master of Music<br>Department of Music<br>Amy Rosine<br>This report examines the sacred works of four composers that were intended for performance in a secular environment, rather than for any portion of a liturgical service. It will discuss the theoretical, stylistic and performance considerations of each work, as well as biographical information about each composer, their compositional style, and how the work was initially developed. These works include the Biblické písně, Op. 99 of Antonín Dvořák, selections from the Möricke Lieder and Spanisches Liederbuch of Hugo Wolf, Maurice Ravel’s Deux mélodies hébraïque, “Oh, Sweet Jesus” from Gian Carlo Menotti’s’ the Saint of Bleecker Street and the quartet from his Amahl and the Night Visitors.

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16

Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.

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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.

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Ng, Pong-wai Brenda. "The development in Hong Kong of commercial popular songs in Cantonese /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1675959X.

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Graefe, Emily. "Charles Ives and Transcendentalism in the 114 Songs." Thesis, Boston College, 2004. http://hdl.handle.net/2345/486.

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Thesis advisor: Jeremiah McGrann<br>The effect of transcendentalism on American composer Charles Ives (1874-1954) is examined in this study. Certain pieces in Ives' 114 Songs collection are musically analyzed to better understand Ives' interpretation of three main tenets of transcendentalism (the individual, the past, and nature). Scholarly criticism and a historical background of transcendentalism are discussed as well<br>Thesis (BA) — Boston College, 2004<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Music<br>Discipline: College Honors Program

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Bidgood, Lee. "Real Imaginary Place in Czech Bluegrass Songs." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1081.

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Bluegrass is a music form often considered to be necessarily or uniquely connected to Appalachia. Significant popular and scholarly discourses (Malone, Negus, etc.) support the sense of a homological relationship (Middleton, Born, Murphy) linking certain rural spaces with country musics. At the same time, bluegrass has a broad and varied global appeal. Abroad, bluegrass is often a part of "Americanism," the negotiation of cultural elements from the United States--and is subject to an array of different cultural politics. This presentation presents an analysis and contextualization of three Czech bluegrass-related songs to indicate some ways in which bluegrass music makers can create a sense of place far afield from the music's putative geographic roots. During their long history of Americanism Czechs have inscribed "real imaginary" elements of Americana on their environment, laying a foundation for the current interest in bluegrass music. Czech articulations of this imagined "Amerika" in translated, newly-created, and recontextualized bluegrass songs reveals a playful ambiguity. Czechs have cultivated this music and sense of place through Americanisms that blur boundaries between what is American and what is Czech. These cases challenge homologies of sound and geography, and provide new ways to consider music and place in Appalachia.

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Webb, Adam Michael. "Art songs for tenor : a pedagogical analysis of art songs for the tenor voice." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3401.

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The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice. This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process. The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.

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Lin, Yanyan. "The Art Songs of Huang Zi: A Selective Study." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594938239554979.

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Kruckeberg, Lynell Joy. "Federico Mompou: a style analysis of thirty-five songs." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3486.

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Federico Mompou (1893-1987) was a Catalan composer known primarily for his piano compositions. In addition to his piano works, Mompou also composed thirty-seven songs for voice and piano, a ballet, a few choral works, and a guitar suite. Mompou's songs and piano pieces were well-received by critics and audiences in France, Spain, and even the United States during his lifetime, but since the mid-1970s, majority of his songs have been overlooked by Western performers and scholars. Mompou's songs, composed between 1915 and 1971, are settings of Catalan, Spanish, and French texts. They are characterized by their simplicity, expressiveness, and evocative style. The poetry represents a variety of subjects that range from expressions of simple, childlike pleasure, to those of a highly reflective and emotional mind. Federico Mompou's songs represent an important contribution to Catalan art song of the twentieth century. The songs are deserving of performance and study in any voice studio because they contain a variety of technical, linguistic, and interpretive challenges for a wide variety of singers. The purpose of this doctoral essay for limited distribution is to provide a style analysis of thirty-five songs of Federico Mompou. The analysis divides the songs into three groups based on technical difficulty, progressing from the least difficult to the most difficult. Information about each song will include date of publication, language, poet, poem and translation. Prose analysis of each individual song is based on Jan LaRue's Guidelines for Style Analysis. Musical examples demonstrate important aspects of each individual song.

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ALFELD, ANNA POULIN. "Unsung Songs: Self-Borrowing in Amy Beach's Instrumental Compositions." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1217521725.

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Landau, Gregorio. "The role of music in the Nicaraguan Revolution /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9935470.

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25

Lin, Pei-Ying. "Development of curriculum materials to teach American children about the culture of Taiwan through Taiwanese children's songs." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4315.

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Thesis (M.A.)--University of Missouri-Columbia, 2005.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Includes bibliographical references.

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Lien, Anthony Marcus. "Against the grain : modernism and the American art song, 1900 to 1950 /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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Tarikci, Abdurrahman. "Analysis Of Turkish Art Music Songs Via Fractal Dimension." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611567/index.pdf.

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Forty songs are randomly selected from four randomly selected maqams. Songs are restricted to be in sofyan us&uuml<br>l (sofyan rhythmic form) to check the statistical significance. Next, fractal dimensions of the these songs are calculated by using two different method and two different scattering diagrams. In the first method, fractal dimensions are calculated via two different box sizes. As for second method, successively decreased box sizes are used. In addition, standard deviation and mean values of the fractal dimensions are calculated to check the relation between fractal dimension and maqam. T test and F test are applied to check the statistical significance. After these calculations, it is verified that fractal dimension can be used as an information source concerning the Turkish art music songs which are nonlinear dynamical systems. Moreover, it is showed that maqams can have their own fractal dimension for low resolutions. On the other hand, it is seen that for high resolutions all songs have almost same fractal dimension.

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Manderson, Desmond. "Songs without music, aesthetic dimensions of law and justice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq30435.pdf.

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Beard, Ellen Leslie. "Rob Donn MacKay : finding the music in the songs." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20991.

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This thesis explores the musical world and the song compositions of eighteenth-century Sutherland Gaelic bard Rob Donn MacKay (1714-1778). The principal focus is musical rather than literary, aimed at developing an analytical model to reconstruct how a non-literate Gaelic song-maker chose and composed the music for his songs. In that regard, the thesis breaks new ground in at least two ways: as the first full-length study of the musical work of Rob Donn, and as the first full-length musical study of any eighteenth-century Scottish Gaelic poet. Among other things, it demonstrates that a critical assessment of Rob Donn merely as a “poet” seriously underestimates his achievement in combining words and music to create a whole that is greater than the sum of its parts. The study also illustrates how widely melodic material circulated in eighteenth-century Scotland through aural transmission, easily crossing between languages and between instrumental and vocal music. The thesis includes a musical biography, a review of sources and commentary on Rob Donn, an introduction to relevant theoretical concepts in ethnomusicology and related fields, and a survey of eighteenth-century Scottish music, followed by several chapters analyzing the music of one hundred songs by topic (elegies; social and political commentary; love, courtship and weddings; satire and humor; and praise, nature and sea songs). The study shows that Rob Donn borrowed tunes for 67 of these songs from earlier sources (45% from Gaelic song, 25% from Scots song, 12% from English or Irish song, and 18% from instrumental tunes). It then provides evidence that he composed the melodies of 33 songs, examining in detail how he adapted earlier musical models and created musical settings to reinforce aspects of his poetic message. It also analyzes the musical features of all 100 songs, providing charts summarizing their vocal range, musical meter, scales and tonality. The thesis is accompanied by two appendices, one containing 121 musical settings of the 100 songs, and the other containing their complete texts with English translations (most translated here for the first time).

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Chen, Ching-Yi. "A Performer's Guide to John Musto's Song Cycle, Quiet Songs." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1331099604.

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Weikel, Anthony L. III. "Brahms’s Four Serious Songs: Arranged for Trombone and String Orchestra." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437755386.

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32

Levyatov, Yoni. "A Collection of Ten Schubert Songs Transcribed for the Piano." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236420.

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Music Performance<br>D.M.A.<br>A Collection of Ten Schubert Songs Transcribed for the Piano Yoni Levyatov Doctor of Musical Arts Temple University, 2012 Doctoral Advisor Committee Chair: Dr. Charles Abramovic The objective of this project is the creation of a collection of ten songs by Franz Schubert, freely transcribed for solo piano: 1) "Gute Nacht" D.911 2) "An die Laute" D.905 3) "Memnon" D.541 4) "Wilkommen und Abschied" D.767 5) "Greisengesang" D.778 6) "Todesmusik" D.758 7) "Der Goldschmiedsgesell" D.560 8) "Das Fischermädchen" D.957 9) "Das Lied im Grünen" D.917 10) "Der Strom" D.565 These are written bearing in mind the general history of piano transcriptions as originated (in the modern sense) by Franz Liszt, the greatest of all transcribers for the piano, as well as other figures, such as Feruccio Busoni and Leopold Godowsky. The primary reason behind Liszt's idea of transcribing several Schubert song cycles, as well as singular lieder, was to popularize those works, and thus make them available to the common 19th century amateur, who was quite at home at the piano and usually wished to be able to reproduce favorite pieces with his own two hands. or in a four-hand collaboration. Liszt was also interested in raising awareness of these works, which were less popular and treated less seriously than they are today. At present such transcriptions may be done not only for the reasons described above, but also as a modern stylization, utilizing the many pianistic and compositional devices that have emerged since the 19th century. Some of the songs transcribed in my collection deviate considerably from the original accompaniment textures. Schubert, particularly in the strophic songs, tends to use consistent figures that hardly change with each repetition. The transcription medium allows an expansion of that, as well as use of many colorful and expressive pianistic idioms to reflect the text and the different stages of plot development. A rather extreme example of transcription taken to the point of re-composition that I discuss and use as a reference is the Schubert's Winterreise-Eine komponierte Interpretation (1993) by Hans Zender - a piece in which the composer explores the textual and musical possibilities in orchestrating his interpretation of the score for a tenor and a small orchestra. A similar treatment of Schubert, but for solo piano, as opposed to an orchestra, is one of the novelties in this project. The song that has been transcribed with a particular reference to Zender's work is Gute Nacht, which opens both Zender's and Liszt's transcriptions, following Schubert's original. Another significant point of reference in this project is taken from Liszt's transcription of "Das Fischermädchen" " from the "Schwanengesang" D.957. It is one of only two lieder in my collection also existing in another transcription which has been a part of the common piano repertoire. Liszt's treatment stands somewhat in between what would be a more common and literal transcription of the day in the 1840s and Zender's psychological re-composition and my transcription pays an homage to that. The implications of this project may bring a wider recognition to the validity of the transcription genre, and an expansion of the modern piano transcriptions repertoire, which is somewhat limited due to its unpopularity among current composers.<br>Temple University--Theses

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Carpenter, Aubrey W. "Songs from the Willow Tree: Staging Collective Inspiration for Creative Songwriting." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/365.

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The songwriting process, inspiration to song, can take many forms. This project explores a highly structured approach, using themes derived from reported individual experience to direct the creation of musical ends addressing common experience.

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Baltagi, Ibrahim H. "Relationships among folk song preferences of grade five students." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149040252.

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Adrian, Stephanie McClure. "The art songs of André Previn with lyrics by Toni Morrison : Honey and Rue and Four Songs for Soprano, Cello and Piano a performer's perspective /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486400446370597.

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Handman, Deborah Fleenor. "Healing songs understanding and creating powerful music for the American church /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Posner, David M. "Reviving a lost art : piano music of Russian-Jewish origin /." Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.

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Benningfield, Brittany C. "THE NILES-MERTON SONGS: A PERFORMANCE GUIDE OF SELECTED SONGS." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/110.

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The Niles-Merton Songs is a two-opus collection of twenty-two songs by John Jacob Niles setting the poetry of Thomas Merton. The songs are beautiful but contrast from his more popular works in poetry and composition. This project explores reasons why these songs are rarely performed, and gives an overview and analysis of ten selected pieces. The document includes a brief introduction, biographies of Niles and Merton, information detailing Niles’s compositional process, and the technical and artistic requirements for performing the songs, including appropriate age and voice type.

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Brown, Garrett Amzi. "Songs in U.S. Presidential Campaigns: Function, Signification, and Spin." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492708533163934.

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Lau, Man-chun. "A study of Hong Kong popular music industry (1930-2000) 1930 zhi 2000 nian jian Xianggang liu xing yin yue gong ye de bian qian /." Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B4389608X.

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Field-Bartholomew, Tana Rene. "A Performer’s Guide to the Songs of GwynethWalker." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187014865.

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Zosel, Heather. "Four Part-Songs by Herbert Howells (1892-1983)." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/242453.

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Herbert Howells (1892-1983), an English composer, was an influential teacher and composer. He wrote in many genres including orchestral works, string quartets, and sacred and secular choral works. As Howells matured into his final compositional period (1945-1983) his style coalesced. Modal inflections were more prevalent, dissonance was harsher with fewer releases of tension, and rhythmic language was increasingly more complex. The four part-songs, Walking in the Snow (1950), The Scribe (1952), Inheritance (1953), and The Summer is Coming (1964), represent Howells' compositional approach in his secular output from this time period, and, through study of the sacred motet Take Him, Earth, for Cherishing (1964), it is evident that the melodic, harmonic, and rhythmic complexities found in his sacred works pervade the secular works as well. This document provides in-depth analysis of the four part-songs mentioned above, while paying special attention to specific melodic, harmonic, and rhythmic characteristics found in his sacred music from the same time period.

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Hammond, Susan J. "Psalms, Hymns, And Spiritual Songs For The Use Of The People Called Christians." Costa Mesa, CA : Vanguard University of Southern California, 2007. http://dx.doi.org/10.2986/tren.034-0051.

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Sinnamon, J. M. "Songs of grief and grievance music emotion and Palestine martyrdom." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492270.

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In this thesis I discuss the musical repertoires which Palestinians invoke on the occasion of the violent death of victims of the conflict. My fieldwork centres on the years 2001-2002, a period of time in which there was increased conflict and heightened emotion.Drawing on psychological and anthropological theories of emotion I examine three repertoires which are specific to Palestinian death: nowah (women's laments), hotofat (the slogans of funeral demonstrations) and special programmes of music and film which Bethlehem Television produced when local people were killed. I argue that when studying the dynamic of music and emotion it is not enough to consider musical structures alone; rather, one must look at a diversity of factors that influence how music and emotion intersect. By looking at the circumstances surrounding the Palestinian experience of chronic loss and dispossession, I demonstrate how music and musicmaking became a coping mechanism for those who were suffering. In the case of violent death the traditional repertoire of women's laments which articulate grief and despair - is discouraged, and the focus shifts to the sphere of mass funerals and the reclaiming of public space. In this context, the chanting and . shouting of slogans provides a means of catharsis through the articulation of moral outrage. Within this emotional landscape of grief and grievance, Bethlehem Television's special programmes of film and music functioned as a therapeutic means of narrating the Palestinian experience. This thesis contributes to an understanding of the uses of music in emotion management in the struggle to survive the trauma of loss by Palestinians living under occupation and in long-term conflict.

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Rodenberg, David. "Text/music relationships in five posthumous songs by Alexander Zemlinsky." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1286426.

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This study centers on a 1907 collection of art songs for voice and piano composed by Alexander Zemlinsky. Although his small cycle of five songs was not published during the composer's lifetime and has not been given the scholarly attention that other pieces in his oeuvre have, it is well crafted and carries a high degree of expressive and emotional weight. The cycle sets the poetry of Richard Dehmel; a contemporary of Zemlinsky and the inspiration behind works of Arnold Schoenberg, Anton Webern and Richard Strauss as well. In these 1905 settings Zemlinsky experiments with an extremely chromatic language while exploring themes of love and betrayal in the poetry of Dehmel. This study examines this chromatic style and how it relates to the themes in the text. Through the detailed analysis of each of the songs the reader will see how, in spite of the free succession of harmonies that often obscure the tonal orientation, a central underlying tonic/dominant relationship is at the core of each song except the first. In this manner the songs display a subtle yet powerful exploitation of tonal ambiguity that brings out many of the nuances of Dehmel's poems.<br>School of Music

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Baker, Michael. "Text-music relationships in the solo songs of Felix Mendelssohn /." Electronic version of abstract with link to full text (durable link) ProQuest publication number: AAT 3301349; ProQuest document ID: 1475168291; ISBN 9780549466246, 2007. http://proquest.umi.com/pqdweb?did=1475168291&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Thesis (Ph. D.)--Indiana University, 2007.<br>Computer printout. Includes abstract and vita. "Appendix, Scores for songs discussed in this dissertation": leaves 207-270. Includes bibliographical references (leaves 271-275).

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Ginocchio, John F. "Music style preference : a ranking of musical styles and comparison by age, gender, ethnicity, music training, and rural, suburban, or urban upbringing." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1336616.

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The purpose of this study was to review the findings of Leblanc (1979) utilizing the most common styles of popular music in today's media. Seven styles of popular music, traditional jazz, and Romantic classical music were ranked in order of preference; subject responses were compared by age, gender, environment of upbringing, and amount and type of music training. The sample consisted of 332 fifth graders and college non-music majors. Subjects completed a Personal Information Form, listened to a recording of 19 musical examples representing the styles being studied, and recorded their preference for each on the Music Preference Inventory.Results indicated an overall decline in preference in comparison to Leblanc (1979). Preference responses indicated that fifth graders and college non-music majors ranked the music styles differently, although both age groups ranked pop rock music among the most preferred styles and country, traditional jazz, and Romantic classical music as the least preferred styles. Females recorded significantly higher overall music preferences than males and differed in their preference for individual music styles. Preferences for individual styles also varied depending on the environment in which subjects were raised. Overall music preference was significantly higher among subjects with more music training, and instrumental biases were found based on specific types of music training.The results of this study strongly suggest that popular music styles are the most preferred music styles. Furthermore, variables such as age, gender, and environment of upbringing influence preference for individual music styles in different ways. However, increased music training and specific types of music training positively influence overall music preference and increase preference for non-popular styles.<br>School of Music

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Fairley, Jan. "Karaxu the music of the Chilean resistance : an analysis of composition and performance /." Online version, 1987. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.379358.

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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.<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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Woods, Timothy Erickson 1958. "Leonard de Paur's arrangements of spirituals, work songs, and African songs as contributions to choral music: A black choral musician in the mid-twentieth century." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282726.

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This study discusses the artistic career of Leonard de Paur, particularly his work in choral music where he has been an important figure as an arranger, and founder and conductor of the de Paur Infantry Chorus and the de Paur Chorus. His arrangements of African-American and African folk music illustrate de Paur's artistic links and progression from two of the important leaders of the African-American folk tradition, Frederick Work of the Fisk Jubilee tradition, and Hall Johnson. With his musical training from these men and from Columbia University, the Juilliard School of Music, and private study with Pierre Monteux, de Paur and his arrangements exhibit what W. E. B. Du Bois described in The Souls of Black Folk as the duality of the black American. This study analyzes seven of de Paur's spiritual and work songs arrangements, and four African song arrangements, and reveals the duality of Western and African musical elements in de Paur and his arrangements.

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