Dissertations / Theses on the topic 'Irony in Music'

The music of Dmitriy Shostakovich has typically been regarded as containing a semantic message, that reflected the political environment in which he composed. Such interpretations inadvertently relegated his works to little more than political propaganda, disregarding not only his artistic skill but the non-political purport of his music. Other studies focused on the music alone, ignoring the multi-dimensional nature of his works. Both approaches neglect an essential point, fundamental to the understanding of the traditional Russian perception of the arts. According to this tradition, an interrelationship between artistic technique and ideological content is the main aesthetic criterion. This study views music as a form that purports semantic content. As such, it correlates with other, mainly visual and verbal, forms of expression and communication. On the basis of this premise, this study investigates the musical manifestation of four semantic modes - irony, satire, parody and the grotesque - all of which are related to the comic. These four modes are analysed as specific cases of the overall semantic structure of ambiguity. Subsequently, a correlative structure of musical ambiguity is drawn. Thus the correlations between the musical, visual and verbal modes of expression are made principally on the basis of structural parallelism. Within the greater semantic web, music has a continuous interrelationship with other cultural units. In order to understand this interrelationship, some understanding of those cultural units is needed. Therefore irony, satire, parody and the grotesque are inspected as philosophical approaches, as creative principles, and as artistic techniques. Special attention is allotted to particulars that are characteristic of the Russian culture. Therefore, musical examples that correlate with the above modes and their techniques are analysed on the basis of their cultural associations and characteristics. These analyses are then compared with parallel examples from the works of Dmitriy Shostakovich, thus clarifying some former unacknowledged compositional techniques and characteristics of his music.

This thesis focuses on women performing comedy on the London music-hall stage after 1880, examining performers including Bessie Bellwood, Marie Lloyd, Marie Loftus, Maidie Scott, Vesta Victoria and Nellie Wallace. The work of these women as comedy has been neglected in theatre and performance histories, and their influence on the evolution of popular forms and the development of twentieth and twenty-first century comic traditions has received little scholarly attention. I argue that performing comic material offered them unique opportunities to connect directly with popular audiences, resist censorship and to challenge gender stereotypes and common perceptions of and restrictions on women and women’s roles in Britain during the late-nineteenth and early twentieth centuries. As part of their performances they developed comic approaches and techniques that remain identifiable in contemporary comedy, engaging in a range of strategies, from playful and disruptive ironic representations of familiar female types, to deliberately transgressive acts of crossing the line of decency through the embodiment of comic innuendo. Their knowing interpretations of coded references in the written texts of the material performed and jokes shared with their audiences during performances frequently served as ironic socio-political commentary on their lives and experiences. Making use of a range of critical approaches from areas as diverse as performance history and historiography, contemporary approaches to gender and comedy, performance theory, humour theory and feminist literary theory, I engage in analysis of extensive archive material. Throughout the thesis I also draw direct comparisons with the work of women who use comedy in late twentieth and twenty-first century forms, including stand-up comedy and performance art, to demonstrate a continuum of comic practice existing between these female music-hall artists and their counterparts performing comedy today.

Este trabalho apresenta uma reflexão sobre a música do compositor soviético Dmítri Chostakóvitch baseada na análise da Sinfonia nº 10 op. 93. Concluída logo após a morte de Jôsef Stálin, a obra carrega notáveis marcas de seu tempo e sua leitura demanda um cuidadoso estudo das questões relativas à significação musical, em especial uma discussão do conceito de ironia aplicado à música em suas mais diversas manifestações, desde a construção de estruturas musicais expressivas até a disposição de elementos singulares, que requerem uma leitura semiótica. Esta abordagem alinha-se com a perspectiva discursiva que relaciona ironia, intertextualidade e interdiscursividade: o cruzamento de vozes e a confluência de discursos, que constituem elementos fundamentais do conceito de polifonia proposto por Mikhaíl Bakhtín, são identificados aqui como uma chave de leitura capaz de evidenciar, também na música, a ironia como elemento estruturante. A análise da Sinfonia nº 10 a partir dessa perspectiva dá fundamento a novas hipóteses interpretativas e estéticas sobre a obra de Chostakóvitch, evidenciando no texto musical as contradições que surgem no desdobramento analítico do discurso sinfônico e confrontando a crítica histórica da música de Chostakóvitch com uma interpretação semiótica baseada na teoria dos tópicos musicais, desenvolvida a partir das propostas de Leonard Ratner.
The purpose of this work is to present a reflection about the music of the Soviet composer Dmitri Shostakovich based on an analysis of the Symphony no. 10 op. 93. Written immediately after Joseph Stalin\'s death, the symphony carries remarkable traces of its time, and the unfolding of its singularities demands a careful study of musical signification\'s issues, specially a discussion about the concept of irony applied to music in its various manifestations, from the expressive construction of musical structures to the disposition of singular elements. This kind of analysis requires a wide theoretical perspective, which includes a semiotic approach. This analysis is thus aligned with the discursive perspective that relates irony, intertextuality and interdiscursivity: the voice-crossing and discourse confluence, which constitute fundamental elements of Mikhail Bakhtin\'s concept of polyphony, are taken as keys to identify irony as a structural element in music as well. The analysis of the Symphony no. 10 from this perspective grounds new interpretative and aesthetic hypotheses about Shostakovich\'s music, by revealing on the musical text the contradictions which emerge at the level of symphonic discourse, and by confronting the historical criticism of Shostakovich\'s music with a semiotic interpretation based on topic theory proposed after Leonard Ratner.

In all their various categories, the arts serve as the dominant subject matter of Gesamtkunstwerk and Other Trifles. The title itself begins with a German word-meld—gesamt (total) + kunstwerk (work of art). Thus a primary aim of these poems is to bring as many elements of art together as possible and to use their various forms (self-portraits, nocturnes, odes, etc.) as metaphorical frameworks that inform abstractions such as regret ("How to Draw Regret"), psychological disorders ("Insomnia Nocturnes") and confusion in how one should feel about living realities as opposed to inanimate objects ("Dead Starling"). Most of the poems that are not related in some way to the arts (other than their inseparable relation to the art of poetry itself) deal with death or some other form of loss. Some of them humorous ("Commencement Speech"), others poignant ("In Places Where We Store Our Deaths"), these poems ironically find their place as the "other trifles" of the work. The purpose of this somewhat irreverent categorization of death and tragedy is to create ironic commentaries on the triviality of humankind's grand designs and accomplishments and to show the many similarities shared by comedy and tragedy alike, a project Tony Hoagland took up in his first book of poems, Sweet Ruin. My aim in writing these poems is to better understand how various art forms relate to each other and how aligning those arts in poetry allows the various genres to be "in conversation" one with another. I hope that readers will come away with a better understanding of how art forms are interconnected, but at the same time, I always aim to construct my poems in such a way that multiple readings can occur.

The independent hip hop music scene is alive and well in Sydney. You only need to attend a local hip hop show, pick up the local street press or look on the local iTunes charts to see its growing presence. However, as we see Sydney’s independent hip hop music scene thrive, we must remember that its success does not always lie with the mainstream music industry. In Sydney, like many other major cities across the world, the hip hop music scene relies on an independent network of dedicated local hip hop musicians. Such musicians have a love of hip hop culture and engage assiduously with local music institutions to keep their scene going. The local music institutions with which they engage include independent record labels, workshops, live music venues, independent stores, radio stations, recording studios, festivals, touring circuits, Internet sites and youth/community centres. As a way of understanding the experiences that Sydney’s independent hip hop musicians have had with local music institutions, I conducted a multi-year ethnographic study with the purpose of understanding their work. This project involved in-depth interviews with forty independent Sydney hip hop musicians and observations at more than one hundred and thirty fieldwork experiences at live hip hop shows, local music institutions, conferences, festivals, exhibitions, and documentary screenings. The reason I interviewed hip hop musicians, that is MCs, producers, beatboxers and vocalists, is because this is an ethnography of hip hop as music. This thesis discusses how Sydney’s independent hip hop musicians relate to four local music institutions in particular: workshops, independent stores, independent record labels and live music venues. I will argue, drawing upon theories from sociology, anthropology and popular music studies, that independent hip hop musicians in Sydney use these local music institutions to perpetuate their scene and connect it to the larger culture of hip hop around the world.

Denna reflekterande text innehåller teorier och arbetsmetoder jag använt mig av för att kunna skriva en ironisk sångtext, att samarbeta med en extern musikkompositör och att göra en animerad musikvideo.

Texten beskriver bakgrunden och mina mål samt förklarar begrepp och teorier som använts under arbetet. Teoridelen behandlar retorik (Hägg, 1998) (Hägg, 2002) och ironi (Booth, 1974) (Gustafsson, 2001), kontra- och synkroniseringspunkter (Chion, 1994) (Cook, 1981) och slutligen olika symbolers och ideograms betydelser (Liungman, 1974).

Vidare presenteras problem som uppstått under arbetets gång och hur jag har valt att lösa dessa. Det ges även kortare beskrivningar av hur arbetsprocessen sett ut för att skriva en ironisk sångtext, att få en musikkompositör att förstå min vision utan att jag har kunskaper inom musikproduktion eller dess terminologi, och hur jag gått tillväga under modellering, animering och postproduktion.

Texten avslutas med en diskussion där jag reflekterar över hur arbetet fungerat under projektets gång och vilka funderingar jag har över det slutliga resultatet. Slutsatsen är att ironi skapas med hjälp av att författaren lämnar ledtrådar i texten, känslan av konflikt kan skapas med hjälp av disharmoni och krockar mellan bildriktningar och att förberedelser och kommunikation är en av nycklarna till att delge utomstående en vision.

Vers le début des années 80, on assiste, sur la scène littéraire française, à un renouveau romanesque que le Nouveau Roman, trop centré sur les jeux de langage, semblait avoir démodé. On assiste également à une résurgence du roman réaliste, social, musical, policier et d’aventures. C’est précisément cette problématique du retour, notamment celui du roman d’aventures, que cette thèse tente d’exposer et surtout d’interroger à travers l’étude de l'oeuvre très représentative d’Echenoz. En renouant avec le genre classique, notre auteur n’hésite pas à en modifier la configuration et les enjeux. La mise au jour de ceux-ci nous permet d’élaborer une poétique du récit d’aventures postmoderne. Telle est la finalité de cette étude : revisiter les lieux d’un genre traditionnel ressuscité pour en dégager les formes et les enjeux contemporains. Mais à cet objectif, s’en ajoute un autre de plus large envergure : parcourir via l’étude du genre, les tribulations de la fiction échenozienne qui n’hésite pas à bifurquer d’un genre à l’autre, à chavirer entre deux espace-temps et à se thématiser dans une écriture elle-même périlleuse, toujours prête à malmener son lecteur totalement démuni face à l’audace débridée de son auteur et aux déroutantes perturbations de la narration et de l’œuvre
Since 1980, the literary scene in France has witnessed a revival of romance once made obsolete by the New Novel (Nouveau Roman). Realistic, social, musical, crime, spy and adventure fiction has thus sprung up again. The current study examines and questions the problematic of “return” especially the return of adventure fiction in the very representative work of Jean Echenoz. Thought reviving a classical genre, the author does not shy away from modifying and remodeling that genre’s configurations and issues. Thus, this survey elaborates a poetic of the postmodern fiction of adventures, revisiting a traditional genre to extract contemporary forms and issues, so to speak. But from a broader perspective, the study underscores the tribulations of Echenoz’s fiction, work which does not mind to collapse plots, oscillate from one genre to another or sway between two space-times, at the risk of presenting itself in a turbulent mode of writing confounding the reader - who fells helpless in the face of the unbridled audacity of the author and his narrative perturbations

Qu’est-ce que l’« ironie » ? Les multiples définitions de ce concept renvoient à des phénomènes si divers qu’il est impossible d’opérer une classification raisonnée, englobant toutes les manifestations possibles de ce que l’on nomme « ironie ». L’on peut cependant constater que la recherche sur l’ironie se décline en trois grandes orientations, correspondant aux trois domaines d’étude distincts que sont la linguistique, la littérature et la philosophie. Il nous a semblé intéressant de tenter d’approcher cette notion de manière plus globale en vérifiant si les différentes définitions de l’ironie ne peuvent pas, sinon trouver un dénominateur commun, du moins entrer en interaction. Ce travail croise ainsi les différents champs d’étude consacrés à l’ironie, afin d’aboutir à une conception plus globale du phénomène. Nous avons tâché de surmonter les contradictions qu’entraîne la confrontation des diverses définitions théoriques particulières du concept en privilégiant une approche empirique du phénomène dans une œuvre particulière : L'Homme sans qualités de Robert Musil. Notre travail a pour objectif de déterminer s'il est possible de mettre en évidence l’existence de « signaux » linguistiques de l’ironie comme « rapport au réel » au niveau du texte littéraire où elle s’exprime. Nos recherches s’articulent ainsi autour de trois grands axes: l'analyse pluridisciplinaire de la notion d’ironie, l'analyse du contexte historique et culturel de L'Homme sans qualités comme « rapport ironique au réel » puis, enfin et surtout, l'analyse des signaux linguistiques et stylistiques propres à rendre l’ironie du texte. Les résultats de cette démarche se montrent particulièrement fructueux dans la mesure où le croisement des diverses approches possibles de l’ironie permet de cerner de façon plus exacte le sens de l’ironie musilienne mais aussi de comprendre de façon générale, à partir du texte de Musil, les mécanismes linguistiques de cette ironie
What is « irony »? The multiple definitions of this concept given throughout history present such different phenomena that it is impossible to incorporate all the ideas of what we call « irony » into one. However we have come to the conclusion that it is in fact possible to divide the research carried out on this subject into three main fields which correspond with three distinct study domains: linguistic, literary and philosophical. We have found it interesting to try to approach this notion of irony globally, maybe not by finding a common denominator, but by verifying whether the different definitions of it can at least interact with one another. This study also covers the various perspectives of irony with the aim of reaching a more global concept of the phenomenon. We have tried to overcome the contradictions of the various theoretical definitions of the concept by giving priority to the empirical approach of the phenomenon given in the novel: The Man without qualities. The aim of our study is to determine whether it is possible to find evidence of linguistic « signs » of irony in the novel as a « relation to what is real ». Our research is based around three main axes: the multidisciplinary analysis of the notion of irony, an analysis of the historical and cultural context of The Man without qualities as an « ironical relation to what is real », and most importantly, an analysis of the linguistic and stylistic signs which add irony to the text. The result of this research is fruitful in so far as cross referencing the various possible approaches of irony has allowed us to not only determine more precisely the musilian meaning of irony but also to understand, based on Musil’s text, the linguistic mechanisms of irony in a more general sense

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The Iron-Deficiency Anemia (FA) has high prevalence in Brazil being associated with low birth weight, growth retardation, cognitive impairment and lower resistance to infections in children, and increased perinatal mortality in pregnant women. In response to this problem the National Program of Iron Supplementation (NPIS) created tools to record, evaluate and monitoring regularly and permanently, the process of establishing and implementing the three levels of the National Health System management and their results, forming what is called Management Module, which is nothing more than its Information System (IS). This article aimed to perform a descriptive and critique analysis of this system performance using as research outline the generation and use of data at the municipal level. The retrospective design used as the primary data interviews with health professionals, managers and users of the program, and as a secondary material, SI PNSF data and reports from the General Commission of Food and Nutrition, the state and municipal management, among other documents. The quality and relevance of the information was analyzed through the categories: completeness, reliability, timeliness, access, correction of goals and consistency of the information with the goals of health politics. Despite the SI have easily accessible data, the results showed errors in setting national goals and program coverage, in addition to wrong data input by local coordinators. Accessibility was also affected, disallowing the use of data for decision making at the local, intermediate and national levels. Finally, there was serious planning problems arising, at least in part, the institutional culture that underpins health practices and maintains the information as secret or as political and bureaucratic power resource. Studies and interventions towards the clearing and settlement of these issues could contribute to the improvement of health information systems, and in particular the PNSF, so as to allow the control and reduction of iron deficiency anemia in children and pregnant Brazilian women.
Este estudo objetivou avaliar a implanta??o do PNSF em um munic?pio baiano no per?odo de 2005 a 2012, atrav?s de uma pesquisa avaliativa. Para que se possa chegar o mais pr?ximo da apreens?o da realidade da realidade do objeto foi utilizada tanto a abordagem quantitativa baseada na tr?ade estrutura-processo-resultado a qual foi sistematiza por Donabedian (1980), quanto a qualitativa, fundamentada na avalia??o por triangula??o de m?todos (MYNAYO, 2008). Os achados da pesquisa foram divididos em dois artigos: 1) O Sistema de Informa??o do Programa nacional de suplementa??o de ferro e 2) Avalia??o do Programa Nacional de Suplementa??o de Ferro em um munic?pio da Bahia. ? ineg?vel a importa??o do PNSF como uma das estrat?gias voltadas para controle e redu??o da anemia por defici?ncia de ferro no pa?s, visto que suas a??es propostas de suplementa??o e educa??o alimentar e nutricional devem resolver a principal causa dessa defici?ncia que ? a quantidade insuficiente de ferro na dieta para satisfazer as necessidades nutricionais individuais. O presente estudo traz informa??es que permitem ter um diagn?stico do PNSF, considerando-se a diversidade de fontes utilizadas para obten??o dos dados e conclus?o dos achados. Ap?s quase uma d?cada de cria??o nota-se que o mesmo n?o consegue atingir seu objetivo geral que ? o de suplementar todas as crian?as de 6 meses a 18 meses de idade, gestantes a partir da 20? semana e mulheres at? o 3? m?s p?s-parto. Devido aos problemas encontrados e discutidos na estrutura e no processo de algumas das suas a??es. Sugere-se, ainda, que novas e continuas avalia??es governamentais e n?o governamentais sejam realizadas, no sentido de compreender melhor os fatores quem comprometem a implementa??o efetiva do programa, e que sobretudo ajude na reorganiza??o e aprimoramento do programa para que finalmente atinja o seu objetivo.

An examination of the compositional style illustrative of the anti-collectivist ideology as found in Edison Denisov's Quatre Pièces pour flûte et piano. Includes a short history of Denisov's formal training, history of the Soviet musical environment, an overview of his creative output, and discussion of the anti-collectivist characteristics in his works. Defines the anti-collectivist doctrine as individual reaction to the totalitarian collective of the Soviet communist state of the twentieth century. Identification of eclectic compositional techniques, and how they represent individual expression under a totalitarian regime. Listing of Denisov's works with the flute in a primary role, interviews with Aurèle Nicolet and Ekaterina Denisov, correspondence from Denisov to Nicolet, and the manuscript score to Quatre Pièces pour flûte et piano follow as appendices.

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The main objective of this dissertation is to investigate the dialogue between the romantic poem The Rime of the Ancient Mariner, by Samuel Taylor Coleridge, first published in 1798, and its transcreation – concept proposed by Haroldo de Campos – in the homonymous song released by the heavy-metal group Iron Maiden. Based on three levels of analysis of both texts, according to Fredric Jameson dialectical critic, this interpretation will make evident or clear, in the very first moment, which elements of the poem are approached or neglected in Steve Harris’ adaptation, leader, founder and main songwriter of the British group; simultaneously, a comparison between the form of the texts will be made to list important elements such as rime and meter, verses and stanzas, fable, “characters”, and others. In the second moment, the analysis must point out how nature and religion, illustrated in elements such as the sea, rain, snow, fog and mist, Sun and Moon, wind and breeze, beautiful or slimy living things, prayers, sin and “shrieve” made critics such as Franca Neto, John Lowes, Alexander Silva and Tania Asnes to interpret the poem as imaginative, subjective or religious, connected to what Fredric Jameson calls strategies of containment. The third level of reading will bring up the History hidden under the surface of the work of arts, or in other words, an social-aesthetical reading or an “political interpretation of the literary texts” (JAMESON, 1992, p. 15) supported specially in the concepts of mediation – “the establishment of relationships between, say, the formal analysis of a work of art and its social ground, or between the internal dynamics of the political state and its economic base” (ROBERTS, 2000, p. 78, 79), verifying acts socially symbolic revealed in a final analysis.
O objetivo desta dissertação é investigar o diálogo entre o poema romântico The Rime of the Ancient Mariner, de Samuel Taylor Coleridge, publicado originalmente em 1798, e sua transcriação – conceito proposto por Haroldo de Campos – na música homônima do grupo de heavy-metal Iron Maiden. A análise dos textos se dá em três níveis, de acordo com a crítica dialética de Fredric Jameson. Em primeira instância, a análise evidenciará quais elementos do primeiro são abordados ou negligenciados na releitura de Steve Harris, líder, fundador e principal compositor do grupo britânico; simultaneamente, caberá uma comparação entre a forma dos textos, elencando elementos fundamentais da estrutura como rima e métrica, versos e estrofes, fábula, “personagens”, entre outros. Num segundo momento, a análise deverá salientar como a natureza e a religião, a partir de elementos como mar, chuva, neve, névoa, Sol e Lua, ventos e brisas, criaturas divinas belas ou assustadoras, orações, pecado e absolvição levaram críticos como Franca Neto, John Lowes, Alexander Silva e Tania Asnes interpretaram o poema como imaginativo, subjetivo ou religioso, prendendo-se àquilo que Fredric Jameson denomina estratégias de contenção. Traremos à tona a História oculta por debaixo da superfície das obras a fim de ampliar nossa leitura ao plano estético-social ou, segundo proposto por Fredric Jameson em “O Inconsciente Político”, uma “interpretação política dos textos literários” (JAMESON, 1992, p. 15) apoiada especialmente nos conceitos de mediação – “relações entre a análise formal de uma obra de arte e seu chão social” (JAMESON, 1992, p. 35), verificando atos socialmente simbólicos a serem revelados à luz de uma análise final.

Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.

Les musiques des sociétés anciennes constituent un terrain de recherche passionnant et peu exploré dans le domaine de l’archéologie. Cet art éphémère et immatériel par excellence laisse en effet peu de traces susceptibles d’être étudiées par l’archéologue. Pourtant, les découvertes exceptionnelles d’instruments anciens, survenues dès les années 1920 dans le cimetière royal d’Ur ont suscité l’intérêt des chercheurs pour la musique du Proche-Orient ancien, participant à l’émergence d’une approche novatrice : l’archéomusicologie. Cette étude est consacrée à l’Élam, dans le Sud-Ouest iranien, région demeurée en retrait des études archéomusicologiques proche-orientales. L’objectif principal de cette étude est de proposer une restitution de l’instrumentarium élamite et d’en cerner à la fois l’évolution et les spécificités, tout en considérant les traits qui la rattachent à la sphère proche-orientale.En premier lieu, afin de dresser le cadre chronoculturel de ce travail, nous présentons une synthèse historiographique et un état des connaissances sur l’Élam, à partir de l’exploitation des données des fouilles anciennes et plus récentes, et des sources épigraphiques. Le cadre théorique de l’étude est ensuite défini à travers un exposé de l’histoire de la recherche sur les musiques anciennes, et plus particulièrement du Proche-Orient, soulignant les axes suivis pour traiter du phénomène musical. Ce bilan et le constat de la nature des données musicales disponibles pour la région – hétérogènes et disparates – permettent de définir notre approche archéomusicologique. Ainsi, le corpus rassemblé, principalement constitué de représentations musicales, nous a conduite à adopter une approche croisée et comparative, associant l’analyse de ces sources iconographiques, mais également des quelques vestiges d’instruments documentés, et des sources textuelles issues de cette région, entre le Chalcolithique et l’âge du Fer (fin du Ve - milieu du Ier millénaire avant J.-C.). La majorité de la documentation est issue de Suse, mais d’autres sites ont fourni des données musicales, pris en compte dans notre analyse (Choga Mish, Haft Tépé, Tchoga Zanbil, Tall-i Malyan, Kul-e Farah, Arjān et Ninive).Une part importante de notre analyse organologique réside dans la classification, la définition et l’identification des types d’instruments documentés par la culture matérielle de ces sites. L’inventaire détaillé et l’analyse des artefacts suso-élamites reliés à la sphère musicale ont ainsi abouti à la création d’un catalogue raisonné, richement illustré, qui constitue une base solide pour l’étude du phénomène musical de cette aire culturelle. Enfin, la synthèse issue du croisement des données iconographiques et historiques, et la comparaison avec les sources proche-orientales permet de proposer une restitution de l’instrumentarium suso-élamite, en soulignant ses spécificités et ses emprunts potentiels. Ces résultats offrent des pistes de réflexion sur l’évolution de ces instruments dans une perspective plus large, discutées à la fin de cette étude. Outre ces résultats, pour contribuer de façon concrète à une meilleure appréhension du phénomène musical dans l’Élam ancien, nous proposons également la reconstruction expérimentale d’un luth, dont l’objectif est non seulement de tester des hypothèses quant aux matériaux et techniques employées, mais également de fournir des pistes sérieuses pour aborder la dimension sonore des instruments du passé
The music from earliest societies is a fascinating but poorly explored archaeological field of research. This ephemeral and intangible art par excellence leaves meager remains for archaeologists’ scrutiny. However, the remarkable discoveries of extant instruments dated from the third millennium onward, excavated in the 1920s at the Royal Cemetery of Ur, have ignited a significant interest for ancient Near-Eastern music researchers, further contributing to the emergence of an innovative perspective that came to be known as archaeomusicology.This study is devoted to the land of Elam in South-Western Iran, a region that has been neglected in Near-Eastern archaeomusicology. The main objective of this work is to propose a restitution of the Elamite instrumentarium and to identify both its evolution and its specificities while considering features with which it relates to the Near-Eastern context.Firstly, in order to set the chrono-cultural framework of this research, we have proposed a historiographic synthesis running concurrently with the current status of our knowledge about Elam. This rests on the exploration of data from early and more recent excavations, as well as from epigraphic sources. Then, the theoretical framework of the study will be defined through a presentation of the research history of ancient music, and more particularly in the Near-East, highlighting themes addressing to the musical phenomenon. This review and the assessment of the nature of the musical data available for the region – heterogeneous and disparate – permits a definition of our archaeomusicological approach. Thus, the collected corpus, mainly consisting of musical representations, led us to adopt a cross and comparative approach, combining the analysis of these iconographic sources, but also of the few remains of documented instruments, and textual sources from this region, between the Chalcolithic and the Iron Age (late 5th - mid 1st millennium BC). Most of the documentation originates from Susa, but other sites have provided musical data, which were included in our analysis (Chogha Mish, Haft Tappeh, Chogha Zanbil, Tall-i Malyan, Kul-e Farah, Arjān and Nineveh).An important part of our organological analysis lies in the classification, definition and identification of the types of instruments documented in the material culture of these sites. The detailed inventory and analysis of Susan-Elamite artifacts related to the musical sphere have therefore led to the production of a richly illustrated catalogue, which constitutes a strong basis for the study of the musical phenomenon in this cultural area. Finally, the synthesis resulting from the crossing of iconographic and historical data, and the comparison with Near-Eastern sources has lead to a restitution of the Susan-Elamite instrumentarium, highlighting its specificities and potential borrowings. These results have provided food for thought about the evolution of these instruments from a broader perspective, discussed at the end of this research. In addition to these results, and in order to contribute in a concrete way to a better understanding of the musical phenomenon in ancient Elam, we have also proposed the experimental reconstruction of a lute, the objective of which being not only the testing of hypotheses about the materials and techniques used, but also providing a reliable way to address the matter of instrumental sound dimensions in the past

This thesis critically analyses music coverage in Maclean’s between 1967-1995, and reveals that the magazine continually stressed Canadian music as inferior to that produced by foreign artists. Only during times of intense nationalism were Canadian musicians positively received in its pages. More generally, domestic productions were seen as deficient. The historical components of this investigation reveal an essential irony in the perception of Canadian music during the last four decades of the 20th century. Despite nationalist rhetorics and Maclean's self-appointed title of "Canada's National Newsmagazine," its critics consistently emphasised that Canadian music was of poor quality in the 1967-1995 period.

This creative thesis is written in two parts: Volume 1 is a novel and Volume 2 is the accompanying exegesis which explains the process of contextualising a school of philosophy’s politics within the novel. These volumes combine to build a new window onto contemporary theoretical debate regarding the sustainability of so-called liberal democracy. Volume 1, the novel, provides a fictionalised account of federal government involvement with the popular music industry in Australia during the 1990s. The story is told from the point of view of a newcomer to a music industry organisation funded by the federal government called the ‘Oz Rock Foundation’. This organisation is run by a former federal politician who maintains close links with his political colleagues still in government. When the newcomer discovers a young Aboriginal prisoner with exceptional musical talents, the former politician seizes this opportunity to help launch the Oz Rock Foundation in the ‘Year of the Indigenous Person’. This venture, however, has unexpected consequences which emerge as the story develops. Volume 2, the exegesis, employs a narrative framework to explain the process by which an analysis of philosopher Richard Rorty’s version of neopragmatism fed into the creation of the novel. Political issues raised by neopragmatism are thematically linked to fictional contexts informed by the history of government experimentation with the Australian music industry. The process is guided by questions designed to assess whether a neopragmatic version of liberal democracy is sustainable in this form. The novel is further shaped by its attempt to extend a particular tradition, within the genre of the political novel, that contextualises themes related to ‘natural rights’ as the foundation of liberal democracy. The exegesis, in its discussion of issues raised by the completed novel, then draws on existing research into the sustainability of democracy in order to synthesise an overall perspective. NOTE: Due to copyright arrangements with the publisher of Making Noises, the text of the novel (Volume 1) is not available as part of the digital version of this thesis. The novel was published in November 2006 by OverDog Press (Melbourne, Australia). The ISBN is: 9780975797921

Surface complexation models (SCMs) have proven to be a useful tool in predicting ion adsorption at the mineral – water interface. In particular, previous research has shown that the Diffuse Layer Model (DLM), Constant Capacitance Model (CCM), and Triple Layer Model (TLM), are all capable of predicting ion adsorption in relatively simple single solute systems. To better simulate the environmental conditions experienced by groundwater sources present in the Earth’s subsurface, experimental adsorption studies have been conducted for more complex multi-solute systems. Under these conditions, SCMs have not proven to be reliable in consistently predicting ion adsorption behavior for the adsorbates of interest. This inability of these SCMs to predict ion adsorption for more complex, multi-solute systems is thought to stem from the variable site density (NS) values utilized in these models. In this research, a methodology was developed for characterizing mineral surface heterogeneity that allows for the different site density values predicted from crystallography, microscopic imaging, tritium exchange, surface saturation data, and surface charging data to all be explained using a single unified theory. This methodology was applied to a goethite mineral sample used in performing batch adsorption studies in single and bi-solute systems with Cd(II), Pb(II), and Se(IV). The adsorption behavior of these adsorbates onto the goethite sample was successfully predicted using the Charge Distribution Multi-Site Complexation (CD-MUSIC) Model and surface complexes consistent with spectroscopic data and computational molecular modeling simulations. A second, separate modeling study was performed using CD-MUSIC to predict Hg(II) adsorption onto different goethite samples of varying size and crystal morphology in single and multi-solute systems. In this study, site density values were predicted for the mineral samples studied utilizing a linear relationship observed for goethite between specific surface area and proton reactive site density. The CD-MUSIC model proved successful in predicting Hg(II) adsorption over all conditions studied while employing only surface complexes consistent with molecular scale analyses. In addition, a novel method for quantifying carbonate’s presence in experimental systems was developed.
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