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Dissertations / Theses on the topic 'Jazz – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.

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2

Samball, Michael L. (Michael Loran). "The Influence of Jazz on French Solo Trombone Repertory." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.

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This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century

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3

Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.

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4

Dalamba, Lindelwa Ncedisa. "Passports to jazz : the social and musical dynamics of South African jazz in Britain, 1961-1973." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.697434.

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5

Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.

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Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discurs

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6

Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists

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7

Ayrton, Brook Alan. "Keith Stirling : An introduction to his life and examination of his music." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/7728.

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This study introduces the life and examines the music of Australian jazz trumpeter Keith Stirling (1938-2003). The paper discusses the importance and position of Stirling in the jazz culture of Australian music, introducing key concepts that were influential not only to the development of Australian jazz but also in his life. Subsequently, a discussion of Stirling’s metaphoric tendencies provides an understanding of his philosophical perspectives toward improvisation as an art form. Thereafter, a discourse of the research methodology that was used and the resources that were collected througho

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Camacho, Bernal Leonardo. "Miles Davis: The Road to Modal Jazz." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3693/.

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The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the re

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9

Joo, Hwajoon. "Yoon-Seong Cho's Jazz Korea a cross-cultural musical excursion /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6089.

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10

Bogle, James Michael. "Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2479/.

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Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Moveme

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Kelly, Kenneth Todd. "Chet Baker : a study of his improvisational style, 1952-1959." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1167797.

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The purpose of this study was to identify characteristics of jazz trumpeter Chet Baker's improvisational style, both instrumental and vocal, during the early period of his career (1952-1959). Baker's early years were divided into six periods, based on major milestones: The Charlie Parker Groups (1952-1953), The Gerry Mulligan Quartet and Tentette (1952-1953), The Chet Baker Quartets (1953-1956), The European Groups (1955-1956), Quartets, Quintets, and Sextets (1956-1957), and The Riverside Recordings (1958-1959). Improvised lines and chord changes from fifteen solos were transcribed and analyz

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12

Clark, Colleen (Musician). "The Evolution of the Ride Cymbal Pattern from 1917 to 1941: An Historical and Critical Analysis." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505181/.

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The purpose of this study is to provide a historiographical and musical analysis examining the jazz ride cymbal pattern, from its inception on woodblock, small accessory cymbals, hand cymbal mechanisms and brushes through what becomes known as the modern-day ride cymbal pattern. This research examines a wide array of drummers and bandleaders, with the objective of identifying the earliest recordings of this important addition to jazz drumming, and popular music history while analyzing the ride cymbal pattern's evolution through definitive recordings. The study begins with the earliest known re

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13

Aldag, Daniel J. "The influence of jazz on timbre in selected compositions for solo trombone." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/aldag%5Fdaniel/index.htm.

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Sweeney, Dwight Paul. "The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2823.

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Explains how Afro-Cuban culture influenced African-American jazzmen and led to the formation of Afro-Cuban or Latin jazz in 1947 by Dizzy Gillespie and Chano Pozo. Explores the musical connections between the physical plane of Cuba and the United States, and the esoteric spiritual world of the orishas and myths coming to life in sacred and secular music forms.

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15

Goodman, Dave. "Tony Williams' drumset ideology to 1969: Synergistic emergence from an adaptive modeling of feel, technique and creativity as an archetype for cultivating originality in jazz drumset performance studies." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/7797.

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I identify Tony Williams’ formative drumset ideology as being emergent from his adaptive modeling of the feel, technique and creativity identified in the drumming of Art Blakey, Max Roach and Philly Joe Jones respectively and present the results of extensive textual and musicological research on Williams’ formative practices between 1945 and 1969 as an archetype for cultivating originality in jazz drumset performance studies. I examine patterns of creative thought in the New York jazz community as they developed from the relative heteronomy of modernist bebop improvisation to the postmodernist

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16

Farley, Jeff. "Making America's music : jazz history and the Jazz Preservation Act." Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/519/.

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The aim of this thesis is to investigate some significant examples of the process by which jazz has been shaped by the music industry and government and their ideas of the place of jazz within American culture and society. The examples demonstrate that the history and traditions of jazz are not fixed entities, but rather constructions used to understand and utilise issues of race, national identity, cultural value, and musical authenticity and innovation. Engagement with such issues has been central to identifying jazz as America’s music, as it earned this status from its worldwide popularity

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Petty, Simon. "Tasmanian Jazz Identity: A History of Jazz in Tasmania 1917-1989." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404860.

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The Tasmanian Jazz Identity theme is used as the overarching framework for this research, which identifies unique factors in Tasmania’s jazz history compared with other Australian states. Identity, in its broad sense, is a product of geography and history. Australia has a continent-wide jazz regionalism and identity separate from the US; however, there is also much that is distinctive about Australia’s regional jazz scenes. Regional jazz scenes have not been extensively examined in the written histories of Australian jazz. Tasmania is one of the most unique as its isolation has resulted in dif

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18

Li, Mo. "A History of Jazz in China: from Yellow Music to a Jazz Revival in Beijing." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1532518802970811.

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Torregano, Michael James Sr. "The history of jazz education in New Orleans: an investigation of the unsung heroes of jazz education." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11064.

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Thesis (D.M.A.)--Boston University<br>This study contributes to the literature on New Orleans jazz by providing a chronological documentation of the contributions of teachers and mentors who provided jazz education outside of public or private schools. This study documents the pedagogical styles and techniques used by teachers and mentors who transferred the jazz style and tradition to young students in New Orleans. The jazz education of students in New Orleans has been a comprehensive effort consisting of schoolteachers, private tutors, and community groups teaching the jazz style and traditi

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Brown, Daniel Richard. "A HISTORY AND ANALYSIS OF THE ADVANCEMENTS IN JAZZ TUBA PERFORMANCE FROM 1940 UNTIL 2010." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195330.

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The purpose of this study is to provide a history of the development of jazz tuba performance from 1940 until 2010. The history consists of profiles of jazz tubists that developed or participated in new styles of jazz tuba performance. Musical figures are provided for different decades of change. Figures are taken from the original scores or transcribed from recordings and analyzed to highlight advancements.

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Amaral, Luiza Spínola. "A mídia e o jazz no Brasil: investigação em torno da recepção crítica dos festivais de jazz na imprensa paulistana." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4283.

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Made available in DSpace on 2016-04-26T18:10:51Z (GMT). No. of bitstreams: 1 Luiza Spinola Amaral.pdf: 5391999 bytes, checksum: a0305edbd9d9a470ac4abfd8fafaecfb (MD5) Previous issue date: 2011-05-06<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>The main objective of this research is to rescue the historical memoire of brazilian popular music through the media coverage that jazz festivals get from São Paulo's press. It's also about focusing on the relationship between the cultural industry and the critics, exposing how our musical memory is smothered by a certain sociolo

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Heller, Michael C. "Reconstructing We: History, Memory and Politics in a Loft Jazz Archive." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10328.

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This dissertation examines a recently discovered archive of films, recordings, photographs and documents relating to the New York jazz lofts of the 1970s. The work not only reconstructs historical details about the lofts, but also explores the significance of the archival project itself, an independent venture founded in 2005 by musician and former loft organizer Juma Sultan. By combining historical research in the Sultan archive and ethnographic engagement with former loft artists, the study examines the continued symbolic significance of the loft era for musicians, listeners and historians.

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Schroeder, Dave. "The Evolving Role of the Electric Bass in Jazz: History and Pedagogy." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/575.

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The advent and development of the electric bass as an instrument was examined in relation to its application to the genre of jazz and related styles. The evolving role of the bass in the early stages of the development of the jazz genre was considered. The work of pioneering acoustic bassists such as Jimmy Blanton emancipated the bass from its traditional, subordinate and supportive function. Bassists began to explore harmonically elaborate solos in a similar fashion to horn players. Electric bassists are able to expand on the harmonic aspects of the instrument partly due to the playability

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Roark, Jessica A. "History and technology : the creation of the Ball State Jazz Media Archive." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397649.

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This creative project details the process involved in the creation of the Ball State Jazz Media Archive. This archive will contain oral histories collected from individuals involved with the Ball State jazz program, photographs that are otherwise unavailable for study and other historical materials relevant to jazz at Ball State University. The historical significance and academic uses of such an archive have been described as well as a thorough overview of other major jazz media archives in the United States and other academic projects involving oral history. This project also includes the pl

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Kteily-O'Sullivan, Laila Rose. "Klangfarben, Rhythmic Displacement, and Economy of Means: A Theoretical Study of the Works of Thelonious Monk." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501262/.

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The purpose of this study is to investigate the theoretical causes of the stylistic results of both compositions and spontaneous improvisations of jazz pianist and composer Thelonious Monk. The specific topics chosen for analysis include Klangfarben (sound colors), rhythmic displacement (the relocation or complete removal of expected rhythmic events), and economy of means (the judicious use of silence, simplicity, and economy). All of the above topics are addressed with regard to the composer's original works, his selected renditions of works by other composers, and his improvisations. The mus

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Simpson, Nigel. "Post-structuralism and history." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282616.

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Eales, Alison Caroline. "Bunting and blues : a critical history of Glasgow International Jazz Festival, 1987-2015." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8026/.

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Glasgow International Jazz Festival first took place in 1987 and has run every year since, making it the city's longest-running cultural event. One of the company's stated aims at its inception was to 'establish [Glasgow] as a major European jazz centre' (Williams, 1986b). Through a single, historical case study, the thesis attempts first to ascertain the extent to which this aim has been achieved, and second to determine the enabling and limiting factors acting upon the Festival in its attempts to effect change in its host city. The thesis finds that urban music festivals can, under the right

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Borrell, Moreno Lourdes. "Alfredo Papo Papo. Una vida dedicada al jazz. El jazz en Barcelona: de la posguerra a la actualidad." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/671846.

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El objetivo de esta tesis es poner en valor la figura de Alfredo Papo y su actividad en la promoción y la divulgación del jazz en nuestro país, la evolución de su pensamiento a través de nuevos documentos recientemente encontrados en su casa y la recopilación de sus escritos y conferencias diseminados en diferentes revistas, catálogos, prólogos de libros y contraportadas de discos. Esta tesis aporta una nueva interpretación de la historia del jazz, que hizo posible que Barcelona fuera pionera en la música de jazz, posicionándose a nivel internacional. Todo esto no hubiera sido posible sin l

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Calero, Ponce Pedro. "Contributos para a história e evolução do piano-jazz em Espanha." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/25607.

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Este proyeto de trabajo trata sobre la investigación cronológica en el proceso de incursión y evolución del piano-jazz en España a lo largo de la historia,desde los primeros propulsores y pianistas españoles del género hasta nuestros dias; así como de la importancia que esta evalución ha causado en la cultura y desarrollo artístico de los músicos y pianistas de jazz espanoles en la actualidad. Para conseguir este objetivo baso mi trabajo en la revisión e investigación bibliográfica y discográfica de los pianistas y músicos mas influyentes desde el origen del jazz en España hasta la actualidad,

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Bork, Debora J. "History and criticism of photographically illustrated children's books /." Online version of thesis, 1988. http://hdl.handle.net/1850/11490.

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Riding, Christopher John Livsey. "The art criticism and history of Michael Fried." Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272737.

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Amley, Hollis Marie. "The Evolution of Criticism on Jean-François Millet." NCSU, 2005. http://www.lib.ncsu.edu/theses/available/etd-03282005-154529/.

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AMLEY, HOLLIS MARIE. The Evolution of Criticism on Jean-François Millet. (Under the direction of Keith Luria.) The nineteenth-century French painter Jean-François Millet?s social context, compositional style, and rustic subject matter invite a wide variety of interpretations of his art. To his biographer and contemporary Alfred Sensier, the rustic canvases were the work of a stoic ?peasant painter,? removed from the political controversies of his day. To the Marxist art historian T. J. Clark, on the other hand, Millet?s paintings interacted with and challenged the dominant values and instituti

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McGeough, Tyler Joseph. "Swingin' to the Beat of Our Own Drum| Developing an Effective Jazz History Pedagogy." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785221.

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<p> The purpose of this report is to provide insight on how and why we should include more cultural and historical context in a collegiate jazz education. The entry of jazz into academia raises a philosophical dilemma, as it represents an intersection of two contrasting cultures with different governing principles and cultural aesthetics. With the inclusion of jazz into academic institutions, it is possible that the cultural context and integrity of jazz has been marginalized. My aim for this report is to offer general recommendations to the field of jazz pedagogy with the ultimate purpose of

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Layne, Valmont. "A history of dance and jazz band performance in the Western Cape in the post-1945 era." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/7853.

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Bibliography: leaves 173-184.<br>This thesis considers aspects of jazz and dance band performance in Cape Town between the 1930s and the 1960s, with special reference to the post-1945 period. It examines ways in which local dance and jazz musicians and audiences responded to political, social and cultural change in this period by considering key institutional constraints, the impact of broader political, social and cultural change, and local responses to this change. Primary data was collected from oral biographical material, archives, official printed sources, and newspaper reports.

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Ryan, Matthew. "Self, nation and novel in contemporary Irish writing." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5421.

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Doughty, Craig. "Constructing a history from fragments : jazz and voice in Boston, Massachusetts circa 1919 to 1929." Thesis, Keele University, 2017. http://eprints.keele.ac.uk/3780/.

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Boston is a city steeped in history. Beyond the struggle for abolition, however, the historical experiences of the majority of black Bostonians, especially during the early twentieth-century, are lacking recognition. In this respect, the Jazz Age (represented here as circa 1919 – 1929) serves as a noteworthy case-in-point. For insofar as the impact of jazz music on social, political, and economic climates in cities such as New York, New Orleans, and even Kansas have been recorded, the music’s impact on and significance in Boston is yet to be addressed in any great detail. Simply put, the histo

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Kokotailo, Philip 1955. "Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.

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This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what t

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Schillinger, Stephen. "Common representations : Jack Straw and literary history as cultural history on the early modern stage /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9363.

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Audard, Stéphane. "histoire de l'enseignement du jazz : enjeux pédagogiques, théoriques et musicaux." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL043.

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Le jazz est largement enseigné depuis des décennies et dans de nombreux pays. Cependant, l'histoire de la mise en place de cet enseignement reste largement à faire. Afin de mieux comprendre le moment d'institutionnalisation qui s'est opéré après la Seconde Guerre mondiale, il est nécessaire de déterminer comment il s'articule avec les périodes précédentes. Tout d'abord, il s'agit de retracer le développement continu d'une pédagogie du jazz dès les premières décennies du XXe siècle. D'autre part, il faut préciser les enjeux musicaux, économiques et institutionnels qui influent sur la création d

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Waits, Sarah A. ""Listen to the Wild Discord": Jazz in the Chicago Defender and the Louisiana Weekly, 1925-1929." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1676.

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This essay will use the views of two African American newspaper columnists, E. Belfield Spriggins of the Louisiana Weekly and Dave Peyton of the Chicago Defender, to argue that though New Orleans and Chicago both occupied a primary place in the history of jazz, in many ways jazz was initially met with ambivalence and suspicion. The struggle between the desire to highlight black achievement in music and the effort to adhere to tenets of middle class respectability play out in their columns. Despite historiographical writings to the contrary, these issues of the influence of jazz music on societ

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Wallis, Lesley Ann. "History, politics and tradition : a study of the history workshop 1956-1979." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369414.

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Ruiz, Renan Branco. "'Procura-se Mecenas' : música independente e indústria fonográfica na trajetória artística do Grupo Um (1976 -1984) /." Franca, 2017. http://hdl.handle.net/11449/151560.

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Orientador: José Adriano Fenerick<br>Banca: Gustavo José de Toledo Pedroso<br>Banca: Marcia Regina Tosta Dias<br>Resumo: Esta dissertação teve como objetivo reconstruir e analisar a trajetória artística do Grupo Um (1976 - 1984) a partir de duas perspectivas complementares. Pela primeira delas, foram interpretados os impasses encontrados pelo conjunto para possibilitar a gravação, a prensagem e a distribuição de seus três álbuns lançados entre 1979 e 1982, à luz das intensas transformações da indústria fonográfica brasileira desse período. Na busca por apoio para a viabilização de seus trabalh

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Archibald, Paul. "Construction of, and performance on, the early drum kit." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/29632.

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For over one hundred years the drum kit has been a driving force in shaping popular music, yet in popular culture the kit is not taken as seriously as other instruments, with drummer jokes abound. This hierarchy is reflected across academia and music literature, where the drum kit is least discussed amongst other instruments commonly found in popular music. Looking within the context of early jazz—one of the first styles of music the drum kit helped shape—historians and publishers were keen to ensure leading horn players told their story, while the drummers, who rarely secured similar levels o

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何倬榮 and Cheuk-wing Ho. "Engendering children: from folk tales to fairy tales." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227363.

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Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16621/.

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This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aur

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Montaña, Maya Joaquín de la. "Iniciación en la improvisación y creatividad en el jazz." Master's thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/18296.

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Este Trabajo de Proyecto esta constituido por dos partes diferenciadas. La primera trata sobre la descripción de la improvisación y la creatividad a lo largo de la historia de la música y su evolución hasta nuestros tiempos, siendo este trabajo una propuesta de modelos sobre la improvisación y la creatividad dentro del jazz, desde un nivel de iniciación a un grado avanzado. La segunda parte engloba los aspectos psicológicos que afectan a los músicos iniciantes en la actividad improvisadora y creadora, tratando de proporcionar las herramientas necesarias para la superación de los miedos y barre

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Haddad, Ziyad Salem. "The Jordanian contemporary art criticism : a methodological analysis of critical practices /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487588939088645.

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Charlesworth, J. J. "Art criticism : the mediation of art in Britain 1968-76." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1803/.

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This thesis studies the changes in the nature of critical writing on contemporary art, in the context of the British art world across a period from 1968 to around 1976. It examines the major shifts in the relationship between the artistic production of the period and the forms of writing that addressed it, through those publications that sought to articulate a public discourse on art in a period where divergent accounts regarding the criteria of artistic value, and the terms of critical discourse, came increasingly into conflict. This thesis takes as its main subject a number of publication ve

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Hart, Sally. "Derrida and postmodernity : at the end(s) of history." Thesis, University of Chichester, 2007. http://eprints.chi.ac.uk/836/.

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This thesis erects and defends the proposition that Jacques Derrida's readings of 'metaphysics in deconstruction' and his raising to theoretical consciousness of the 'differential matrix', have the capacity to inaugurate a 'brave new world' in this postmodern 'age of the aporia'. Beginning with an examination of Derrida's readings of Husserl and Saussure, it is argued that the radical historicity uncovered here qua an originary synthesis of language, time and the other, opens the possibility for greatly more democratising and emancipating self-creations and human solidarities to be thought. In

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Siviter, Clare. "Rewriting history through the performance of tragedy, 1799-1815." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/87637/.

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This thesis constitutes the first extensive study of tragedy during the Napoleonic era. The new tragic productions of this period have been sidelined by French theatre history, allegedly because they were tired copies of seventeenth-century classical models, conduits for propaganda, and suffocated by censorship. I challenge this judgement by excavating this period’s theatre and by applying renewed critical approaches, notably André Lefevere’s notion of rewriting which posits that all productions are subject to poetics and ideology. This thesis is comprised of two principal axes. The first focu

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