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Dissertations / Theses on the topic 'Jungle (music) – great britain'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Wong, Wendy H. W. "Paul Wittgenstein in Great Britain." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33743/.

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Most of the existing research on Paul Wittgenstein (1887–1961) focuses on his performing career in central Europe as a left-hand pianist and his commissions from the most prominent composers of the 20th century such as Richard Strauss and Maurice Ravel, and his favourite composer, Franz Schmidt. His British performing career and the compositions Ernest Walker, Norman Demuth and Benjamin Britten composed for and dedicated to him, however, remain relatively unexplored. By examining a variety of primary sources that are disclosed here for the first time, this thesis offers the first scholarly res

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2

Percival, James Mark. "Making music radio : the record industry and popular music production in the UK." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/362.

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Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio program

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Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.

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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Bri

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4

Toulson, David. "Culture is a weapon : popular music, protest and opposition to apartheid in Britain." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/84893/.

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This thesis explores the relationship between popular politics and popular music through the context of the international campaign against apartheid South Africa. In particular the thesis focuses on the ways in which the British Anti-Apartheid Movement, arguably the best organised and best established anti-apartheid solidarity organisation, interacted with popular music. This was a relationship that had been well established by the AAM’s attempts to enforce a wide ranging cultural boycott against South Africa. Growing challenges to the status and the logic of the boycott throughout the period,

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Aspden, Suzanne Elizabeth. "Opera and nationalism in mid-eighteenth-century Britain." Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:157fe363-632a-469f-bb42-1ede235a6a33.

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Italian opera gained an odd resonance in eighteenth-century British sensibility. By turns loved and hated, it acted on the British imagination as a catalyst both for some of the age's most brilliant satire, and for some of the century's most unusual musical extravagances. This dissertation argues that, despite (or in some ways because of) the eventual failure of Italian serious opera and its English hybrid forms to attain status within the musical canon, the progress of opera played a vital role in shaping and reflecting the formation of British national identity, and that, reciprocally, attem

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6

Parsonage, Catherine Jane. "The evolution of jazz in Britain c. 1880-1927 : antecedents, processes and developments." Thesis, City University London, 2002. http://openaccess.city.ac.uk/14853/.

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This thesis examines the way in which jazz evolved in Britain beginning with an examination of the cultural and musical antecedents of the genre, including minstrel shows and black musical theatre, within the context of musical life in Britain in the late nineteenth-early twentieth centuries. The processes through which this evolution took place are considered with reference to the ways in which jazz was introduced to Britain through imported revue shows and sheet music, as well as by the visits of American musicians. Finally, the subsequent development of jazz in Britain in the 1920s is analy

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7

Perkins, Rosie Louise. "The construction of 'learning cultures' : an ethnographically-informed case study of a UK conservatoire." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/265535.

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This study investigates the 'learning cultures' of a UK conservatoire of music. As educational institutions; conservatoires remain largely unresearched and, crucially, relatively unchallenged. In particular, existing research has paid little attention to indepth studies of culture, so that not enough is known of the cultural practices that characterise and shape a conservatoire education. To address this gap, the study adopts the conceptual lens of 'learning cultures'. Acknowledging recent research in further education, 'learning cultures' are conceptualised not as the contexts in which people

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Faust, Veronica T. "'Music has learn'd the discords of the state' the cultural politics of British opposition to Italian Opera, 1706-1711 /." Diss., Connect to the thesis, 2006. http://hdl.handle.net/10066/664.

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9

Sequera, Hector. "House music for recusants in Elizabethan England : performance practice in the music collection of Edward Paston (1550-1630)." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/1028/.

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Edward Paston (1550-1630) was very skilled in liberal arts, especially music and poetry. His love of music is reflected in his having gathered one of the largest collections of music manuscripts from Elizabethan and early Jacobean times. The collection is very important as it holds unique copies of many compositions by some of the best-known composers from the Renaissance including Byrd. This thesis investigates the idea of the Paston collection as a performing collection within the historical, cultural, and musical context of 16th century England. The study presents Edward Paston as a personi

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Atkinson, Peter John. "Regeneration and re-enchantment : British music and Wagnerism, 1880-1920." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7600/.

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This thesis considers the pervasive and multifaceted influence of Richard Wagner’s music, aesthetics, and politics on British composers during the late nineteenth and early twentieth centuries. Drawing on music analysis, hermeneutics, and various archival sources (composers’ writings, contemporary reviews, and unpublished music), each chapter of the thesis focusses on case studies that bring British musical Wagnerism into dialogue with a number of other prominent artistic and cultural currents during the period under consideration: notably, Celticism, Pre-Raphaelitism, Arthurianism, nationalis

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Andrews, Christine. "Nineteenth century English oratorio festivals : chronicling the monumental in music." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:bdeff62f-fead-42a7-9724-5c79d5c2cdf9.

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Oratorio festivals were an important cultural feature of nineteenth-century English society. These massive musical events lasted for three or four days and some involved up to 4,000 musicians and 83,000 in the audience. This dissertation advances the hypothesis that the oratorio festivals, and the grand new buildings in which they were staged, coalesced to create a musical monumentalism in a society steeped in the (mainly Protestant) Christian sentiments of the day. In particular, the dissertation contends that a central premise of nineteenth-century musical thought was that the musical value

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12

McKenzie, Dulcie A. Dixon. "The future of the past : forging a historical context for Black gospel music as a tradition amongst African Caribbean Pentecostals in post-war Britain." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5200/.

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This thesis embodies the first systematic historical research of Black gospel music as a tradition in Britain, calling attention to the serious gap in knowledge so far concerning its growth amongst African Caribbean Pentecostals in Britain. Although it maintains that an underlying theme is the significance of Africa as the original birthplace of African descendants in Britain, the Caribbean and America; it opposes a one-size-fits-all universal historical account of Black gospel music, suggesting that historical knowledge so far is based on historical interpretations of the development of relig

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Munro, Gordon James. "Scottish church music and musicians, 1500-1700." Thesis, Connect to e-thesis, 1999. http://theses.gla.ac.uk/882/.

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Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.

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From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existe

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15

Hall, Duncan. "A pleasant change from politics : the musical culture of the British labour movement, 1918-1939." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/4377/.

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The history of the inter-war labour movement in Britain had an endless, eclectic musical accompaniment. There were sentimental and comic ballads at social events, socialist hymns at meetings and services, massed choirs and full orchestras, soloists with voice and with instruments, dance bands, jazz bands, brass bands and serious composers. Alongside the performance and enjoyment of music there was a great deal of theorising on the subject. Why was music important? What was the source of its power? What was the difference between 'good' and 'bad' music? To whom did music belong? Did it have spe

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Pardee, Katharine. "Perceptions of J.S. Bach and performance of his music in nineteenth-century England." Thesis, University of Oxford, 2013. https://ora.ox.ac.uk/objects/uuid:b45e576e-b727-4afa-b7e8-f55bea10b1a1.

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At the turn of the nineteenth centudy knowledge of J.S. Bach was limited in England to a very few musicians, mostly German organists connected with the Hanoverian court. By the close fof the century, Bach had won widespread popularity, and England was second only to Germany in numbers of published editions, performances, and the written word. This thesis looks at the reception of J.S. Bach in nineteenth-century England, and considers why England reacted with such enthusiasm to his works. First. the elements important to Bach reception are explored and situated in English culture at the beginni

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Meinhart, Michelle M. "Remembering the “Event": Music and Memory in the Life Writing of English Aristocratic and Genteel Women of the Long Nineteenth Century." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367945216.

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18

Seddon, Laura. "The instrumental music of British women composers in the early twentieth century." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1172/.

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This study focuses in detail on instrumental chamber music produced by women in the early twentieth century, a particularly fertile and under-represented period with regard to this topic and it draws on aspects of women’s history, British music history and feminist musicology. It argues that the Cobbett competitions instigated by Walter Willson Cobbett in 1905 and the formation of the Society of Women Musicians in 1911 contributed to the explosion of instrumental music, including phantasies, written by women in this period. It highlights women’s place in British musical society leading up to a

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Etheridge, Stephen. "'Slate-grey rain and polished euphoniums' : southern Pennine brass bands, the working class and the North, c. 1840-1914." Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/24607/.

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Brass Bands have become a clichéd representation of northern working-class culture. Hence, in 1974, Peter Hennessy described a band contest at the Albert Hall: A roll call of the bands is like an evocation of industrial history. From Wingates Temperance and Black Dyke Mills to more modern conglomerates [...]. Grown men, old bandsmen say, have been known to cry at the beauty of it all […]. Of all the manifestations of working-class culture, nothing is more certain than a brass band to bring on an attack of the George Orwells. Even the most hardened bourgeois cannot resist romanticizing the prol

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Newton, Michael John. "GCSE music : year nine and ten students' perceptions and enrolment intentions in relation to music education rationale and government educational policy." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0126.

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The international drive among western countries to shift from industrial to knowledge economies has focussed considerable attention on education. United Kingdom government educational policy, influenced by the global knowledge economy, has shifted responsibility for learning work skills from the workplace to schooling and post-compulsory education. Government policy emphasises the importance of education's role in preparing students with the skills, knowledge and understanding required to enhance the United Kingdom's competitiveness in the global market. In contrast to the work-related emphasi

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21

Jacobson, Marin Ruth Tollefson. "Stylistic development in the choral music of Rebecca Clarke." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/988.

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Until the recent publication of twelve choral compositions, Rebecca Clarke (1886-1979) was known solely as a professional violist and composer of chamber music and art songs. Clarke composed choral music throughout her active period from 1906 to 1944. In 2004, the first study of Clarke's complete compositional output provided an introduction to the choral music, but only covered selected works. The present study traces the development of Clarke's compositional style through chronological analysis of all twelve choral compositions and an incomplete fragment. Clarke's choral music reveals the se

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22

Jiménez, Manuel Anthony. "Bamboo power : performance in gamelan jégog and comparisons with UK gamelan performance." Thesis, SOAS, University of London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690468.

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23

O'Connell, Christian. "The British 'bluesman' : Paul Oliver and the nature of Transatlantic blues scholarship." Thesis, University of Gloucestershire, 2013. http://eprints.glos.ac.uk/1091/.

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Recent revisionist studies have argued that much of what is known about music known as the blues’ has been 'invented' by the writing of enthusiasts far removed from the African American culture that created the music. Elijah Wald and Marybeth Hamilton in particular have attempted to sift through the clouds of romanticism, and tried to unveil more empirical histories that were previously obscured by the fallacious genre distinctions conjured up during the 1960s blues revival. While this revisionist scholarship has shed light on some previously ignored historical facts, writers have tended to co

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Trowles, Tony Albert. "The musical ode in Britain, c.1670-1800." Thesis, University of Oxford, 1992. https://ora.ox.ac.uk/objects/uuid:2c30162d-7b1d-45ba-9e3c-301129ecb38c.

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The musical ode, which developed during the 1660s and 1670s as a means of celebrating occasions of particular significance (often by setting a specially written text), remained popular throughout the eighteenth century, and can be regarded as the earliest form of large-scale secular choral music to have developed in England. This dissertation discusses the nature of the genre (including its relationship with the poetical ode), and surveys the contexts in which odes were composed and performed. It is supplemented by a catalogue which lists some 270 examples of the genre. Among the earliest odes

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Hendrickson, Laura M. "Against photography : the idea of music in Pre-Raphaelite visual reform." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318327.

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26

Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.

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Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to

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27

Garabedian, Claire Elizabeth. "'I'd rather have music!' : the effects of live and recorded music for people with dementia living in care homes, and their carers." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21757.

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The objectives of this thesis were to explore the effects of receptive individualised live and recorded-music on interactions within participating dyads consisting of a person with dementia who was in their final phase of life (resident), and a person with whom he or she shared a close connection (carer), as well as on each individual participant. A 'Receptive' music intervention is one where participants are not required to do anything but listen. METHODS The conceptual frameworks of realist evaluation, ethnography, symbolic interactionism, and dramaturgical actionism influenced the design of

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Taylor, Mark A. (Mark Amdahl). "British-Style Brass Bands in U.S. Colleges and Universities." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955014/.

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Since the 1980s, British-style brass bands - community ensembles modeled after the all-brass and percussion bands of Great Britain - have enjoyed a modest regeneration in the United States. During this same period, as many as 23 colleges and universities in the U.S. have founded their own curricular or extra-curricular brass band. The purpose of this research study was: to discover which schools sponsor a brass band currently; to discover which schools formerly sponsored a brass band but have since discontinued it; to describe the operational practices of collegiate brass bands in the U.S.; an

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CHINCOLI, Veronica. "Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s)." Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/62230.

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Defence date: 15 April 2019<br>Examining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo<br>This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainmen

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Williams, Vivien Estelle. "The cultural history of the bagpipe in Britain, 1680-1840." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/5085/.

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Bagpipes and pipers, as cultural identifiers, are embedded within their national culture, charged with symbolisms. British authors have often viewed bagpipes as cultural icons, endowing them with connotations from devilish to virtuous, from rural to military. By analysing literary and artistic references one can perceive how the attitude towards the bagpipe changes with the evolution of Britain’s internal dynamics. Jacobitism contributed in casting a particular light on the bagpipe: it was the ‘voice of the rebellion’. In Scotland this constituted a reason for national pride, while in England

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31

Poon, Yan Chee. "Does music make coming home easier? : musical and sociological analyses of selected compositions commemorating the 1997 return of Hong Kong to the People's Republic of China." HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/443.

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Vlčková, Petra. "Hudba jako výraz životního stylu ve Velké Británii v šedesátých letech 20. století. Příspěvek k evropské konzumní společnosti po roce 1945." Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-124637.

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This thesis focuses on the British music scene in the 1960s. Popular music was one of the main manifestations of consumerism and influenced the behavior of most young people. The aim of the thesis is to explain the extent in which popular music played a role in the establishment of a consumer society and, above all, the impact caused by interpreters and music groups on the lifestyle of their listeners and audiences.The thesis also examines how the British music developed in the Sixties and how it was characterized.The thesis is based on the assumption that the 1960s' is a key decade in the pos

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Yim, Denise. "The Chinnery family papers (1793-1843)." Phd thesis, Faculty of Arts, 2000. http://hdl.handle.net/2123/13715.

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Hopkins, Susan. "Pop heroines and female icons : youthful femininity and popular culture." Thesis, Queensland University of Technology, 1999.

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The thesis suggests much feminist theorising on girls' and young women's relationship to popular culture is limited by a 'moral-political' approach which searches for moral and political problems and solutions in the consumption of popular images of femininity. The thesis offers a critique of such 'moral-political' interpretations of the relationship between youthful femininity and popular culture. Following thinkers such as Friedrich Nietzsche and Jean Baudrillard, the thesis opposes the political preoccupation with 'reality' and 'truth'. The study follows Nietzsche's and Baudrillard's noti

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Pearsall, Eileen Sharpe. "Tudor court musicians, 1485-1547 their number, status, and function /." 1986. http://catalog.hathitrust.org/api/volumes/oclc/18032382.html.

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Daub, Peggy Ellen. "Music at the court of George II (r. 1727-1760)." 1985. http://catalog.hathitrust.org/api/volumes/oclc/23643271.html.

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Human, Corlea Johanna. "Nuwe kerklied in Brittanje." Diss., 1990. http://hdl.handle.net/10500/3223.

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The development and singability of the new hymn in Britain is dependent on the interaction between the hymnologist, organist (cum music director), minister and members of the congregation. The discussion of the hymn text points out that it acts as a form of communication between God and man and as a link between present and future demonstrations of faith. Then the tonality, tempo, metre, rhythm and structure of the new hymn in Britain are discussed. The structure of the hymn is studied in more detail, using eight case studies to elucidate the interval structure of the melody, harmony

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