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Relevant bibliographies by topics / Mexican Music / Dissertations / Theses

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Dissertations / Theses on the topic 'Mexican Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

García, Peter J. "La Onda Nuevo Mexicana multi-sited ethnography, ritual contexts, and popular traditional musics in New Mexico /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3031600.

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2

Lazo, Alejandro. "Contemporary Mexican Classical Guitar Music at the Turn of the Twenty-First Century: Selected Compositions 1988-2003." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193775.

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The purpose of this dissertation is to discover if Arturo Fuentes’ Primer Interludio incorporates a number of stylistic features typical of guitar music written by Mexican contemporaries from 1988 to 2003. These features include the use of complex musical notation, highly disjunct melodic contour, extended techniques, innovative timbres, rhythmic complexity, rapidly changing dynamics, atonality, percussive effects and repetitive rhythmic and/or melodic cells. As a point of departure a list of guitar works by representative Mexican composers was compiled. From this list the following works wer

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3

Munoz, Igor K. "Mexican Restaurants in Bowling Green, Ohio: Spaces for Music Commoditization." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371581386.

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4

Seda, Jonathan P. "Presbyterian worship and the Mexican context." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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5

Obregon, Luis J. "Cuauhtli (the Aztec eagle)." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1227461849.

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6

Saavedra, Leonora. "Of selves and others historiography, ideology, and the politics of modern Mexican music /." Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/Saavedra.pdf.

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7

Saavedra, Leonora. "Of selves and others : historiography, ideology and the politics of modern Mexican music /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40036336c.

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8

Guerra, Dahlia. "Manuel M. Ponce : a study of his solo piano works and his relationship to Mexican musical nationalism /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1997.

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9

Hernandez, Guillermo Alexandro III. "PART I: TWO PIECES FOR ORCHESTRA: LOS NIÑOS HEROES AND EL PORFIRIATOPART II: TWO COMPOSERS, BLAS GALINDO AND JOSE PABLO MONCAYO: AN ANALYSIS OF TWO WORKS WRITTEN DURING THE HEIGHT OF MEXICAN NATIONALISM." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429230806.

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10

Pinon-Farah, Marco A. "The Mexican Hydra: How Calderón's Pursuit of Peace Led to the Bloodiest War in Mexican History? Will the Mexican People Inherit a Failed State in 2012?" Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/200.

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THE MEXICAN HYDRA: HOW CALDERÓN’S PURSUIT OF PEACE LED TO THE BLOODIEST WAR IN MEXICAN HISTORY. WILL THE MEXICAN PEOPLE INHERIT A FAILED STATE IN 2012? Abstract Marco Antonio Pinon-Farah The drug-war in Mexico (2006-present) has accelerated at a chilling rate, claiming the lives of 35,000 Mexican people. Since President Felipe Calderón assumed office, Mexico has been battling an internal beast unlike any it has known, the Mexican Hydra. Like the mythical creature, the Mexican cartels have proven capable of not only combating the government forces, but also of regenerating and strengthening t

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11

Merriam-Castro, Kelley Kathleen, and Kelley Kathleen Merriam-Castro. "Cantando La Madre Patria: Mexican Musical Heritage in Tucson, 1939-1983." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626745.

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The maintenance, performance, and practice of Mexican music formed part of a resistance effort against cultural, political, economic, gendered, and geographic marginalization throughout the course of the twentieth century in Tucson, Arizona. This project defines iconic, popular Mexican music as música cósmica, a term inspired by José Velasco’s raza cósmica, and which refers to the music’s role as a unifying cultural expression for individuals of Mexican descent in Tucson and other diaspora communities. This project draws from new and archived interviews, newspapers, recorded performances, radi

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12

De, Avila Nathaniel A. Y. "Effects of a culturally relevant music education intervention on choir members’ attitudes toward Mexican populations." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1961.

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Psychologists have documented contact experiences as avenues for changing attitudes toward outgroups (Stephan, Diaz-Loving, &Duran, 2000), and music educators have attempted to create authentic musical experiences of outgroup cultures (e.g., Abril, 2013; Campbell, 1992; Gay, 2002), but few studies have measured the assumed relationship between singing songs from an outgroup culture and change in attitudes toward that outgroup (Edwards, 1994; Peacock, 1992). Participants (N=38) took part in a researc

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13

Longoria, Edna A. "Carlos Chavez, Gabriela Ortiz, and Edna A. Longoria| Evolving methods of incorporating indigenous and popular Mexican music." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1571461.

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<p> This paper examines the evolving methods of incorporating indigenous and popular Mexican music since the Nationalistic period in México. This project report also shows how the integration of Mexican folk music in Mexican composers' works has changed throughout the years. This paper analyzes the compositions <i>Sinfonía india</i> written by Carlos Chávez and <i>¡Únicamente la verdad!</i> written by Gabriela Ortíz. This paper also analyzes "<i>Tezcatlipoca, </i> A Sacrifice Dance," a chamber orchestra work by myself, a Mexican-American student comp

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14

Barrientos, Flora. "Les œuvres pour piano de Mario Ruiz Armengol." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040005.

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Le compositeur mexicain Mario Ruiz Armengol (1914-2002) a écrit plus de deux-cents œuvres pour piano d’une grande qualité. Même si son œuvre fait partie du répertoire des pianistes mexicains, a été enregistrée, publiée et a fait l’objet de trois travaux universitaires et d’une biographie, la musicologie mexicaine a négligé son œuvre. C’est pour cela que j’ai décidé de me centrer sur l’analyse musicale de ses œuvres pour piano afin de les situer dans le contexte de la musique et des compositeurs de musique de concert du XXème siècle. Dans l’introduction je souligne divers aspects biographiques,

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Covarrubias, Ahedo Virginia. "Three Main Chamber Music Works for Strings and Piano by the Mexican Composer Manuel M. Ponce." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/95.

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This essay examines the three main large-scale chamber music works for strings and piano written by the Mexican composer Manuel M. Ponce: the Romantic Trio for violin, cello and piano (1912), the Sonata for violoncello and piano (1922), and the Sonata Breve for violin and piano (1930). The purpose of the study is to aid chamber music performers in the understanding, preparation and execution of these works. Written contextually for performing musicians, the format for the study of the individual works includes sections on historical background and commentary on analysis and performance conside

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De, la Peza Maria del Carmen. "Songs, memories and identities : the bolero and sentimental education in contemporary Mexico." Thesis, Loughborough University, 1997. https://dspace.lboro.ac.uk/2134/9626.

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The confluence of singers, composers and audiences within contemporary Mexican culture, produces a "bolero effect" in which the bolero tradition of the popular love song is established as a complex network of relationships between actors and spaces. The relationships between public discourses about romance, courtship and self identities, is produced and secured by the deployment of a variety of codes and languages that together constitute love as a shared memory. Collective and personal memory are strongly related. The process of interpreting and responding to the bolero is rooted· not only in

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17

Nystel, David J. "Harmonic Practice in the Guitar Music of Manuel M. Ponce." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500943/.

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This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chap

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18

Ortiz, Sánchez José Mario. "THEORETICAL STUDY AND PERFORMING EDITION OF SONATA III BY JAVIER G. COMPEÁN." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/143.

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Mexican composer Javier G. Compeán finished Sonata III, his most recent composition for solo guitar, in December 2015. Since the composition of his first such work in 2003, the composer has been experimenting with texture, register, dynamic range, extended techniques, harmonic possibilities, timbre, and form in his solo guitar music. In Sonata III, Compeán applied the experience he gained in previous compositions for guitar. This work represents the composer’s current style, in which he returns to a more traditional language but continues to experiment with the technical capabilities of the in

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19

Koegel, John. "Mexican-American music in nineteenth-century Southern California : the Lummis wax cylinder collection at the Southwest Museum,Los Angeles /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400363816.

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20

Orth, Jesse. "Tubas on the Rise: the Tuba As a Signifier of 21st Century Mexican-American Music Culture in Southern California." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804941/.

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Banda is a rural Mexican brass band genre from the state of Sinaloa that became popular among immigrant populations of Los Angeles in the 1990s. In contemporary banda, the tuba has acquired a more prominent role than it held in traditional banda. The tuba has shifted from the traditional background harmonic and rhythmic function to a significant and new placement with the front line melodic instruments. The focus on tubas in modern incarnations of banda has helped it become a staple in acoustic and accordion genres such as sierreña and norteña. In many Mexican-American regional ensembles, the

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21

Dousa, Nayeli. "The Piano Works of a Contemporary Mexican Expatriate: Samuel Zyman's Two Motions in One Movement and Variations on an Original Theme." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/292675.

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Samuel Zyman (b. 1956) is one of the leading Mexican composers of our time. He has composed more than 55 works in a variety of genres, including symphonies, concertos, orchestral pieces, film music, chamber music, and music for solo piano. This study includes an overview of Zyman's background as a musician and composer, with an emphasis on his solo piano works. It provides a discussion of Zyman's musical style and an analysis of his two most recent solo piano compositions, Two Motions in One Movement and Variations on an Original Theme. Zyman cites the music of Bartók and Prokofiev, alon

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22

Stewart, Abel C. "Undocumented Migrants and Engaging Public Spaces of Listening." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1388746240.

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23

Woods, Kristilyn. "An Overview of the History and Current State of Bassoon Music in Mexico." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313456143.

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24

Martínez, Correa María Guadalupe. "MISSA À 4 COMPUESTA A GRANDE ORQUESTA IN D MAJOR BY MANUEL ARENZANA, THE LAST CHAPEL MASTER OF THE CATHEDRAL OF PUEBLA, MEXICO IN THE COLONIAL PERIOD (1791-1821)." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/2066.

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Manuel Arenzana was the last chapel master of the Cathedral of Puebla from 1791 to 1821. Arenzana composed sacred music for the Cathedral of Mexico, as well as operas for the Coliseo Theater in Mexico City. Missa à 4 Compuesta a Grande Orquesta in D Major was composed for double choir and big orchestra, which included viola, clarinets and bassoon. This work is a scholarly edition of previously unedited manuscripts and it is collocated with two late copies located in Oaxaca. Also, the actas capitulares from the Cathedral of Puebla, during the period when Arenzana worked as chapel master (1791-1

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25

Lefèvre, Sébastien. "Afro-mexicains : les rescapés d'un naufrage identitaire : une étude à travers la musique, la danse et l'oralité." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100129/document.

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Être Noir au Mexique c’est avant tout ne pas exister. Ne pas exister pour la Nation : aucune reconnaissance officielle dans le cadre de la pluriculturalité de l’État-nation actée constitutionnellement depuis 2001. Ne pas exister aussi pour les Mexicains eux-mêmes qui ne savent pas qu’ils ont des compatriotes noirs. Et pourtant les Afro-mexicains sont bien présents, sur les côtes de Veracruz, mais surtout sur la côte pacifique, et plus précisément sur la Costa Chica entre les États de Guerrero et Oaxaca. Présents physiquement mais aussi culturellement. Ce qui caractérise la situation des Afro-m

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Thompson, Jonathan (Oboist). "Crystal Clear: A Performance Guide and Electronic Accompaniment of Mario Lavista's Marsias for Oboe and Crystal Glasses." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538800/.

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Mario Lavista (b. 1943) is a dominant figure in Mexican classical music. In the second half of the twentieth century, he promoted the use of contemporary techniques, leading to a series of collaborations with expert instrumentalists to explore extended techniques. Marsias for Oboe and Crystal Glasses is one of those pieces. Due to the nature of contemporary techniques, different oboes and reed styles produce different effects with the same fingerings. This document analyzes the contemporary fingerings in the two published editions of the work in consideration of the long-scrape reed style and

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27

Castillo, Manuel M. "ITALIAN AND SPANISH INFLUENCE ON SELECTED WORKS OF MEXICAN COMPOSERS: MARÍA GREVER, IGNACIO FERNÁNDEZ ESPERÓN “TATA NACHO,” AND AGUSTÍN LARA." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/32.

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The last decades of the 19th Century and the first decades of the 20th Century encompass a revolutionary movement worldwide. The growth and advances throughout all disciplines of study and especially the collaboration across Literature, Music, Performing Arts, Culture and Politics became stronger and more evident than ever before. As the Mexican Revolution (1910) developed in frightening fights, the country became increasingly insecure and violent. It was the duty of the living artist to create pathways to escape reality, embellishing the surroundings with its music, paintings and poetry. This

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Escalante, Samuel. "When Does Race Matter in Music Education?: An Exploration of Race, Racial Hegemony, and Predominantly Latinx Secondary Music Programs through the Theory of Racial Formation." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609151/.

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Latinx students are underrepresented among high school music students in the United States, nationally. However, localized demographics in some parts of the country reveal secondary music programs that are comprised nearly entirely of Latinx students. Still, the experiences of such a large and racially marginalized population as Latinx students remain under-researched in the field of music education. To explore how Latinx racial identity may inform the experiences of Latinx music students and their music teachers, I conducted a post-qualitative study of students and teachers in music classes a

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Coronado, Guel Luis Edgardo, and Guel Luis Edgardo Coronado. "Dios, Patria y mis Derechos: The Secularization of Patriotism and Popular Legal Culture in Revolutionary Mexico, 1917-1929." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621436.

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Although secularization has early antecedents in Mexico's history, the generation who embodied the Constitutionalist faction of the 1910 Revolution undertook an unprecedented campaign to achieve it. Strong anticlerical provisions proclaimed in the 1917 Constitution were implemented and gradually escalated in intensity by the administrations of Presidents Álvaro Obregón and Plutarco Elias Calles. This ignited an armed uprising known as the Cristero Rebellion that arose in rural Mexico in 1926. Beyond the armed conflict, this dissertation analyzes the cultural effects caused by the implementatio

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Hernandez, Juan de Dios. "NATIONALISM AND MUSICAL ARCHITECTURE IN THE SYMPHONIC MUSIC OF SILVESTRE REVUELTAS." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/196046.

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In this study I will attempt to demonstrate that stylistic and compositional features and a non-traditional approach to form in the orchestral output of composer Silvestre Revueltas contributed to the development of a nationalist school in Mexico in the twentieth century. In the paper, I present a biographical sketch of Silvestre Revueltas (1899-1940), as there is little available printed information in English concerning the life and work of this composer who is acknowledged to be one of the most significant figures in the history of music in Mexico. I also address the cultural, artistic, and

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31

Madrid-González, Alejandro L. "Writing modernist and avant-garde music in Mexico : performativity, transculturation, and identity after the revolution, 1920-1930 /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.

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32

Rasmussen, Anthony William. "Resistance Resounds| Hearing Power in Mexico City." Thesis, University of California, Riverside, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10618035.

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<p> This dissertation addresses the sonorous attributes of hegemony and subaltern resistance within contemporary Mexico City. In this urban environment, inhabitants use sound to interpret and shift the balance of power that pervades their daily lives. I draw on the interdisciplinary research area of sound studies that regards the acoustic environment not only as an amalgam of sounds but as overlapping sites of cultural inscription, resistance, and reimagining. Recent works in the area of sound studies identify sound not only as a byproduct of social conflict but also as a weapon itself. While

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33

Carrasco, Curíntzita Laura A. "José Antonio Gómez´s Versos Para Órgano (Section I): a Practical Guide for Performance." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc283837/.

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José Antonio Gómez is an important figure in Mexican music history and his works are considered representative of the beginning of Mexico´s Independent era. Some musicians are familiar with Gómez´s choral output but his organ music is rarely considered. Due to the lack of an edition of Gómez´s Versets for Organ, a practical guide was found needed to aid its performance. This study is based on performance, analysis, and direct work on the only known source for it. The first chapter, Introduction, presents the argument for an edited version of the first part of the manuscript as a performance

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34

Flores, Carlos A. (Carlos Arturo). "Music Theory in Mexico from 1776 To 1866: A Study of Four Treatises by Native Authors." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331988/.

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This investigation traces the history and development of music theory in Mexico from the date of the first Mexican treatise available (1776) to the early second half of the nineteenth century (1866). This period of ninety years represents an era of special importance in the development of music theory in Mexico. It was during this time that the old modal system was finally abandoned in favor of the new tonal system and that Mexican authors began to pen music treatises which could be favorably compared with the imported European treatises which were the only authoritative source of instruction

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35

Dietrich, Lauren Nichole. "The Latin American Influence on Copland's Works| El Salon Mexico, Danzon Cubano, and the Clarinet Concerto." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784683.

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<p> Aaron Copland (1900-1990) spent much of his mid-life traveling throughout the countries of Latin America by request of composers, such as Carlos Chávez, and the United States government as an ambassador for the Advisory Committee on Music. During this time, Copland began to connect with the people and music of the countries he visited. These relationships played a role in Copland’s compositional style, as he began to digress from the music he wrote in the earlier part of his career. The music he composed at this time featured idiomatic jazz rhythms and twelve-tone technique an

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36

Baker, Christina. "Salsa's moves and salsa's grooves in Mexico City." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464670.

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Thesis (M.A.)--University of California, San Diego, 2009.<br>Title from first page of PDF file (viewed July 2, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 112-118).

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Madrid-Gonzalez, Alejandro Luis. "Writing modernist and avant-garde music in Mexico: performativity, transculturation, and identity after the revolution, 1920-1930." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054237342.

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Madrid-González, Alejandro Luis. "Writing modernist and avant-garde music in Mexico performativity, transculturation, and identity after the revolution, 1920-1930 /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.

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Thesis (Ph. D.)--Ohio State University, 2003.<br>Title from first page of PDF file. Document formatted into pages; contains xv, 238 p.; also includes music, graphics Includes bibliographical references (p. 218-238). Available online via OhioLINK's ETD Center

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Thiemann, Amy. "Embracing Internationalism: An Examination of Mario Lavista with an Analysis of Cinco Danzas Breves." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984228/.

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Mario Lavista (b.1943) is widely acknowledged as one of Mexico's foremost living composers. Having acquired his music education in his native Mexico and in Europe alike, he is similar to numerous other Latin composers who were building a career in the latter half of the twentieth century. During this time, composers were relying on international aspects of avant-garde techniques, and using nationalistic Latin rhythms and melodies less. Lavista embraced internationalism, and aimed to compose works devoid of identifiable elements of nationalism. This document argues that the absence of nationali

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Svanoe, Erika Kirsten. "El Salón México by Aaron Copland: A Study and Comparison of the Orchestral Score and Two Transcriptions for Band." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243886091.

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41

Ruiz, Caballero Antonio. "Polifonías de tradición oral en el Pacífico Mexicano: el repertorio para Cuaresma y Semana Santa en la comunidad nahua de Santa María de Ostula." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/673203.

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Aquesta investigació aborda el repertori, fins ara desconegut, dels cants multipart o polifonies orals de la localitat de Santa María de Ostula, una comunitat d’ètnia nàhua a l’estat de Michoacán, a l’occident de Méxic. Analitza de manera específica el repertori de Quaresma i Setmana Santa en dos vessants: el cant litúrgic en llatí, interpretat exclusivament pels cantores que actuen com els principals especialistes rituals de la comunitat; i el cant en castellà interpretat o liderat per aquests mateixos cantores, però amb la participació col·lectiva de la majoria catòlica de la comunitat. L’es

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Wilkins, Rex Richard. "El futuro ya está aquí: A Comparative Analysis of Punk in Spain and Mexico." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6997.

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This thesis examines the punk genre's evolution into commercial mainstream music in Spain and Mexico. It looks at how this evolution altered both the aesthetic and gesture of the genre. This evolution can be seen by examining four bands that followed similar musical and commercial trajectories. In Spain, Kaka de Luxe and Radio Futura; in Mexico, Size and Ritmo Peligroso. Since punk music's gesture is both visceral and political, various methods of suppressing or containing the punk gesture arise. For both Spain and Mexico, containing the punk gesture was a matter of government censorship in th

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Gómez, Mercedes. "Creaverbu : the Swex-Mex connection: thoughts about music, life, harp, guts and creativity versus bureaucracy." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-86.

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Velasco, Pufleau Luis. "Musique, antifascisme et autoritarisme : l’œuvre de Silvestre Revueltas dans le contexte de la Guerre civile espagnole." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040186/document.

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Le violoniste et compositeur mexicain Silvestre Revueltas (1899-1940) est un des principaux acteurs du développement musical du Mexique postrévolutionnaire durant les années 1930. Proche des avant-gardes artistiques mexicaines, la réception de sa musique est marquée par une double appartenance moderniste et nationaliste, au point que certaines de ses œuvres incarnent le modèle de la musique nationale et se trouvent au cœur de la politique symbolique du régime autoritaire postrévolutionnaire. Revueltas s’engage fin 1935 dans l’antifascisme communiste au sein de la Liga de Escritores y Artistas

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Portzamparc, Arianne de. "Rihm et Artaud : Tutuguri, Die Eroberung von Mexico et Séraphin - un théâtre musical de la cruauté." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080131/document.

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Le théâtre de la cruauté d’Antonin Artaud (1896-1948) participe à une libération des langages artistiques au profit du sens déterminante dans l’histoire de l’art du XXème siècle. Dans ce théâtre, l’acteur représente le point de départ d’un langage originaire fondé sur le souffle et le geste qui favorise une communication affective avec le spectateur. Le théâtre musical de la cruauté de Wolfgang Rihm (1952) s’inspire de ce langage à travers les thématiques du rite, du mythe et du rêve, porteuses d’un théâtre inhérent à la vie. Ces thématiques sont propices au développement d’une vocalité qui re

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Thibodeau, Anthony. "Anti-colonial Resistance and Indigenous Identity in North American Heavy Metal." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395606419.

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Fännfors, Sandy. "Black metal och provokation: en autenticitetsdiskurs." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-97575.

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Varför är black metal provokativt? Vad i subkulturen och musiken provocerar? För att besvara detta är arbetet indelat i två delar. Den första delen utgår från en autenticitetsdiskurs och undersöker black metal som kulturellt fenomen. Här ligger fokus på black metal som subkultur med dess tillhörande historik. Den historiska översikten delar in black metal i fyra generationer och definierar tillhörande subkulturell terminologi, likväl subkulturen och genrens utveckling. Detta sker i relation till relevanta musikexempel för de fyra generationerna. Efter detta ges en religiös bakgrund gällande de

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"La mujer dentro del discurso machista de la música regional: Una nueva forma de aceptación y los logros que han impuesto dentro de la cultura hegemónica." Master's thesis, 2015. http://hdl.handle.net/2286/R.I.30043.

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abstract: The popularity that regional Mexican music has achieved in the last years is impressive. The population increase of Mexican nationals in the United States and the availability to share information via web has increased the popularity of the musical genre, specially the subgenres of música norteña and banda. Regarless of the low economic class that is associated with the subgenres of música norteña and banda, nowadays they are a fundamental asset in the music industry, impart to the high volume of sales and popularity. However, even with a high index of popularity at a multinational l

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Morgan, Melanie Josephine. "Regional Mexican radio in the U.S. : marketing genre, making audiences." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3196.

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This dissertation investigates how Regional Mexican radio in the U.S. tracks and drives changes in Mexican-American identity by combining different musical genres to create composite portraits of its audiences. Regional Mexican radio, which plays a mixture of ranchera, norteño, banda, and other regional Mexican genres to target a largely working-class audience of recent immigrants, is currently the most popular Spanish-language format in the U.S. Programmers for these stations act as mediators, navigating the public relation between notions of Latino identity constructed by national Spanish-la

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González, Moreno Patricia Adelaida. "Motivational beliefs about music and six other school subjects : the Mexican context /." 2009. 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:3362795.

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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009.<br>Source: Dissertation Abstracts International, Volume: 70-06, Section: A. Adviser: Gary E. McPherson. Includes bibliographical references (leaves 283-301) Available on microfilm from Pro Quest Information and Learning.

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