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Dissertations / Theses on the topic 'Music and narration'
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Bauer, Shad A. "Film, Music, and the Narrational Extra Dimension." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1365444831.
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Rinker, John Thomas Glass Philip. "And one of time a composition for full orchestra with narration /." view full-text document. Access restricted to the University of North Texas campus, 1999. http://www.library.unt.edu/theses/open/19993/rinker%5Fjohn%5Fl/index.htm.
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Steele, Geoge. "Scoring silent film : music/nation/affect /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3380539.
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Rinker, John Thomas. "'...and one of time.': A Composition for Full Orchestra with Narration." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2267/.
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‘...and one of time.' is a reinterpretation of a small musical moment from Philip Glass' opera, Einstein on the Beach, centered around the phrase "Berne, Switzerland 1905." This reinterpretation is realized through the use of several different compositional techniques including spectral composition, micropolyphony and dodecaphony, as well as the application of extra-musical models developed by Alan Lightman, John Gardner, Italo Calvino and Albert Einstein.
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Wiener, Oliver. "Apolls musikalische Reisen : zum Verhältnis von System, Text und Narration in Johann Nicolaus Forkels "Allgemeiner Geschichte der Musik" (1788-1801) /." Mainz : Are Edition, 2009. http://d-nb.info/99318006X/04.
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Jolley, Jennifer. "Le monde du silence: A Reconsideration of the Symphonic Poem for the Twenty-First Century." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342104000.
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Curran, Andrew. "The Effect of Adding Relevant Music and Sound Effects to an Audio-Only Narration: A Three-Treatment Application of Mayer’s Coherence Principle." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1352397100.
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Feezell, Mark Brandon. "The Light, for Two Narrators and Chamber Ensemble." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4220/.
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The Light is a twenty-four minute composition for two narrators and chamber orchestra. The two narrators perform the roles of the Apostle John and Moses. After an overview of the piece and a brief history of pieces incorporating narrators, the essay focuses on my compositional process, describing how orchestration, drama, motive, and structure work together in the piece. The Light is organized as a series of five related scenes. In the first scene, God creates light. In the second scene, God places Adam and Eve into the Garden of Eden to tend it, allowing them to eat from any tree except the tree of the knowledge of good and evil. The serpent appears, Adam and Eve succumb to his evil influence, and God banishes them from the Garden of Eden. Many generations have passed when Scene Three begins. Moses relates a story from Israel's journey in the wilderness after leaving Egypt. The people had become frustrated with Moses and with God. When God sent serpents among them as punishment, they appealed to Moses to pray for them. God's answer was for Moses to make a bronze serpent and place it on a pole. Whoever looked at the serpent would live. In Scene Four, John relates his vision of final redemption. New Jerusalem descends from heaven, with the River of Life and the Tree of Life ready to bring healing to the nations. Sadly, some people are not welcomed into the city, and the drama pauses to give respectful consideration to their fate. Finally, the fifth scene celebrates the eternal victory over sin, death, and the serpent of Eden. As I composed The Light, I had in mind the dramatic profile, the general motivic progression and the fundamental structural progression. However, most of the intricate interrelationships among orchestration, drama, motive, and structure were the result of informed intuition. Throughout the piece, each of these four elements interacts with the others, sometimes influencing and sometimes responding to them. My hope is that these subtle tensions propel the composition forward toward its ultimate resolution.
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Bloch-Robin, Marianne. "Théorie et pratique de la musique vocale au cinéma : l’œuvre de Carlos Saura." Thesis, Paris Est, 2011. http://www.theses.fr/2011PEST0034.
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L‟objet de cette thèse est l‟étude de la fonction narrative et esthétique de la musique vocale dans l‟oeuvre de fiction non musicale du cinéaste espagnol Carlos Saura. Le rôle de la musique vocale dans ses films est en effet central et peu étudié. Dans une première partie nous avons analysé l‟évolution de l‟utilisation de la musique dans l‟oeuvre au cours du demi-siècle qu‟embrasse la filmographie du réalisateur aragonais. Nous avons ainsi pu mettre en évidence une forte affirmation auctoriale par le biais d‟un contrôle étroit des choix musicaux et des collaborations avec les compositeurs de musique originale. La caractérisation des morceaux à texte utilisés nous a permis de dégager un corpus de vingt-deux oeuvres vocales qui ont constitué le coeur de notre étude. Par la suite, nous avons étudié le rôle spécifique de la musique vocale à travers son influence sur l‟ordre, le temps et l‟espace du récit. L‟oeuvre vocale peut, en effet, constituer un outil de transition spatiale et temporelle, fonctionner comme une analepse ou une prolepse ou encore être considérée comme un niveau narratif en soi. Enfin, dans une troisième partie, nous avons envisagé la musique vocale sous l‟angle de la citation et du point de vue qu‟elle permet de dévoiler : celui des personnages tout d‟abord. Par la suite, en considérant la musique vocale dans sa dimension transtextuelle, nous avons étudié le point de vue externe et universalisant qu‟elle véhicule. Enfin, nous avons constaté que les morceaux vocaux peuvent également révéler l‟intention de l‟instance d‟énonciation filmiqueThe purpose of this thesis is the study of the aesthetic and narrative function of vocal music in the non musical work of fiction of the Spanish filmmaker Carlos Saura. The role of vocal music in his films is indeed of central importance and not largely studied. In the first part we have analyzed the evolution of the use of music in works done during the half of the century, which embraced the filmography of the Aragonese filmmaker. We have also been able to put very prominently, a strong authorial affirmation by means of a restricted control of musical choices and different collaborations with composers of original music. The characterization of songs text used, enabled us to identify a corpus of twenty-two vocal works, which constituted the core of our study. In the second part, we studied the specific role of vocal music through its influence on the order, the time and space of the narrative. Vocal works can, in effect, constitute a spatial transition and temporal tool functioning as an analepsis or a prolepsis or again being considered as a narrative level on its own. In the third part, we viewed vocal music from an angle of quotation and a viewpoint which enables to reveal: that of the characters first. Subsequently, considering vocal music in its transtextual dimension, we have studied the universalizing and external viewpoint that it vehicles. Finally, we have noticed that vocal songs can also reveal the intention of the filmic enunciator
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Alley, Candace P. "Jasmine's Secret: Narrative Cantata for Five Solo Voices, Narrator, and Orchestra." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935619/.
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Since Jasmine's Secret contains elements of cantata and follows a dramatic story or program, the work may be classified as a narrative or dramatic story or program, the work may be classified as a narrative or dramatic cantata employing five solo voices, narrator and orchestra. This work attempts a revival of these two genres as a combined entity due to the decreased popularity of both cantata and programmatic music in the 20th century.
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Ditlevsen, Christoffer Moe, and Martin Björkman Čehovin. "Den dramatiska kraften i filmmusik, Filmmusikens dramatiska vikt i modern media." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1917.
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När och varför tillsätter man musik till en scen i ett filmscenario? Med informationsresurser och teorier från etablerade medieteoretiker såsom Michel Chion, Oliver Sacks samt Johnny Wingstedt söker vi svaret. Genom beprövade analysmetoder bryter vi ner kritikerrosade filmer för att finna hur musiken präglat dem. Analyserna har sedan sammanfattats och jämförts för att kärnan av dem skall kunna identifieras. I diskussionen slår vi fast att det finns många verktyg att tillämpa när man vill styrka expressiviteten eller känslointensiteten, och varför man tillsätter musik till film; Att antingen stärka ett budskap som gestaltas i bild, eller inducera känslan av något som inte går att tolka genom endast visuella medel. Dessa resultat använde vi sedan för att skapa ett ramverk inför produktion av musik och ljud till Emil. (2014) , en modern samt mörkare tolkning av Emil I Lönneberga (1971) med en underton av ett dysfunktionellt familjeförhållande. Nyckelord: Musik, dramaturgi, film, känslor, analys, narrativ When and why is music implemented to a specific scene in a film? With informational resources and theories from established media-abstractionists like Michel Chion, Oliver Sacks and Johnny Wingstedt, we’re on a hunt for the ultimate answer. With well proven analytic methods we break down critically acclaimed movies in search of how music has characterized them. The outcome of the analyses has been put together to identify their common dramatic core. In the discussion we state that there are many tools available when one wishes to accentuate the expressionistic and emotional effects of a piece, and why one would use these pieces for film. The reason being that of wishing to emphasize a message or feeling show in picture, or induce a feeling of something not visible on screen. The results were then used for the framework which we work within when producing sound and music material for Emil. (2014), a modern, darker interpretation of Emil I Lönneberga (1971). Keywords: Music, dramaturgy, film, emotions, analysis, narrativeDetta är en reflektionsdel till en digital medieproduktion.
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Cutileiro, Tiago. "Opera and non-narrative music." Doctoral thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/12013.
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Nos últimos vinte-cinco anos, o termo narrativa tem sido um ponto preponderante de discussão musicológica. Os musicólogos que preferem evitar o termo definem narrativa como uma impossibilidade musical ou então consideram-na presente, como refere Carolyn Abbate, em todas as músicas composta por sequências de eventos sonoros (1989, p. 227) e, por esta razão, uma inútil máquina para definir toda e qualquer música (1991, p. xi). Mesmo aceitando a ideia de Abbate, o conceito de música narrativa torna-se, ainda assim, essencial para compreender um modelo musical muito menos comum e bastante recente que propositadamente evita todos os elementos musicais que possam induzir uma sensação de narrativa musical. Esta música pode ser denominada de não-narrativa. A música não-narrativa é assim definida por oposição à música narrativa. 0 que é problemático na música não-narrativa, para além da necessária adopção de uma atitude de escuta adequada, é a sua conjugação com elementos que preservam laços narrativos --i.e., o texto cantado e a encenação dramática. A composição de uma ópera exclusivamente alicerçada em música não-narrativa é, por conseguinte, um exercício estilístico e um desafio de composição para preservar quer o movimento linear do texto quer a essência de temporalidade estática da música não-narrativa; Abstract: In the last twenty-five years, the term narrative has been na importante point of discussion in musicology. Scholars who prefer to avoid the term consider narrative either impossible in music or, as Carolyn Abbate remarques, na elemento that can be found in "any music with sequences of events" 1989, p.227) and, for this reason, a useless "machine for naming any and all music" (1991, p. XI). Even ifagreeing with Abbate's claim, the concept of narrative music becomes nevertheless essential to understand a much less common and very recente music that purposelyu avoids any elemento that could induce narrativity in music. This music can be classified as non-narrative.Non-narrative music is, thus, defined through the opposing concept of narrative music. What is problematic in non-narrative music, besides the adoption of na adequate listening stance, is its use with elements that themselves preserve narrative threads - i.e., sung texto and/or staged drama. The composition of na opera exclusively grounded on non-narrative music is therefore a stylistic exercice and a compositional challenge to preserve both the verbal text´s ongoing motion and non-narrative music's essence of temporal stasis.
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Coral, González Manuel Alejandro. "Música para camaleones de Truman Capote como obra sintética del Nuevo Periodismo Norteamericano." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652036.
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El siguiente trabajo de investigación muestra las diversas características narrativas del Nuevo Periodismo Norteamericano propuestas por Tom Wolfe y los modelos narrativos propuestos Gérard Genette representadas en el libro Música para camaleones de Truman Capote. Para ello, se analizaron seis textos del autor en el cual se identifican los elementos narrativos postulados para verificar si estos cumplen con las características anteriormente mencionadas. De este modo, finalmente, se postula que esta obra sintetiza el Nuevo Periodismo Norteamericano surgido en la década de 1960.The following research work shows the diverse narrative characteristics of the New American Journalism proposed by Tom Wolfe and the proposed narrative models Gérard Genette represented in Truman Capote's book Music for Chameleons. To this end, six of the author's texts were analyzed in which the postulated narrative elements are identified in order to verify whether they comply with the aforementioned characteristics. Thus, finally, it is postulated that this work synthesizes the New American Journalism that emerged in the 1960s.
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Eikmeier, Martin. "A música de Remo Usai no cinema brasileiro." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284921.
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Orientador: Claudiney Rodrigues CarrascoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Remo Usai foi o compositor que mais produziu na história do cinema brasileiro; e o único profissional especializado de sua época. Este trabalho investiga sua trajetória ao longo de 4 décadas, concentrando-se nas suas atividades durante os anos 60, período em que compôs para filmes ligados ao projeto do cinema novo e de uma produção politicamente engajada. O foco do texto se deu na aderência de seu projeto musical a filmes cujo enredo exigia formas de diálogo entre música e narrativa distintas de sua formação, que se deu nomeadamente na tradição do cinema americano e na lógica do melodrama. Deste modo, investigou-se, em primeiro lugar, quais os caminhos que levaram um profissional, identificado com um projeto de cinema - a chanchada - combatido elos artistas com os quais se associou na década de 60, a compor para estes filmes. Em segundo, as diferenças entre a maneira de lidar com o material musical em cada um destes projetos de cinema, procurando encarar tanto suas disposições estéticas, quanto o seu modo de produção e a maneira pela qual um e outro afetaram o trabalho de composição de Remo Usai
Abstract: Remo Usai was the most productive composer of our cinema history, and the only professional specialized in the art of film music of its time. This work investigates his career over four decades by focusing on his activities during the 60, period in which he composed for films related to the cinema novo project and politically engaged productions. The focus of the text is the adherence of his musical project to movies in which the plot demanded forms of dialog between music and narrative other than its formation could provide, which occurred particularly in the tradition of American cinema and the logic of melodrama. Thus, the text investigates, at the outset, what where the paths that lead a professional identified with a film project - the chanchada - opposed by the artists with whom he joined in the 60s, to compose for these films. Secondly, the differences between the way of dealing with the musical material in each of this film projects, trying to face both its aesthetic provisions, as its mode of production, and the way that either affect the composition of Remo Usai
Doutorado
Doutor em Multimeios
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Erik, Nilsson. "Berättande jazzimprovisation." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2922.
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I detta arbete undersöker jag den berättande kvalité jag finner inom vissa improviserade jazzsolon. Denna kvalité har varit intressant att undersöka för att få utökade kunskaper inom improvisationskonsten och att hitta pedagogiska redskap för att undervisning i improvisation inte ska fastna i instrumentteknisk färdighet och harmonisk medvetenhet. Arbetet tar upp teorier om narrativ ur ett litteraturvetenskapligt perspektiv men tar också upp idéer om narrativ i musikalisk kontext. För att undersöka berättande improvisation har jag analyserat två jazzsolon där jag upplever denna kvalité, genomfört en intervju, spelat in egna improvisationer med en ensemble innan och efter jag praktiskt undersökt berättande improvisation. Inspelningarna har sedan spelats upp och diskuterats med en fokusgrupp. Resultatet visar på tydliga kopplingar mellan teorier om narrativ och berättande improvisation men att vägarna dit är många och att det är svårt att peka på objektiva företeelser som skapar detta.
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Moriarty-Pearson, Christopher. "Delirium : Constructing a Narrative : An investigation into compositional technique." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3540.
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This thesis explores the topic of narrative in the context of musical composition. Narrative based music will be presented in relation to three ethical questions of Criticism, Commonality and Metaphor, communicated to the listener through the medium of narrative. This thesis will demonstrate how I have used these three questions in relation to my own compositional methodology and propose a world-building approach to musical composition, specifically in relation to Delirium; the magic, imagined world in which all my music is connected through a central narrative.
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Wingstedt, Johnny. "Narrative music : towards an understanding of musical narrative functions in multimedia." Licentiate thesis, Piteå : Luleå tekniska universitet, Musikhögskolan i Piteå, 2005. http://epubl.ltu.se/1402-1757/2005/59/LTU-LIC-0559-SE.pdf.
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Garwood, Ian. "Pop music and characterisation in narrative film." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4263/.
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This thesis discusses the use of pop songs in narrative films, with particular attention paid to their role in characterisation. My argument concerns the potential for pop to retain its specificity as a certain type of music whilst it carries out functions normally attributed to a composed score. Many commentators have assumed that, because a song may be known before it is used in a film, its narrative meanings are "pre-packaged". I combine an appreciation of pop music's propensity to come to a film already 'known' with an attempt to demonstrate how individual narratives ask songs to perform different affective roles. It is my contention that pop music's quality of 'knownness' is fundamental to its narrative affect in films, without, however, pre-determining that affect. I argue my case through close textual analysis, discussing the relationship between real-life pop stars' musical personas and the film characters they are asked to play, as well as offering numerous examples of songs without an on-screen performer becoming involved in processes of filmic narration.
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McCluskey, John M. "Music as Narrative in American College Football." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/57.
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American college football features an enormous amount of music woven into the fabric of the event, with selections accompanying approximately two-thirds of a game’s plays. Musical selections are controlled by a number of forces, including audio and video technicians, university marketing departments, financial sponsors, and wind bands. These blend together in a complex design that offers audible and visual stimulation to the audience during the game’s pauses. The music chosen for performance in these moments frequently communicates meaning beyond entertainment value. Selections reinforce the game’s emotional drive, cue celebrations, direct specific audience actions, and prompt behaviors that can directly impact the game. Beyond this, music is performed to buttress the successes of the home team, and to downplay its failures. As this process develops over the course of the game, the musical selections construct a sonic narrative that comments on the game’s action, enhancing or suppressing audience members’ emotional reactions to the events on-field, and informing their understanding of the game’s developments. By preparing for and responding to in-game situations, music creates a coherent narrative out of football’s unpredictable events.
This project demonstrates the use of musical narrative in American college football via close consideration of case studies of games representing five of the most prominent college athletic conferences, the Atlantic Coast Conference, the Big 10, the Big 12, the Pac 12, and the Southeastern Conference. These sources include interviews with college football’s musical agents, including sound operators, band directors, and producers, as well as documentation of the games’ on-field developments and the music that accompanies them. Finally, this project utilizes of musical narrative as a new means of critically considering the power lines of race and gender in college football culture.
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Eikmeier, Martin. "Trilha sonora : a musica como elemento de sintaxe do discurso narrativo no cinema." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284746.
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Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação procura investigar o papel funcional da música no paradigma audiovisual. Dividida em três partes, a exposição inicia-se a partir da definição das capacidades da música em articular-se com outros elementos da linguagem e construir significados substanciais que validam um status mais sofisticado para a prática musical no cinema que a mera ilustração. A dissertação examina as principais teorias encontradas na literatura escrita sobre o tema em forma de inventário, para em seguida verificar que as mesmas não esgotam o tema. Através de uma aproximação em direção à teoria da narrativa - em especial as teorias de abordagem estruturalista - a exposição procura examinar aspectos da lógica estrutural e formal da narrativa, que em um discurso audiovisual possam ser veiculadas através de construções que contemplem a música como um elemento de sintaxe substancial. No segundo capítulo inicia-se a discussão a respeito do filme "Amadeus", de Milos Forman e de sua trilha musical sob um ponto de vista macro-estrutural. O centro deste debate é o fato deste filme possuir em sua trilha músicas compiladas de um repertório pré-existente. Apesar de defender que a música original tradicional escrita para cinema possui uma estética específica, este capítulo pretende mostrar que qualquer música pode cumprir este papel. A exposição serve-se, neste ponto, principalmente de análises da formação da poética musical no cinema, flagrando a prática com a música compilada como um procedimento não somente recorrente nos seus primórdios, como também, responsável, pela consolidação de práticas funcionais - herdadas da tradição operística, dos '"teatros de variedades", "Music Halls" e "Vaudevilles" - utilizadas até os dias de hoje. O último capítulo dedica-se à exposição detalhada, cena a cena, da utilização funcional da música de Mozart e Salieri no filme. Através desta análise procura-se além da ilustração desta discussão, a constatação das afirmações feitas sobre música de cinema nos capítulos anteriores
Abstract: The present work looks for to investigate the functional role of music in the audiovisual paradigm. Divided in three parts, the exposition is initiated with the definition of the capacities that music has in articulating itself with other elements of audio visual language and constructing, thus, substantial meanings. This capacity validates a more complex role for the participation of music in the movies than the mere illustration. The work examines, in inventory form, the main theories found in the literature written on the subject, for after that verifying that the same ones do not deplete the subject. Through an approach in direction to the theory of narrative - in special the theories of structuralism - the exposition looks for to examine aspects of the structural and fonnallogic of narrative, that can be forged, in an audiovisual discourse, through constructions that contemplate music as an element of substantial syntax. In the second chapter a quarrel regarding Milos Fonnan's "Amadeus" movie and its musical track is initiated through a macro structural point of view. The center of this debate is the fact that this film uses in its sound track compiled music of a preexisting repertoire. The exposition is served, in this point, mainly of analyses of the fonnation of musical poetics in the cinema, showing that the practice with the complied music is not only a recurrent procedure in its early years, as, also responsible, for the consolidation of practical functions - inherited of the opera tradition and the "theaters of varieties", "Music-Halls" and "Vaudevilles" - that are used trough all history to the present. The last chapter is dedicated to the detailed analysis, scene to scene, of the functional use of Mozart's and Salieri's music in the film. Through this analysis it is looked beyond the illustration of the quarrels covered in this work, the constation of the affirmations made about film music in the previous chapters
Mestrado
Mestre em Multimeios
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Wingstedt, Johnny. "Making music mean : on functions of and knowledge about narrative music in multimedia /." Piteå : Department of music and media, Luleå University of Technology, 2008. http://epubl.ltu.se/1402-1544/2008/43/index.html.
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Alin, Johanna. "Sångerska och gravid : Fyra narrativ om graviditetens påverkan på sångrösten." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2895.
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Detta är en studie med syfte att utifrån narrativ från fyra sångerskor undersöka hur en graviditet kan påverka sångrösten samt hur man som pedagog kan bemöta dessa förändringar. Förhoppningen är att studien ska ge ökad kunskap i hur de fysiologiska och psykologiska förändringarna under en graviditet kan påverka sångrösten och medvetandegöra vad man som pedagog kan göra för att fortsätta bedriva skonsam sångundervisning. Undersökningen genomfördes med hjälp av kvalitativa intervjuer med låg grad av standardisering och strukturering. Dessa spelades in och transkriberades för att sedan analyseras utifrån en hermeneutisk arbetsmodell vilket resulterade i teman utifrån informanternas berättelser. Resultatet visar på att en graviditet kan ha såväl positiva som negativa effekter på sångrösten med övervägande negativa följder. Hormonell påverkan i larynx, förändringar i magen och bukmuskulaturen samt minskad andningskapacitet har störst negativ inverkan på sångrösten under graviditeten medan positiva effekter som kan komma att upplevas är utökat lägre omfång och mörkare timbre (klangfärg). Den individuella påverkan är dock stor och det finns inga generella metoder att använda sig av i undervisningen av gravida. Kunskap från såväl sångerskans som pedagogens håll om vad som kan ske med sångrösten under en graviditet kan skapa förutsättning för skonsam röstanvändning och anpassning av sångteknik. Resultatet visar också på att acceptansen kring röstens förändring under graviditeten är av stor vikt för att inte pressa sig och orsaka långvarig skada på stämbanden.
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Mau, Amelia. "Background Structures and Narrative in Music by Women." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22697.
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This thesis explores the use of modified Schenkerian analysis and how it relates to a feminine narrative in a piece of music. In music theory literature about music by women, Schenkerian analysis is a tool that is often ignored; some scholars claim that the goal-oriented nature of Schenkerian analysis prevents it from being an effective tool to analyze music that doesn’t adhere to traditional tonal models, including modern works by women composers. In this study, it was found that modifying the Urlinie and Bassbrechung to reflect salience rather than a traditional harmonic structure allowed for the tool to actually reveal a lot about the underlying narratives in the music. The case studies include Genesis II (Janika Vandervelde), Missa Gaia; Mass for the Earth (Libby Larsen), and “Music Box” (Cynthia Folio).
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Carlsson, Johan Mastorakis. "Musik som förmedlare av ett narrativ : Hur effektivt kan ett narrativ förmedlas genom musik?" Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20516.
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I detta arbete undersöks hur musik påverkar lyssnarens upplevelse av en berättelse i ljudform. Det som undersöks i arbetet är till vilken grad musik baserat på filmmusik-klichéer och motiv från spelkan användas för att förmedla ett författat narrativ samt hur stor påverkan komplimenterande ljudeffekter har i förmågan att förmedla narrativet. En kvalitativ undersökning har genomförts på två grupper där den ena har fått höra en komposition med skräcktema med endast musik och den andra har fått höra samma komposition med pålagda ljudeffekter. Musiken bygger på motiv baserade på relationer mellan bild och ljud. Deltagarna har medan de lyssnat på denna komposition fått tänka sig in i rollen som berättelsens protagonist och sedan gett sin tolkning av vilken slags handling som utspelas. Målet för undersökningen har varit att tydligt koppla samman musiken och det som den representerar i visuell form med hjälp av associationer till välkända verk, som filmerna Jaws och Psycho, för att visa lyssnaren vad som händer i narrativet. Undersökningen visade att deltagarna som lyssnade på kompositionen med enbart musik kände de känslor som författarens narrativ skulle förmedla men platsen och handlingen för narrativet varierade mycket i denna grupp. Endast en deltagare upplevde den miljö som narrativet skulle förmedla, exempelvis. Gruppen som lyssnade på kompositionen med ljudeffekter kunde dock med betydligt större pricksäkerhet höra vilken slags miljö och handling som var avsedd av författaren.Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.
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Hagan, Peter Edward. "Communicating Emotion Through Images and Music in Narrative Film." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/845.
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Art can be the bearer of expressive qualities embodied into the work by its creator. The creator of the work can imbed into the work his or her own feelings which are deeper than mere emotions. The emotions can be named, but the feelings are on a deeper subconscious more intangible level for which mere labels can not describe, but which in sensitive hands can be incorporated into the work. In the case of narrative film, which is a collaborative art form, it is the choices made by the film's director which facilitates this process, augmented by the musical score when present. The feelings and emotion embedded into the film are in the form of vital energies which can be felt by the viewer. In narrative film it is the images and music that communicates the emotion to the audience.
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Feitosa, Jose Eugenio de Matos. "A obra de Thomas Newman para o cinema : fatores musicais que contribuem para a criação da narrativa filmica." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284645.
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Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-09T20:42:01Z (GMT). No. of bitstreams: 1 Feitosa_JoseEugeniodeMatos_M.pdf: 1021220 bytes, checksum: 66da07a32ed4cbceaccf92d08f70cd25 (MD5) Previous issue date: 2007
Resumo: Esta pesquisa teve por finalidade realizar um estudo analítico da música do compositor Thomas Newman e sua interação com a narrativa fílmica. Foram abordados os princípios gerais da utilização de música como parte de uma composição áudio-visual, princípios estes, em certa medida, consolidados pela tradição hollywoodiana. Algumas considerações teóricas foram feitas, baseadas em textos de autores como Eisenstein, Claudia Gorbman, Michel Chion, Eisler/Adorno, e Roy Prendergast, entre outros. O estudo foi realizado a partir de três participações do compositor em obras cinematográficas, considerando-se aspectos como harmonia, melodia, ritmo, timbre e forma. A partir do material analisado, foram assinalados alguns traços estilísticos do compositor e avaliados os resultados da interação de sua música com os filmes estudados. O trabalho incluiu, ainda, sinopses das produções aqui abordadas, além da transcrição reduzida de temas compostos por Thomas Newman, com as respectivas análises dentro de cada contexto particular
Abstract: This research had for purpose to perform an analytical study of the music by composer Thomas Newman and its interaction to filmic narrative. The general principles of music utilization as part of the audiovisual composition were approached. Such principles, in part, were consolidated by the Hollywood tradition. Some theoretical considerations were made, based in texts by authors such as Eisenstein, Claudia Gorbman, Michel Chion, Eisler/Adorno and Roy Prendergast, among others. The study was accomplished from three collaborations of the composer in cinematographic works, taking into account aspects as harmony, melody, rhythm, timbre and form. From the analyzed material a few stylistic characteristics of the composer were pointed out and the results of the interaction between his music and the studied films were evaluated. The work also included synopsis of the approached productions besides the reduced transcriptions of the themes composed by Thomas Newman with the respective analysis within each particular context
Mestrado
Mestre em Música
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Espinel, Miguel Angel. "Replenishment: A Musical Narrative Inspired by Sleep." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062888/.
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The Replenishment cycle contains five works that allude to the experience of sleep, beginning with awake drowsiness and ending with the piece inspired by rapid eye movement (REM) sleep, titled Conceiving Realities. This last piece is an intermedia work composed for chamber ensemble, live painting with biofeedback, computer, and audiovisual processing. This critical essay describes the composition of Conceiving Realities within the context of the Replenishment cycle, followed by a thorough analysis of the research involved in the technological aspects of the piece, and finally, a description of the instrumentation, notation, intermedia elements, and technology comprising the work. Conceiving Realities uses a system of interactions between painting, biofeedback, music, and video, in which a painter wears brainwave and heartbeat sensors that send data to a computer patch processing the sound of an ensemble as the painter listens and creates the painting while responding to the music. This requires a passive biofeedback system in which the painter is focused on listening and painting. The computer uses the data to process existing sounds, instead of synthesizing new lines. The score blends elements of traditional notation, graphics, and guided improvisation; giving the performers some creative agency. This alludes to the way in which scenarios in dreams occur without voluntary control of the dreamer. Finally, a camera captures the painting and projects three video screens applying individual types of processing to the original video stream, controlled in real time by the amplitude of the ensemble. All these elements create an immersive experience for the audience that is mediated by the interaction of sight and sound.
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Howard, Daniel Ross. "Elements of narrative in the masses of Loyset Compère." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/816.
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Stylistic elements in the Masses of Loyset Compère parallel contemporary aesthetic values seen in the visual arts. Compère's Missa L'homme armé, Missa Allez regrets, Credo Mon Père, and Motetti missales are examined.
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Bosworth, William Thomas. "Accentual counterpoint and metrical narrative in the music of Brahms." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/283616.
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This thesis introduces a web of concepts to analyse Brahmsian metre and move toward a more nuanced understanding of metrical expression and narrative in his music. Recent analytical studies of metre in common-practice Western classical music have utilised a powerful analogy of consonance and dissonance between tonal and metrical dimensions. More theoretical studies, particularly of Brahms's music, have investigated how metrical states can be systematised, both abstractly and by Brahms, to create a sense of tonicity. This thesis synthesises and extends these approaches. Metrical dissonance is suggested to offer only an insufficient purchase on Brahms's metrical style, and the concept of accentual counterpoint is suggested as an alternative that gives fuller power to the explication of Brahms's metrical complexity, but without reducing that complexity. The complexity of metrical states that Brahms employs, in turn, is explored. Brahms's path to the composition of extraordinary metrical complexity in his Op. 78 violin sonata shows both his increasing systematisation of metrical states and his increasing ability to separate and manipulate metrical accent-types, the latter supporting the concept of accentual counterpoint. That metre has expressive power invites the concept of metrical narrative. An attempt is made to unite a recent theory of musical narrative with metrical analysis, inviting readings of different narrative archetypes within Brahms's metrical trajectories, with a focus on non-romantic narratives as a complement to traditional readings of unity. The pitch-metre analogy, and particularly the typicality of tonicity in metrical organisation, is problematised by those works by Brahms that begin and end in different notated metres. These instances, apparent manifestations of directional metre, are analysed, principally using the theories of hypermetre, metrical dissonance, metrical states and accentual counterpoint, with the hypothetical concepts of organisation (directional metre, metrical narrative and metrical tonicity) as interactive heuristics. Moving from organisation back to expression, the thesis closes by exploring a problem within current theories of form and phrase structure: the difference between musical expansion and extension. It highlights a metrical manifestation of this created as an effect of accentual counterpoint, dubbed metrical expansiveness, and examines the interaction of this effect with form and narrative.
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Coull, Rosalyn. "Portfolio of compositions : emotion, meaning & narrative in electroacoustic music." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6026/.
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This thesis comprises a portfolio of acousmatic compositions which explore the evocation of emotion and the expression of meaning in electroacoustic music. These works, created and developed in the Electroacoustic Music Studios of the University of Birmingham, embrace both stereo and multichannel formats. In the accompanying Commentary, I also discuss compositional procedures and provide some analytical notes on each work, along with an outline of my own personal development as an electroacoustic composer during the period of the PhD programme.
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Duncan, Dean William. "Classical music in narrative film : strategies for use and analysis." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/9082/.
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The present study deals with the use of classical music in narrative film, and some of the theoretical and historical considerations that can help us contextualize and understand that use. The following is a list of chapters, and a summary of concepts contained therein. CHAPTER ONE: After briefly considering some of the challenges of interdisciplinary scholarship, I will review the literature on classical music in the sound film. This review will touch upon the early (1930s and 1940s) commentaries of Kurt London, Hanns Eisler and Theodor Adorno, and John Huntley, and then pass on to a kind of concensus held between both commentators and composers of the 1960s and 1970s. Finally I will review the work of more recent film music scholars who, along with some others working in other fields, provide what I feel to be a more open model for understanding this kind of film music. CHAPTER TWO: Having reviewed the position of the film music community, this chapter will concern some responses of music critics to film music generally, and the appropriation of classical music in particular. I will outline specific complaints and criticisms, and attempt to show some of the broader socio-musical issues that motivated them. CHAPTER THREE: This chapter will consider the musical parallelism associated with traditional Hollywood-type narratives, and then concentrate on the oppositional model (derived from "montage" aesthetics) represented by Soviet and other modernist cinemas. I will deal especially with the influential "counterpoint analogy, " and consider how musical discourse can resolve some of the confusions that this analogy has habitually presented. CHAPTER FOUR: The last chapter will have presented a counterpoint based on musical principles as a possible analogy or metaphor for how film music works, and how its meaning and affect can be understood. This chapter is about the programme music tradition that prevailed in the nineteenth century. I will enumerate some of its sin-fflarities, musically and in terms of its critical reception by the music community, to film music. I will explore how programmes, or extra-musical narratives, are also central to understanding musical meaning, and to the use of classical music in films. CHAPTER FIVE: Here I will look more closely at montage, meaning, and classical music on film. A number of questions will be addressed. What are the interpretive strategies that most apply? How does musical meaning function in a film context, especially with regard to source music? Beyond classical music in general, what is the importance of periods, idioms, composers and specific pieces? What is the significance of the artist's intent? What about when the artist is not fully in control of his circumstances, or of his craft? What of phenomenology? All of these expansions obviously complicate the equation. Accordingly the concept of indeterminacy will be reviewed to suggest how both chance and control operate within musical montage. CHAPTER SIX: I will suggest and expand upon some of the extra-musical implications of this study. I will suggest some of the possibilities these raise for future research.
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Pymm, John Michael. "Narrative trails in the speech-based music of Steve Reich." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/374883/.
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This thesis considers Steve Reich's speech-based compositions between 1963 and 1988 in the light of their source materials. The collection comprises seven pieces: The Plastic Haircut(1964); Livelihood (1964); It's Gonna Rain (1965); Come Out (1966); Buy Art, Buy Art (1967); My Name Is (1967), and Different Trains (1988). The sources for these pieces constitute a plethora of hitherto unexamined audio recordings, transcriptions of which are included in a separate volume of appendices. The study presents a detailed transcription and consideration of these archival sources, culminating in a new narrative reading of each of Steve Reich's speech-based pieces from the first three decades of his compositional output. Although some recordings now exist on-line, Reich's decision in 2008 to transfer his private archive to the Paul Sacher Stiftung in Basel, Switzerland, has opened up a much larger collection. This considerable body of source material allows a new understanding of the stories told by each of these seven pieces. Whilst firmly rejecting the notion that his music tells stories, Reich has accepted that the documentary nature of the recorded materials for his speech-based works marks them out as a special case. This invites scrutiny of the relationship between these recordings and the pieces themselves, shedding new light on the narrative trails that connect them.
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Sutton, Mathew D. "The Tennessee Two-Step: Narrating Recovery in Country-Music Autobiography." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/7833.
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Moving beyond familiar myths about moonshiners, bootleggers, and hard-drinking writers, Southern Comforts explores how alcohol and drinking helped shape the literature and culture of the U.S. South.
Edited by Conor Picken and Matthew Dischinger, this collection of seventeen thought-provoking essays proposes that discussions about drinking in southern culture often orbit around familiar figures and mythologies that obscure what alcohol consumption has meant over time. Complexities of race, class, and gender remain hidden amid familiar images, catchy slogans, and convenient stories.
As the first collection of scholarship that investigates the relationship between drinking and the South, Southern Comforts challenges popular assumptions by examining evocative topics drawn from literature, music, film, city life, and cocktail culture. Taken together, the essays collected here illustrate that exaggerated representations of drinking oversimplify the South’s relationship to alcohol, in effect absorbing it into narratives of southern exceptionalism that persist to this day.
From Edgar Allan Poe to Richard Wright, Bessie Smith to Johnny Cash, Bourbon Street tourism to post-Katrina disaster capitalism and more, Southern Comforts: Drinking and the U.S. South uncovers the reciprocal relationship between mythologies of drinking and mythologies of region.
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Olszewski, Carol A. "Experiences of Music Therapy Junior Faculty Members: A Narrative Exploration." Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu156812475885396.
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Pozderac-Chenevey, Sarah. "The Narrative Function of Pre-existing Music in Video Games." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1562060451119602.
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Tremblay, Jean-Benoît. "Polystylism and narrative potential in the music of Alfred Schnittke." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31174.
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This dissertation examines the narrative potential created by polystylism in selected works of Alfred Schnittke. "Polystylism," the combination of many styles in a single work, is Schnittke's answer to a compositional crisis that he experienced as a young Soviet composer. Polystylistic works often present blunt juxtapositions of styles that cannot be explained by purely musical considerations. I argue that listeners, confronted with those stylistic gaps, instinctively attempt to resolve them by the construction of a narrative. Three works, each showing different approaches to polystylism, are examined. The Symphony No. 1, which constitutes a kind a polystylistic manifesto, presents a number of exact quotations of Beethoven, Grieg, Tchaikovsky and Chopin among others. It also makes uses of the Dies Irae and of various stylistic allusions. The result is a work in which Schnittke, asking how to write a Symphony, eventually kills the genre before resurrecting it. Elaborated from a fragment of a pantomime by Mozart, Moz-Art is a reflection on the opposition between the old and the new, between the past and the present. The work builds upon the plurality of styles already present in Mozart's music. For the Concerto Grosso No. 1, Schnittke devised a program, albeit a secret one. The piece is at the center of a complex network of references, some unveiled in the work's sketches, others originating from the film music of the composer. A story involving the Jungian concepts of animus, anima and collective unconscious is developed around musical elements as diverse as the BACH musical motive, a folktune, a dodecaphonic waltz and a tango. The tango, which periodically reoccurs in Schnittke's work, is the topic of the last chapter. Over the course of several works, the tango accumulates diverse meanings in Schnittke's music. In the Symphony No. 1, it is an easy solution to a composer's problem; in Agony, it is a lure appealing to Rasputin's inner demons; in the Concerto Grosso No. 1, the tango takes part in a stylistic Utopia; in Die Historia von D. Johann Fausten , it is the feminine; in Life with an Idiot , it is the violence present in everyone.Arts, Faculty of
Music, School of
Graduate
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Marzec, Katarzyna. "Prokofiev's Second Piano Concerto: Its Genesis, Form, and Narrative Structure." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/238190.
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Music PerformanceD.M.A.
This monograph on Prokofiev's Second Piano Concerto fills the regrettable gap in scholarly research. By using recently published materials from the Russian archives, it clarifies the contradictory records and opinions on the concerto's genesis and history as well as identifies Prokofiev's sources of inspiration in the categories of form, style, and expressiveness. The second part of the monograph contains an analysis of the dramatic and narrative content of the Second Piano Concerto, inspired by musical hermeneutics, semiotics, and narrative theory. The analysis uncovers the means used by Prokofiev in creation of the unusually dramatic tone, and intertextual sublayers contributing to the puzzling and often ambiguous nature of the piece. Furthermore, the analysis of the contextual and intertextual meaning reveals how performance tradition has influenced the reading of the piece's ambiguities, and how occasionally it contradicts the score's semiotic content and the composer's indications. Most importantly, it shows how Prokofiev's tendency toward irony and mockery is reflected in musical form.
Temple University--Theses
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Lotter, Sané. "The affordances of narrative group music therapy with adolescents who self harm." Diss., University of Pretoria, 2018. http://hdl.handle.net/2263/64975.
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This qualitative study examined how adolescent participants who self-harm narrate motivations for and experiences of self-harm and what a narrative group music therapy process could afford them. Seven participants from a high school in South Africa who engage in self-harm attended narrative group music therapy sessions for six weeks. Multiple interventions were used to create opportunities for self-expression within sessions. Narratives that emerged during this therapeutic process were analysed. Five main narratives were identified: “who I am, becoming and strive to be,” “relationships,” “worldview,” “self-harm,” “music therapy.”Mini Dissertation (MMus)--University of Pretoria, 2018.
Music
MMus
Unrestricted
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Shouse, Jennifer Lauren Ferguson Paul Harry. "Time traveling, re-bodying and collaborating through narrative theatre with music." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,332.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements of the degree of Master of Arts in the Department of Communication Studies (Performance Studies). Discipline: Communication Studies; Department/School: Communication Studies. Includes a supplemental video.
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Fusik, James Paul. "The Theatrical Saxophone: Visual and Narrative Elements in Contemporary Saxophone Music." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363599296.
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Ferguson, Francesca Christina. "Dualistic relationships in northern Chinese narrative arts." Thesis, Connect to this title online; UW restricted, 1988. http://hdl.handle.net/1773/11387.
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Russell, Heather A. "Music Student Teacher Reflections as Narratives of Identity." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/146212.
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Music EducationPh.D.
The purpose of this research was to explore how music student teachers make sense of classroom events during the student teaching internship using a required Video Reflection Assignment. Three questions guided this study: 1) How did student teachers use aspects of three-dimensional narrative space (temporality, sociality, and space) to story classroom events? 2) What aspects of Reflective Practice did student teachers illustrate in their Video Reflection Assignments? 3) How did student teachers reveal their identities as musicians and teachers through their reflections? Data were Video Reflection Worksheets (VRW), video-recorded teaching episodes (videos), and participant questionnaires. Analysis combined narrative, case study, and grounded theory techniques. Participants' answers on VRWs revealed aspects of their musician and teacher identities, dilemmas of practice caused by classroom events and conflicting stories with cooperating teachers, and provided insight into the ways participants either rationalized or reflected on classroom events. Results of the study contribute to the profession's understanding of the interplay of musician and teacher identities, and point to the importance of attending to narratives of identity revealed in student teachers' reflections through language use, as well as the alignment of student teachers' and cooperating teachers' storied identities when assigning internship placements. Additionally, results raise important questions concerning student teachers' abilities to use reflective assignments like the one in this study to self-reflect, and point to the usefulness of three-dimensional narrative space and MacKinnon's clues to detecting reflective activity for reframing teacher-educator's evaluations of student teachers' reflections.
Temple University--Theses
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Keefe, Robert Michael. "Mysterium Cosmographicum, for Orchestra, Narrator/Actor, and Computer Music on Tape." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332398/.
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Mysterium Cosmographicum is a musical chronicle of an astronomy treatise by the German astronomer Johannes Kepler (1571-1630). Kepler's Mysterium cosmographicum (Tubingen, 1596), or "Secret of the Universe," was a means by which he justified the existence of the six planets discovered during his lifetime. Kepler, through flawless a priori reasoning, goes to great lengths to explain that the reason there are six and only six planets (Mercury, Venus, Earth, Mars, Jupiter, and Saturn) is because God had placed one of the five regular solids (tetrahedron, cube, octa-, dodeca-, and icosahedron) around each orbiting body. Needless to say, the publication was not very successful, nor did it gain much comment from Kepler's peers, Galileo Galilei (1564-1642) and Tycho Brahe (1546-1601). But hidden within the Mysterium cosmographicum. almost like a new planet waiting to be discovered, is one of Kepler's three laws of planetary motion, a law that held true for planets discovered long after Kepler's life-time.
Mysterium Cosmographicum is a monologue with music in three parts for orchestra, narrator/actor, and computer music on tape. All musical data structures ape generated via an interactive Pascal computer program that computes latitudinal and longitudinal coordinates For each of the nine planets as seen From a Fixed point on Earth For any given time Frame. These coordinates are then mapped onto selected musical parameters as determined by the composer.
Whenever Kepler reads From his treatise or From a lecture or correspondence, the monologue is supported by orchestral planetary data generated From the exact place, date, and time oF the treatise, lecture, or correspondence. To the best oF my knowledge, Mysterium Cosmographicum is the First composition ever written that employs planetary data as a supporting chronology to action and monologue.
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Conway, Elisha. "Rejecting the Page, Inciting Visuality: Staging 'Woyzeck' in a Mediatized Culture." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/23645.
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The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual.
Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration.
This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.
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Konowal, Jennifer A. "Narrating the Lives of Saints and Sinners in Samuel Barber’s Hermit Songs." Wittenberg University Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1469105065.
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D'Onofrio, Emanuele. "Film music, nationhood and narrative identity : Italian contemporary cinema revisits the 1970s." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.493909.
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This work sets out to use film analysis, with specific regard to film music, to discuss the relationship between representations of the past and certain conditions of nationhood in contemporary Italy. Focusing on five recent films depicting memories of the 1970s, this thesis looks on the one hand at how certain past events, such as young people's political activism in organisations and movements largely repressed by official historiography, when revisited in films ; links with audiences, particularly with in today's Italy. On the other hand, by analysing the films' representational forms and language, the thesis considers to what extent the growing number of films that offer a vision of the 1970s, both alternative and complementary to a period of political violence and terror signified by the label anni di piombo [years of steel], highlights the urgency for current society to re-think the modalities and strategies of writing history and constructing memory.
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Higgins, Lisa L. "Reconstructing gender, personal narrative, and performance at the Michigan Womyn's Music Festival." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5561.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on June 8, 2009) Vita. Includes bibliographical references.
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Lese, Amy. "Primitive Polyphony? Simple Polyphony Outside the Mainstream of the Music History Narrative." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19281.
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This thesis addresses the relatively narrow understanding of simple polyphony in music history. Using three examples, I provide a survey, mostly of secondary literature available in English, and offer an overview of the use of simple polyphony in three different places and time periods in Western Europe during the Middle Ages and the Renaissance. More specifically, I examine the music of the Devotio Moderna in the Low Countries and Northern Germany during the fifteenth and sixteenth centuries, the Llibre Vermell and Iberian pilgrim culture in the fourteenth century, and the laude and processional genres in Northern Italy during the thirteenth, fourteenth, and fifteenth centuries. My purpose is to bring the topic of simple polyphony—significant despite its simplicity—back to the center of the music history narrative.
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Jackson, Stephanie. "Music Cover Design in the Digital Age." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin156327401366013.
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Beckett, Judith Rosalyn. ""Things real and imagined" : the narrator-reader in Anthony Powell’s A dance to the music of time." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25344.
Full textAbstract:
Anthony Powell's A Dance to the Music of Time is a "fictional memoir" in which the narrator, Nick Jenkins, describes the events and characters he has observed throughout his life. As such, the primary focus of the novel would seem to be those characters and events, but the way in which Nick relates his story has a considerable impact on the narrative, and, therefore, on that primary focus. Powell has not only chosen to employ a first-person narrator, thereby establishing a specific, and individual, narrative voice, or point of view, but he also has that narrator consume much of novel by describing his perceptions of the world he observes, and this brings into focus the nature of that perspective. Hence, this paper examines the nature of Nick's role in the novel, both as character and narrator, and attempts to delineate the effect that that role has on the novel as a whole.
Essentially, Nick can be characterized as a "reader" who, in effect, "interprets" the characters and events he describes, thereby contributing his imagination to their "construction". Whether he reads actual texts or observes human behaviour, Nick engages in an interpretative process which is analogous to that in which a reader interprets a text: interpreting "signs", constructing "causes", translating texts into images and "meaning-bearing" ideas, and subjecting his own "reading" to scrutiny, thereby effectively "rereading" previous "interpretations". As a "reader", Nick is interested in more than mere description: he not only desires to understand the nature of the people with whom he is involved, but also to appreciate the significance of the events he witnesses, so as to form a kind of pattern which would reveal the central themes of an age. In so doing, he does not merely relate "what happens", thereby "putting up a mirror" to his past; he also describes his experience of that past, so that the narrative does not so much present "reality", as it presents Nick’s perception of reality.
Nick's characterization as a "reader" is founded on specific theories regarding the nature of the reading process, especially as they apply to the relationship between reader and text, and, therefore, the products of his "interpretations" are considered in relation to the creation of fiction. In essence, Nick's "reading" results in the construction of the characters and events he observes, so that ultimately he creates "fictions". In other words, because he does not present "reality", nor even a "reconstruction" of reality, but a "reconstruction" of his perception of that reality, Nick, in fact, "creates" his narrative, thereby constructing fiction. Hence, just as a reader creates the fiction of a novel by interpreting its text, so too does Nick produce fiction by "interpreting" the world he is portraying. Thus, in his "search for knowledge", in his efforts to understand the world around him, Nick "creates" that world, so that knowledge would seem to be the product of the observer's, or "reader's", construction - in essence; a fiction.Arts, Faculty of
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