Dissertations / Theses on the topic 'Music in 1960s'
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Ziefel, Jenny. "A living instrument : the clarinet in jazz in the 1950s and 1960s /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11284.
Full textVita. Includes transcript of interview, vita and discography of Bill Smith (leaves 257-286). Includes bibliographical references (leaves 240-256).
Breen, Edward George. "The performance practice of David Munrow and the early music consort of London : medieval music in the 1960s and 1970s." Thesis, King's College London (University of London), 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.646010.
Full textBreen, Edward George. "The performance practice of David Munrow and the early music consort of London : medieval music in the 1960s and 1970s." Thesis, King's College London (University of London), 2015. http://kclpure.kcl.ac.uk/portal/en/theses/the-performance-practice-of-david-munrow-and-the-early-music-consort-of-london(6153a225-144d-4664-96c4-125cd150f535).html.
Full textMichaelsen, Garrett. "Analyzing musical interaction in jazz improvisations of the 1960s." Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3599217.
Full textCollaborative practices of music making abound in jazz improvisation. Nearly every jazz performance involves the coordination of numerous individuals in a dynamic group environment. Many music-theoretical approaches to jazz improvisation have emphasized the individual contributions of the improvising soloist; this emphasis tends to reinforce the widespread view of jazz as a soloist's art. To shift attention to collective dimensions of jazz improvisation, I propose an approach to group improvisation that takes interaction and exchange as crucial components of music making.
In the first chapter of part I, I examine previous analytical approaches in both the “psychological” (individual-centered) and “sociological” (group-centered) traditions, then develop a new theory of musical interaction in jazz improvisation in chapter 2. I construe interaction as the process by which one player intervenes in the unfolding performance of another. Their processes of “intervention” produce projections of musical continuations in the subsequent musical content or character of the other performers. An analyst may interpret the utterances of individual musicians as converging (projecting similar continuations) or diverging (projecting dissimilar continuations). Throughout the dissertation, I offer and analyze transcriptions of music taken from the decade of the 1960s, a decade in which interaction came even more to the fore due to the eclectic and vibrant combination of styles in jazz performance.
In part II of the dissertation, I extend the conception of interaction from the moment-based and player-to-player influenced level discussed in chapter 2 to three expanded “domains” of interactional activity: musical referents, roles, and styles of jazz practice. Chapter 3 introduces these domains and the Miles Davis quintet's influential recording Live at the Plugged Nickel, from which I draw the majority of musical examples in part II. Chapter 4 examines the influence pre-improvisational referents, such as tunes, arrangements, and prior performances, have on the performative actions of musicians. Musical roles (horns, bassist, drummer, and pianist) and functions (soloing, comping, and keeping time) and their impacts on musicians' utterances are the focus of chapter 5. To conclude part II, chapter 6 explores the real-time demands of jazz style, particularly its fundamental uncertainty about the music's future state and the ways in which style can motivate interactional dimensions of improvisation.
Part III of the dissertation introduces a method for analyzing entire performances using this theory of musical interaction. Chapter 7 focuses on an intriguing piano-trio recording Money Jungle by Duke Ellington, an infamous album for the at-times-prickly relationships it exhibits between Ellington and his bandmates Charles Mingus and Max Roach. I analyze transcriptions of two complete performances on the record, “Fleurette Africaine” for its predominantly convergent impulses, and “Money Jungle” for its divergent trajectories. In both analyses, I “improvisationally” shift between different musical aspects and interactional domains in order to fashion an analytical narrative of their interactional projections and resultant outcomes.
Ketema, Raymok. "ERITREAN SOUNDS OF RESISTANCE: A HISTORICAL, POLITICAL, and MUSICAL ANALYSIS ON THE REVOLUTIONARY WAR, 1960s to 1990s." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524148034538656.
Full textAdelt, Ulrich. "Black, white and blue racial politics of blues music in the 1960s /." Diss., University of Iowa, 2007. http://ir.uiowa.edu/etd/128.
Full textJohan, Adil Bin. "Articulating a nation-in-the-making : the cosmopolitan aesthetics of Malay film music from the 1950s to 1960s." Thesis, King's College London (University of London), 2014. http://kclpure.kcl.ac.uk/portal/en/theses/articulating-a-nationinthemaking(b536d96b-536c-466e-831c-7ce8feb64738).html.
Full textThomas, Helen Christina. "Disturbing times : metaphors of temporality in avant-garde music of the 1960s." Thesis, Lancaster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632545.
Full textAttili, Maurizio. "A Panoramic View of the Italian Beat Movement." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1289323378.
Full textDauterive, Jessica A. "Picturing the Cajun Revival: Swallow Records, Album Art, and Marketing an Identity of South Louisiana, 1960s-1970s." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2138.
Full textMeynell, Anthony. "How recording studios used technology to invoke the psychedelic experience : the difference in staging techniques in British and American recordings in the late 1960s." Thesis, University of West London, 2017. https://repository.uwl.ac.uk/id/eprint/3837/.
Full textHagen, Trever Thomas. "Musicking in the merry ghetto : the Czech underground from the 1960s to the 2000s." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3726.
Full textMurphy, Nancy Elizabeth. "The times they are a-changin : flexible meter and text expression in 1960s and 70s singer-songwriter music." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/56193.
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Sutton, Matthew D. "The Young, Clean-Cut America: The Hootenanny, Revisited." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2365.
Full textMazey, Paul Adrian. "British Film Music, 1930s-1950s." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730833.
Full textFirca, Stefan. "Circles and Circuses: Carnivalesque Tropes in the Late 1960s Musical and Cultural Imagination." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306865194.
Full textLee, Gui Hwan. "The Roots of Texture as a Structural Agent in Luciano Berio’s Sincronie for String Quartet (1964), as Seen in His Early 1960s Orchestral Works, Nones, Tempi Concertati, Allez-hop, and Epifanie as well as Late 1960s Work, Sinfonia." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1504801778724386.
Full textMendoza, Marisa B. "Canciones del Movimiento Chicano/Songs of the Chicano Movement: The Impact of Musical Traditions on the 1960s Chicano Civil Rights Movement." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/129.
Full textHogg, Anthony. "From 'Can't Buy Me Love' to 'How Deep is Your Love?' : an analysis examining key phases of development of the functions of popular music in U.K. and U.S. films of the 1960s and 1970s." Thesis, University of Gloucestershire, 2017. http://eprints.glos.ac.uk/5443/.
Full textFranks, Daniel. "Jazz in Hollywood (1950s – 1970s)." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/381456/.
Full textLiao, Yen Jen Yvonne. "Western music and municipality in 1930s and 1940s Shanghai." Thesis, King's College London (University of London), 2017. https://kclpure.kcl.ac.uk/portal/en/theses/western-music-and-municipality-in-1930s-and-1940s-shanghai(aafa1e93-7c19-44d9-8c77-df226ed5d568).html.
Full textPiotrowski, Stephanie Anne. ""All I've got to do is act naturally" : issues of image and performance in the Beatles' films." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/51353.
Full textJansson, Fredrik. "Frijazz äntrar scenen : Något nytt som skapar debatt och dess plats i den svenska jazzdiskursen." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-168930.
Full textRichardson, Gerry. "Where did the music come from? : maintaining and extending the 1960s hard bop legacy of Hammond organ practice in a large ensemble context at the beginning of the 21st century." Thesis, University of Newcastle Upon Tyne, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442215.
Full textVlčková, Petra. "Hudba jako výraz životního stylu ve Velké Británii v šedesátých letech 20. století. Příspěvek k evropské konzumní společnosti po roce 1945." Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-124637.
Full textYip, Ka-man. "A study of Hong Kong popular song lyrics from 1970s to 1990s." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199731.
Full textChen, Szu-Wei. "The music industry and popular song in 1930s and 1940s Shanghai : a historical and stylistic analysis." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/202.
Full text葉嘉敏 and Ka-man Yip. "A study of Hong Kong popular song lyrics from 1970s to 1990s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952896.
Full textPurba, Mauly 1961. "Musical and functional change in the gondang sabangunan tradition of the Protestant Toba Batak 1860s-1990s, with particular reference to the 1980s-1990s." Monash University, Dept. of Music, 1998. http://arrow.monash.edu.au/hdl/1959.1/8596.
Full textOlson, Ted. "Perspectives on the Location Concept of Country Roots Recording Sessions in the 1920s and 1930s." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1116.
Full textLaux, Katie M. "Songs in the key of protest how music reflects the social turbulence in America from the late 1950s to the early 1970s /." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1184767254.
Full textPruvost, Céline. "La chanson d’auteur dans la société italienne des années 1960 et 1970 : une étude cantologique et interculturelle." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040227.
Full textThis doctoral thesis analyzes a specific cultural object, the songs by singer-songwriters in Italy, between 1958 and 1980. The chosen methodological approach, cantology, consists in crossing analysis of text, music and interpretation. The study also looks at links between songs and Italian cultural and social context in which they were created, as well as and influences from other cultures, with francophone and anglophone songs.The first part provides a series of benchmarks to seize this object. Redrawing emergence of the neologism "cantautore" and expression "canzone d’autore" allows to precisely define the field. Historical perspective is given, as well as geographical and biographical elements regarding the authors of the corpus. The second part gathers methodological and aesthetic reflections, by offering a synthesis of innovative and multidisciplinary approaches which allow not to reduce the study of the song to that of its text, thus avoiding yet too frequent assimilation with poetry. An analysis comparing singable and non-singable translations shows how writing music deeply affects writing texts. The third part analyzes the major innovations introduced in the song in these two decades : at first considering thematic content changes with regard to the Italian legislative changes, then focusing inside of the song, and finally studying the layout of these songs. This path leads to the study of song genre interactions with other languages, through forms including image, such as film or rock opera
Laux, Katie. "SONGS IN THE KEY OF PROTEST: HOW MUSIC REFLECTS THE SOCIAL TURBULENCE IN AMERICA FROM THE LATE 1950S TO THE EARLY 1970S." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1184767254.
Full textGerolamo, Ismael de Oliveira 1987. "Arte engajada e música popular instrumental nos anos 60 : o caso do Quarteto Novo." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285266.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objeto desta dissertação é a produção musical do grupo Quarteto Novo registrada no LP homônimo lançado pela gravadora Odeon em 1967. Partindo de análises de fonogramas do disco, verificou-se que o grupo produziu uma linguagem híbrida, operando com elementos musicais regionais, principalmente aqueles identificados com a cultura sertaneja nordestina, articulados a procedimentos de outros gêneros e estilos associados a repertórios cosmopolitas. A investigação partiu de duas hipóteses: a possibilidade do ideário nacional-popular dos anos 60 ter balizado as escolhas estéticas dos músicos, orientando-os na retomada de tradições musicais brasileiras; e a de que a ruptura com o jazz, expressa nos discursos dos músicos, é relativa, uma vez que há sinais evidentes de procedimentos típicos do gênero norte-americano na construção da sonoridade característica do quarteto. O projeto artístico que orientou a produção do referido LP refletiu, na opinião dos próprios músicos, a preocupação com o "nacionalismo musical" e a busca de uma sonoridade "tipicamente brasileira". Tudo isso se traduziu em aspectos de arranjo, instrumentação e improvisação que se remetem às tradições musicais populares. A proposta do Quarteto Novo estava inserida num contexto de grande efervescência política e cultural impulsionada por artistas e intelectuais sintonizados com o que Ridenti definiu como "brasilidade revolucionária", uma construção simbólica que se constituiu numa maneira específica de auto-compreensão do Brasil naqueles anos, com forte conotação utópica. A brasilidade revolucionária serviu de parâmetro para a mobilização de uma geração de intelectuais e artistas que protagonizou uma das mais importantes experiências de arte engajada da história brasileira. Nessa conjuntura, a idealização de um autêntico "homem do povo", com raízes rurais, sertanejas, orientou boa parte da produção artística daqueles anos, da qual o disco Quarteto Novo pode ser considerado um exemplo significativo
Abstract: The object of this work is the musical production of the Brazilian group Quarteto Novo recorded on the homonymous LP released by Odeon in 1967. Based on analysis of phonograms disk has been found that the group produced a hybrid language, working with regional musical elements, especially those identified with the Brazilian Northeastern culture, articulated to techniques from other genres and styles. The investigation started with two assumptions: the possibility of national-popular ideology of the 60 Tues christened the aesthetic choices of the musicians, guiding them in the recovery of Brazilian musical traditions; and that the idea of rupture with jazz, expressed in the speeches of their own musicians, is relative, since there is very clear signs of typical procedures of jazz in the sonority of the Quarteto Novo. The aesthetic project that guides the production of that LP reflected, in the opinion of the musicians themselves, the concern with the "musical nationalism" and the search for a sound "typically Brazilian". All this has translated into aspects of arrangement, instrumentation and improvisation which refer to the popular music traditions. The proposal of the Quarteto Novo was embedded in a context of great political and cultural ferment stimulated by artists and intellectuals in tune with what Ridenti defined as "revolutionary Brazilianness," a symbolic construction that was a specific way of self-understanding of Brazil in those years, with a strong utopian connotation. The "revolutionary Brazilianness" served as a parameter to mobilize a generation of intellectuals and artists who starred in one of the most important experiences of activist art of Brazilian history. At this conjuncture, the idealization of a real "man of the people" with rural roots oriented much of the artistic production of those years, of which the disc Quarteto Novo is one of the most significant examples
Mestrado
Fundamentos Teoricos
Mestre em Música
Mikkonen, Simo. "Music and power in the Soviet 1930s : a history of composers' bureaucracy /." Lewiston, N.Y. [u.a.] : Mellen, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017397006&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
Full textAnderson, Shana C. "Ideal Performance Practice for Silent Film: An Overview of How-to Manuals and Cue Sheet Music Accompaniment from the 1910s – 1920s." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/30223.
Full textKleppinger, Stanley V. "Tonal coherence in Copland's music of the 1940s /." Abstract, 2006. http://proquest.umi.com/pqdweb?did=1225126531&sid=2&Fmt=2&clientId=12010&RQT=309&VName=PQD.
Full textCurran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.
Full textOsiebe, Garhe Victor. "Political music genres in postcolonial Nigeria, 1960-2013." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6812/.
Full textBidgood, Lee, and Doctors and Outlaws. "Celebration of 1970s Country-Rock-Grass Fusion." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1063.
Full textDorsch, Juliane Verena. "Nostalgia and modernism in puppet music of the 1920s." Thesis, Royal Holloway, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531310.
Full textTietze, Gwendolyn Veronika. "Writing the middle ages : medieval music in the 1920s." Thesis, King's College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420993.
Full textForeman, Lewis. "English music 1860-1960 : its reception, revival and recording." Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/54335/.
Full textKim, Patricia Costa. "Making music their own : school music, community, and standards of excellence in Seattle, 1960-75 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11294.
Full textDewe, Michael. "The skiffle craze : a popular music phenomenon of the 1950s." Thesis, Aberystwyth University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441052.
Full textMoon, Krystyn R. "Yellowface creating the Chinese in American popular music, 1850s-1920s /." Available to US Hopkins community, 2002. http://wwwlib.umi.com/dissertations/dlnow/3068189.
Full textVaughn, Erin M. "Harmonic Resources in 1980s Hard Rock and Heavy Metal Music." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1449012267.
Full textAge, Alessander Henrique. "Musica no alvo : um estudo da musica publicitaria nas decadas de 1950 e 1960 no Brasil." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284761.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação de mestrado aborda a inserção da música na linguagem publicitária e sua influência no processo de comunicação. Através de um levantamento histórico e analítico, procura-se entender como a música atuou dentro do contexto publicitário nas décadas de 1950 e 1960. Para tanto, com base na teoria da publicidade e música de cinema, foram analisados filmes publicitários e anúncios de rádio produzidos nas cidades de São Paulo e Rio de Janeiro nesse período
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Mestre em Música
Önen, Ufuk. ""Black, not grey: Ankara rocks!" : a creative practice-based investigation of the Ankara rock music scene of the 1980s and the 1990s through documentary filmmaking." Thesis, University of Salford, 2017. http://usir.salford.ac.uk/44340/.
Full textGabrillo, James. "The New Manila Sound : music and mass culture, 1990s and beyond." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/286224.
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