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Dissertations / Theses on the topic 'Music Publishing'
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Olson, Ted. "Publishing Appalachian Writing." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1119.
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An, Yu Lee. "Music Publishing in London From 1780 to 1837 as Reflected in Music Publishers' Catalogues of Music for Sale: A Bibliography and Commentary." Thesis, University of Canterbury. Music, 2008. http://hdl.handle.net/10092/4197.
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This study documents and analyses the music-selling and publishing industry in London from 1780 to the end of the Georgian period as reflected in publishers' catalogues of music for sale. It assembles the histories and activities of these music publishers in relation to the society they served. Catalogues inform us quite precisely not only of the activities of music publishers, but also the role they played in accommodating, influencing, expanding and educating the contemporary musical taste. In addition, catalogues provide documentary evidence of compositions in issues no longer extant, and even of some works themselves at least by the lesser-known composers. Nearly 600 catalogues in over 1100 states, issued by over 100 London music-publishing firms from 1780 to 1837 have been gathered from the British Library, London; the Bodleian Library, Oxford, and Cambridge University Library, Cambridge. Arguably, publishers' catalogues are among the sharpest yet least appreciated mirrors of changes in musical taste. This study attempts to bring them into the foreground, place them in their proper historical perspective and establish their role in musicological research.
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Carter, Stephanie. "Music publishing and compositional activity in England, 1650-1700." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/music-publishing-and-compositional-activity-in-england-16501700(14b13888-a2be-44d4-9e14-66b0980b3fec).html.
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This thesis focuses on the flourishing music-publishing industry in England in the second half of the seventeenth century, and examines its relationship to and influence on the activities of professional musicians. Music publishing as a commercial entity developed in England during this period, particularly, but not exclusively, through the endeavours of the Playford family. By placing the printed music books within the social and cultural contexts in which they were produced, this thesis explores the consequences of printing on the musical text, understanding the purposes for which the printed book was created and how different functions of print affected the musical texts that they contained. A detailed examination of the printed music sources sheds light on how publication (including posthumous publication) related to the image and status of the composer, and draws attention to the interaction between public music-making, compositional activity and music publishing during this period. Through an investigation of the contemporary printed outputs of five case-study composers - William Lawes, Henry Lawes, Matthew Locke, Henry Purcell and John Blow - this thesis explores the individual nature of the composers' relationships with the printed music book trade and how their contemporary printed outputs relate to their overall compositional output. This is followed by a detailed analytical study of specific compositions by the five case-study composers, examining both contemporary manuscript and printed sources, in order to determine to what extent the commercial print market influenced professional musical creativity. Different versions of compositions of certain genres, particularly secular vocal works, were disseminated via print as opposed to manuscript, and these alternative versions appear to have been instigated by both composers and stationers. This approach to examination of contemporary sources calls for the contextual consideration of sources and the musical texts within them.
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Carter, Nicholas Paul. "Automatic recognition of printed music in the context of electronic publishing." Thesis, University of Surrey, 1989. http://epubs.surrey.ac.uk/843542/.
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Computers are used to manipulate music in various forms, for example digital sound recordings, digitized images of printed scores and music representational language (M.R.L.) encodings. This work is concerned with producing M.R.L. data automatically from existing printed music scores. A review of work undertaken in the field of manipulating printed music by computer is provided. This shows that software which permits production of high-quality scores is commercially available, but the necessary data has to be entered using some form of keyboard, possibly in conjunction with a pointing device. It is desirable, for reasons detailed in this work, to be able to convert the musical information contained in the enormous quantity of existing music into computer-readable form. The only practical method for achieving this is via an automatic system. Such an automatic system must cope with the variations in format, content and print-quality of existing scores. Background material relating to previous work on pattern recognition of various types of binary image is included, with a section covering the subject of automatic recognition of printed music. An original system for automatic recognition of printed music developed by the author is described. This is designed to be widely applicable and hence is, in effect, omnifont and size-independent, with significant tolerance of noise, limited rotation, broken print and distortion. Numerous illustrations showing the application of the system are included, together with proposals for future areas of development.
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Paulů, Lukáš. "Mezinárodní obchod hudebního vydavatelství Supraphon a hudebního nakladatelství ProVox music publishing." Master's thesis, Vysoká škola ekonomická v Praze, 2007. http://www.nusl.cz/ntk/nusl-2400.
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Přes popis vývoje hudebního průmyslu, jak na domácí scéně, tak v zahraničí, se práce dostává k historii společnosti Supraphon, a. s. a k jejímu současnému působení v rámci České republiky i v mezinárodním obchodě. Charakterizuje současný trend v oblasti mezinárodního obchodu s hudebními nahrávkami a způsob jejich prodeje do zahraničí. Dále pak líčí vznik a vývoj hudebního nakladatelství ProVox music publishing, s. r. o., věnuje se hlavní nakladatelské činnosti, objasňuje terminologii a charakterizuje domácí a zahraniční činnost tohoto nakladatelství.
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Ballantyne, Abigail L. "Writing and publishing music theory in early seventeenth-century Italy : Adriano Banchieri and his contemporaries." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:5567c6ab-360c-47da-8b82-d7f1d4a4d4d7.
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Why write music theory and publish it? In the thesis I investigate the reasons for a seeming over-abundance of practically oriented music treatises in early seventeenth-century Italy. Throughout I challenge our conventional assessment of the study of music theory: I suggest that we can define a music-theoretical text in terms of its material form in addition to its content. Adriano Banchieri (1568-1634) was the most prolific theorist in early seventeenth-century Italy. His music-theory books exemplify contemporary printing patterns, an overt practical focus, and a synthesis of contemporary theoretical innovations. In Chapter 1, after considering the meaning of 'music theory' and how it is typically classified, I discuss the process of and purposes for writing and publishing music theory. In Chapter 2 I explore Banchieri's practical and philosophical motives for writing music theory, and thus introduce the reader to his music-theoretical corpus. The focus of the thesis then broadens: in Chapter 3 I survey the typical authors, publishing houses, content, material form, function and readers of the various kinds of theoretical texts printed in Italy between 1600 and 1630. In Chapter 4 I examine the widespread practice of publishing second and revised editions of music-theory books in order to establish the extent to which a new edition corresponds to a seeming demand for a particular text. The case study of the paratext of Banchieri's Conclusiones de musica (Bologna, 1627) in Chapter 5 demonstrates the great extent to which the preliminary matter of an early Seicento music-theory book is embedded in its socio-cultural context and how a paratext projects ideas contained in the text proper. Lastly, in Chapter 6 I explore to whom and in which particular forums theoretical writings circulated. Here I focus principally on Banchieri's printed letters, which provide evidence of how an author circulated his music books.
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Punkt, Anita. "Der Friedrich Hofmeister Musikverlag : sein Profil in Geschichte und Gegenwart /." Berlin dissertation.de, 2006. http://d-nb.info/986613649/04.
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Brown, Hugh. "It’s not me, it’s you : a participant observation case study of the self-publishing musician in the 21st century." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/47034/1/Hugh_Brown_Thesis.pdf.
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This thesis explores the business environment for self-publishing musicians at the end of the 20th century and the start of the 21st century from theoretical and empirical standpoints. The exploration begins by asking three research questions: what are the factors affecting the sustainability of an Independent music business; how many of those factors can be directly influenced by an Independent musician in the day-to-day operations of their musical enterprise; and how can those factors be best manipulated to maximise the benefit generated from digital music assets? It answers these questions by considering the nature of value in the music business in light of theories of political economy, then quantitative and qualitative examinations of the nature of participation in the music business, and then auto-ethnographic approaches to the application of two technologically enabled tools available to Independent musicians. By analyzing the results of five different examinations of the topic it answers each research question with reference to four sets of recurring issues that affect the operations of a 21st century music business: the musicians’ personal characteristics, their ability to address their business’s informational needs; their ability to manage the relationships upon which their business depends; and their ability to resolve the remaining technological problems that confront them. It discusses ways in which Independent self-publishing musicians can and cannot deal with these four issues on a day-to-day basis and highlights aspects for which technological solutions do not exist as well as ways in which technology is not as effective as has been claimed. It then presents a self-critique and proposes some directions for further study before concluding by suggesting some common features of 21st century Independent music businesses.
This thesis makes three contributions to knowledge. First, it provides a new understanding of the sources of musical value, shows how this explains changes in the music industries over the past 30 years, and provides a framework for predicting future developments in those industries. Second, it shows how the technological discontinuity that has occurred around the start of the 21st century has and has not affected the production and distribution of digital cultural artefacts and thus the attitudes, approaches, and business prospects of Independent musicians. Third, it argues for new understandings of two methods by which self-publishing musicians can grow a business using production methods that are only beginning to be more broadly understood: home studio recording and fan-sourced production. Developed from the perspective of working musicians themselves, this thesis identifies four sets of issues that determine the probable success of musicians’ efforts to adopt new technologies to capture the value of the musicians’ creativity and thereby foster growth that will sustain an Independent music business in the 21st century.
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Giselbrecht, Elisabeth Anna. "Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.
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Finley, Nathan. "MANAGING CREATIVE INTELLECTUAL PROPERTY IN DISRUPTEDINDUSTRIES: A BUSINESS PLAN FOR ATHENA PUBLISHING LLC." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619186560810578.
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Brennan, Marc Andrew. "Writing to reach you : the consumer music press and music journalism in the UK and Australia." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16141/1/Marc_Brennan_Thesis.pdf.
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The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships.
Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. This thesis, therefore, argues that the production of music journalism is one that is influenced by the practices of consumption.
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Brennan, Marc Andrew. "Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16141/.
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The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. This thesis, therefore, argues that the production of music journalism is one that is influenced by the practices of consumption.
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Freiberg, Irmtraut. "Die Entwicklung des Generalbasses in den gedruckten italienischen Instrumentalwerken der Jahre 1595 bis 1655." Frankfurt am Main : Lang, 2002. http://catalog.hathitrust.org/api/volumes/oclc/52970442.html.
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MOSS, JAMES C. "BRITISH MILITARY BAND JOURNALS FROM 1845 THROUGH 1900: AN INVESTIGATION OF INSTRUMENTATION AND CONTENT WITH AN EMPHASIS ON BOOSÉ'S MILITARY JOURNAL." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1006791413.
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Hebda, Paul Thomas. "Spółka Nakładowa Młodych Kompozytorów Polskich (1905-1912) and the Myth of Young Poland in Music." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331366/.
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This study deals with the four-composer Polish musical association, Young Polish Composers' Publishing Company, which became commonly known as the group Poland in Music. Young Poland in Music is considered by Polish and non-Polish music historians to be the signal inaugurator of modernism in Polish music. However, despite this most important attribution, the past eighty-odd years have witnessed considerable confusion over the perceptions of: 1) exactly who constituted the publishing company, 2) why it was founded, 3) what the intentions of its members were, and 4) the general reception its members' music received. This paper addresses and resolves this multiple confusion. Chapter I presents an introductory survey of the political, socio/cultural, and musical developments of Poland between 1772 and c1900, the period of the Polish Partitions through the beginnings of the "Young Poland" era. Chapter II presents a discussion of the facts surrounding the founding of the publishing company, as well as a discussion of the eighty-odd years of historical misinterpretations that have developed about the composers' company and its relationship to "Young Poland in Music." Chapter III discusses the interpersonal relationships of the composers and other persons directly involved with them and their company, and the impact that these relationships had on the publishing company. Additionally, the chapter brings into focus the specific relationships between the musicologist, Adolf Chybiński, the company, and its individual members. The chapter concludes with a discussion of the actual publishing activities of the company. Chapter IV examines the three concerts sponsored by the company and their critical receptions in Warsaw and Berlin through the surviving reviews and comments of leading contemporary music critics, the concert participants, the composers' close colleagues, and the composers themselves. Finally, Chapter V contains a brief discussion of the music presented on the three concerts, characterizing the works within the context of their initial critical reception.
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Strong, Alissa Eugenia. "An Empirical Study on the Effects of Music and Sound Effects in Fiction E-Books." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3912.
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Research indicates that music has a unique and powerful ability to affect how listeners react to a story (Schaefer, 1998). Publishing houses are increasingly incorporating music and other multimedia effects into their products, with companies such as Booktrack now including novel-length soundtracks with e-books. The present study aimed to empirically investigate the relationship between music and text by examining whether readers' enjoyment of and distraction from a fiction e-book is affected by the inclusion of music or sound effects. One hundred and twenty undergraduate students at Brigham Young University completed an e-book reading task (either accompanied by sound effects, music, or nothing at all) and completed a post-task survey that measured their enjoyment of and distraction from the task. It was found that multimedia-enhanced e-books were significantly more enjoyable (M = 4.555) than e-books alone (M = 4.035). Both sound effects and music (Ms = 4.512 and 4.594, respectively) led to higher levels of enjoyment than the control condition (M = 4.035), although later analyses indicated this effect was primarily found in females. Only the multimedia e-books incorporating sound effects significantly lowered distraction levels compared with the control (Ms = 1.698 and 3.621, respectively). The amount of time a participant spent engaged in multimedia behaviors (e.g., watching television, playing video games) did not consistently affect the relationships investigated. It was concluded that music and sound effects may be an enjoyable and interesting feature of e-books without detracting from the story. In some cases, the addition of multimedia made e-books as enjoyable for those who typically did not enjoy fiction as it was for those who enjoy fiction. It is recommended that publishers continue investigating this relationship, as multimedia e-books may open access to a new marketable audience for publishers.
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Van, Rensburg Adriana Janse. "Songwriting in adolescence : an ethnographic study in the Western Cape." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/20901.
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Thesis (D. Phil.)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of adolescent songwriting phenomenologically to ascertain the implications for music education. Secondary aims and research questions include ascertaining if and to what extent songwriting in adolescence serves as medium for emotional expression, self-therapy, socio-cultural cohesion and informal learning. Other secondary research aims are establishing the quality of the creative product and determining the implications for music education curricula in keeping with current curriculum development strategies. Adolescents’ engagement in music is considered as a socio-cultural phenomenon. Individuals’ interaction with music is thus considered on Doise’s (1986:10-16) four levels of social explanation: the intra-personal, the interpersonal, the positional level and the ideological level. On the intra-personal level music is viewed as a technology of the self (DeNora, 2000), a medium for selftherapy and mood control and technology of the body. On the inter-personal level music is discussed as a form of self-expression serving as communicative form. On the positional level music’s role in bonding between individuals, namely social cohesion, is expounded. Lastly, on the ideological level, music is considered as part of youth, youth culture and cultural identity. The compositional (songwriting) process is analyzed. Compositional modes, individual and collaborative, are identified and described and the creative process namely composing, is delineated according to creativity, creativity as social formation, creativity as process and the role and nature of informal learning. Adolescents use the process of songwriting to establish and enhance social cohesion, to further communication and expression with peers and to exert creative and intellectual activity in an informal learning environment. The creative product, adolescents’ songs, is analyzed and described. General perspectives and theories about musical analysis are addressed to include a broader, socio-cultural view of analysis to analyze adolescent music. The musical and lyrical features are analyzed within the context of their socio-cultural setting. The SOLO Taxonomy (DeTurk, 1988) is adapted and applied to propose an evaluation procedure for the lyrics. Dunbar-Hall’s (1999) five methods of popular music analysis are applied in combination with Goodwin’s (1992) soundimage model, synaestesia, to expand on the socio-cultural context of popular music analysis. The implications of musicology namely “formal music education” versus popular music styles and the effects of formal and informal learning strategies on songwriting are considered. A new understanding of musical analysis namely “musical poetics” (Krims, 2000) is adopted and the role that locality plays in this analysis is expounded. The role of notation and playing by ear is set out to validate the adolescents’ creative product. The research methodology employed in this research include group discussion, observation, experience sampling method (adapted from Larson & Csikszentmihalyi, 1983) and individual interviews and are described according to methodology, results and analysis of the results. General perspectives on music education curricula are considered in light of the possible contribution songwriting, as an informal learning activity, could bring to music education as composition is currently a high priority in international music education discourse and features prominently in current curricula. Recommendations and conclusions are made.
AFRIKAANSE OPSOMMING: Die hoofdoelstelling van hierdie studie is om die aard en funksie van liedjieskryf in adolessensie fenomenologies te beskryf om sodoende die implikasies vir musiekopvoedkunde te bepaal. Sekondêre doelstellings en navorsingsvrae sluit in die vasstelling van of en hoe liedjieskryf in adolessensie dien as medium vir emosionele ekspressie, self-terapie, sosio-kulturele binding en informele leer. Ander sekondêre navorsingsvrae sluit in die bepaling van die kwaliteit van die kreatiewe produk en die implikasies vir musiekopvoedkunde kurrikula met inagneming van huidige kurrikulumontwikkeling strategieë. Adolessente se interaksie met musiek word beskryf as ‘n sosio-kulturele fenomeen. Individue se interaksie met musiek word dus ontleed volgens Doise (1986:10-16) se vier vlakke van sosiale verduideliking: die intra-persoonlike, die inter-persoonlike, die posisionele en die ideologiese vlak. Op die intrapersoonlike vlak word musiek beskou as ‘n tegnologie van die self (DeNora, 2000), d.w.s as ‘n medium vir self-terapie en stemmingsbeheer asook as ‘n tegnologie van die liggaam. Op die inter-persoonlike vlak word musiek bespreek as ‘n vorm van self-ekspressie wat dien as kommunikatiewe vorm. Op die posisionele vlak word musiek se rol in die binding tussen individue, d.w.s. sosiale binding, beskryf. Laastens, op die ideologiese vlak, word musiek oorweeg as deel van jeug, jeugkultuur en kulturele identiteit. Die komposisionele (liedjieskryf) proses word geanalisser. Komposisionele metodes, individueel en gemeenskaplik, word geïdentifiseer en beskryf en die kreatiewe proses, naamlik komposisie, word gedelinieer volgens kreatiwiteit, kreatiwiteit as sosiale formasie, kreatiwiteit as proses en die rol en aard van informele leer. Adolessente gebruik die proses van liedjieskryf om sosiale binding te vestig en te bevorder, om kommunikasie en ekspressie met die portuurgroep te bevorder en om kreatiewe en intellektuele aktiwitiet in ‘n informele leeromgewing uit te oefen. Die kreatiewe produk, adolessente liedjies, word geanaliseer en beskryf. Algemene musiekanalitiese perspektiewe en teorieë word aangespreek om ‘n breër, sosio-kulturele uitkyk op analise in te sluit. Die musikale en liriese eienskappe word geanaliseer binne ‘n sosio-kulturele konteks. Die SOLO Taksonomie (DeTurk, 1988) word aangepas en toegepas om ‘n evaluasie prosedure vir die lirieke voor te stel. Dunbar-Hall (1999) se vyf metodes van populêre musiekanalise word toegepas in kombinasie met Goodwin (1992) se klankbeeld model, synaestesia, om uit te brei op die sosio-kulturele konteks van populêre musiekanalise. Die implikasies van musikologie, “formele musiekopvoedkunde” versus populêre musiek en die effek van formele en informele leerstrategieë op liedjieskryf word oorweeg. ‘n Nuwe begrip van musikale analise, naamlik “musikale poëtika” (Krims, 2000) word aangeneem en die rol van lokaliteit in analise word verduidelik. Die rol van notasie en op gehoor speel word aangespreek om adolessente se kreatiewe produk te regverdig. Die navorsingsmetodologie toegepas in hierdie navorsing sluit in groepsbespreking, observasie, ondervinding-steekproef metode (aangepas van Larson & Csikszentmihalyi, 1983) en individuele onderhoude en word beskryf volgens metodologie, resultate en die analise van die resultate. Aangesien komposisie tans hoë prioriteit in internasionale debat geniet en prominent geplaas is in huidige musiekopvoedkunde kurrikula word algemene perspektiewe op musiekopvoedkunde kurrikula oorweeg in die lig van die moontlike bydrae wat liedjieskryf as informele leeraktiwiteit aan musiekopvoedkunde kan bring.
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Meyer, Hagberg Sebastian. "Att etablera sig i musikbranschen : Ett praktiskt försök att få in en fot i popmusikindustrin." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4085.
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This master dissertation is an attempt to find the best way for a young and aspiring music producer or songwriter to start a career within the pop music industry. The aim of the project is to gain knowledge from the process of pitching music to publishers, record labels and artists and to improve that process with the knowledge gained. As an additional method I also invited professionals from the music industry (A&R, artist and producers/writers) to share their views on the topic. The work resulted in several songs and song sketches, but it is important to point out that the audio is not part of the analysis and rather a biproduct of the project. The focus of this dissertation lies on the process of pitching music, building a network and the learning effect only.I detta arbete ska jag försöka hitta ett bra sätt för en blivande musikproducent eller låtskrivare att starta en karriär inom popmusikindustrin. Syftet med projektet är att utveckla kunskap om hur man pitchar musik till förlag, skivbolag och artister och genom den processen ständigt förbättra arbetsmetoden. Som ytterligare en metod förde jag också samtal med yrkesverksamma från musikbranschen (A&R, artist och producenter/låtskrivare) för att på så sätt få ta del av andra åsikter om ämnet. Arbetet resulterade i flera låtar och sångskisser men det är viktigt att förtydliga att musiken inte är en del av analysen utan snarare en biprodukt av projektet. Uppsatsen fokuserar endast på arbetsprocessen och den kunskap som är kopplad till den.
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Bogdan, Mihai Valentin. "The Classical Pianist and Entrepreneurship: A Case Study Featuring Public Domain Tango Music." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/104.
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A model was created in order to assist classical musicians, especially pianists, with the process of creating their own musical niches in order to achieve public recognition, build an audience following and experience financial gain. This blueprint involved creating six arrangements for the piano four-hand medium that were then self-recorded, self-marketed and self-distributed. This essay introduces the repertoire used for this project, five Argentinean tangos by Eduardo Arolas and a habanera by Sebastian Yradier and it also examines the criteria by which they were chosen. A discussion of the arrangements follows, focusing on the compositional techniques that were used. Next, the essay presents the methods employed to self-record, self-market and self-distribute the compilation as well as additional means available to independent musicians pursuing a similar endeavor. The discussion focuses on techniques that pertain to musicians who do not have the support of a record label or a music publisher. The conclusion of this study is that there are a number of accessible methods that independent musicians can employ in order to self-record, self-market and self-distribute their music. However, the level of success of such endeavors depends on the musicians' ability to create a high quality musical product, constantly interact with new audiences and employ various promotional methods. A recommendation for further study is enclosed.
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Gavito, Cory Michael. "Carlo Milanuzzi's Quarto scherzo and the climate of Venetian popular music in the 1620s." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/gavito%5Fcory/index.htm.
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Janitzek, Martina. "Studien zur Editionsgeschichte der Palestrina-Werke vom späten 18. Jahrhundert bis um 1900." Tutzing : H. Schneider, 2001. http://catalogue.bnf.fr/ark:/12148/cb377144433.
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Amarasingham, Subathira. "Principles, policies and practices in the determination of fair terms in exclusive multi-option recording and music publishing agreements : an Anglo-American study." Thesis, University College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397157.
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Ziegel, Aaron B. "Opening “the Door to This Intense and Passionate Musical Life”: A Survey of The Music of the Modern World, 1895–1897." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1153238384.
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Chong, Siu-ping Amy. "The chansons of Claudin de Sermisy in Attaingnant's Chansons nouvelles and other early collections /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25085505.
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Cornaz, Marie. "L'édition et la diffusion de la musique à Bruxelles au XVIIIe siècle." Doctoral thesis, Universite Libre de Bruxelles, 1996. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212331.
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Albuquerque, Maria João Durães. "As fábricas de música : a edição musical em Portugal nos finais do Antigo Regime." Master's thesis, Universidade de Évora, 2004. http://hdl.handle.net/10174/15056.
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O período que vai de 1750 a 1834, corresponde a uma transformação profunda da sociedade portuguesa em todos os aspectos, do plano sócio-económico e político mais geral, ao nível específico das práticas e representações culturais. A penetração e o desenvolvimento das ideias iluministas, num primeiro momento, e em seguida da ideologia liberal alargam também o campo da vida musical portuguesa, designadamente pela expansão de uma classe média urbana aberta a novas formas de sociabilidade onde a Música desempenha um papel essencial. Por outro lado, o incentivo à actividade editorial e o fomento à indústria por parte da Coroa portuguesa, também contribuiu para o nascimento de várias casas editoras de música, tomando algumas o adequado nome de Fábricas de Música. Neste estudo procura-se contribuir para um melhor conhecimento deste surto da edição musical em Portugal, nos finais do Antigo Regime. Identificam-se e tipificam-se, deste modo os editores de música, determina-se estatisticamente a evolução do repertório assim editado, estudam-se as características técnicas de edição e caracteriza-se o movimento editorial musical no contexto do mercado livreiro. Apresenta-se igualmente um catálogo descritivo da totalidade das espécies hoje localizadas em bibliotecas, bem como daquelas que entretanto se perderam mas de que sobreviveram indícios documentais, como anúncios na imprensa periódica.
/*** Abstract - The period from 1750 to 1834 corresponds to a profound transformation of the Portuguese society in all aspects, from the more general socio-economic and political areas to the specific level of the cultural practices and representations of the society. The penetration and the development of the ideas of the Enlightenment, on the one hand, and, on the other, that of the Liberal ideology of the time also broadened and enhanced Portuguese musical life, namely through the expansion of an urban middleclass open to new forms of sociability in which Music played an essential role. Furthermore, the incentive to the printing and publishing field and the promotion of industry, by the Portuguese Crown also contributed to the birth of some publishing houses of music, which often took the appropriate name of Fábricas de Música (Music Factories). The present study seeks to contribute to a better understanding of this boom of musical edition in Portugal at the end of the Ancien Regime. The evolution of the edited repertoire is statistically determined, the music publishers are identified and typified, their publications are characterized from the technical point of view and the music editorial movement is studied in the context of the bookselling market. A descriptive, catalogue of all the species to be found, nowadays in libraries, is presented, covering also those items which, over time, have been lost but in regard to which some documentary references have survived, such as advertisements in the press.
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Carter, Duane Martin. "Writing for musical theatre: Forever yours." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1590.
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Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16621/1/Clare_Hansson_Thesis.pdf.
Full textAbstract:
This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced.
The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements.
An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.
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莊小屛 and Siu-ping Amy Chong. "The chansons of Claudin de Sermisy in Attaingnant's Chansons nouvellesand other early collections." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225871.
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宋琨. "粵語流行曲歌詞語言特點研究 = Study on the linguistic characteristics of Canton Pop lyrics." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2151203.
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Johnson, Samuel Converse. "Carnal Musicology in a New Edition ofLuigi Boccherini’s Cello Concerto in D major G. 478." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587821737858238.
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Ballman, Christine. "Les oeuvres de Lassus mises en tablature pour le luth: catalogue - transcriptions - analyse." Doctoral thesis, Universite Libre de Bruxelles, 2001. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211492.
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Roscoe, Barnes III. "F F Bosworth : a historical analysis of the influential factors in his life and ministry." Thesis, University of Pretoria, 2009. http://hdl.handle.net/2263/26869.
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The purpose of this study is to explore the life history of Fred Francis Bosworth (1877-1958) and critically analyze the influential factors that may have contributed to his success as a famous healing evangelist. It seeks to answer the question, “How did he develop from a small-town farm boy into a famous healing evangelist and Pentecostal pioneer?” Using the historical case study method as the research design, the study employs a variant of Social Cognitive Career Theory (SCCT), which suggests that a person's career choice can be determined by his or her self-efficacy beliefs and expected outcomes. Self-efficacy comes from past performances, various learning, social support and one's reaction to barriers. The aim of the study is to determine how Bosworth's childhood and adolescent experiences, as well as his secular experiences in the business world, may have prepared him for his career as a healing evangelist. By showing how a person's early years can impact his or her future, this research will allow the church to know more about the role of early, natural experiences (including skills and environment), in determining God's will for a person's life and ministry. Although Bosworth, author of Christ the Healer (1948), is widely known for his teachings on divine healing, there is little known about his life history. This study is the first to offer a critical analysis of his entire life and ministry; it is also the first study to use the concepts of SCCT to show how his adulthood success may have been influenced by the experiences of his childhood and youth. This study argues that several factors played a critical role in Bosworth’s development. In addition to music and his secular work as a businessman, these factors include his crises, strong Christian women, healings in answer to prayer, and his work in foreign missions. Although Bosworth and others have attributed his success primarily to his Pentecostal experience, this study contends that his childhood, secular and business experiences played a more important role than has been reported in the literature. Furthermore, this study shows that Bosworth’s path to success can be understood through the elements of SCCT. Through SCCT, one can see how Bosworth developed an interest in the healing ministry, how he chose to pursue the ministry as a career, and how he performed and set goals as an evangelist.Thesis (PhD)--University of Pretoria, 2009.
Church History and Church Policy
unrestricted
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Thieffry, Sandrine. "L'édition musicale à Bruxelles au temps de Léopold Ier, 1831-1865." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209941.
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Cette thèse retrace l'histoire de l'édition musicale, depuis la création artistique jusqu'à sa consommation, en passant par toutes les étapes de sa confection et de sa distribution. Une époque :la première moitié du XIXe siècle. Un lieu :Bruxelles. Des acteurs, les éditeurs eux-mêmes, mais aussi l’ensemble de leurs collaborateurs, à commencer par les compositeurs, mais aussi les graveurs et lithographes, les imprimeurs, les commissionnaires et autres marchands de musique qui ont participé à ce commerce spécifique. Un support physique enfin :la partition imprimée devenue un nouveau produit commercialisable et consommable. Seuls les éditeurs de musique les plus importants de cette période ont été envisagés ici. Ils sont au nombre sept dont un domine largement les six autres. Il s’agit de la maison Schott frères. Tous ces éditeurs ont été traités avec le même soin et de la même manière, autour de trois axes de recherche :la production, la diffusion et la consommation de la musique.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
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Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16621/.
Full textAbstract:
This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.
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Nestola, Barbara. "L'air italien sur la scène des théâtres parisiens (1687-1715)." Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2026.
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La thèse traite la réception de l’air italien à Paris 1687 et 1715. Elle est structurée en deux parties : la première est consacrée à l’analyse des recueils d’airs italiens, manuscrits et imprimés, produits et circulant à Paris entre les deux siècles la seconde, à la pratique des airs dans le contexte du théâtre parisien (Comédie Italienne, Comédie Française et Opéra) entre la mort de LuIIy (1687) et celle de Louis XIV (1715). En complément du travail de réflexion, on présente le catalogue du corpus étudié. Le corpus choisi place l’air italien du dernier quart du siècle au cœur du phénomène de la réception et de son impact sur le monde théâtral parisien. Le travail d'identification des sources, pour la plupart anonymes, montre qu’il s’agit d’extraits d’opéras. Quant au périmètre géographique des sources, l’axe Versailles-Paris a paru comme le plus logique pour suivre la circulation d’un répertoire apanage dans un premier temps des élites et ensuite, en conséquence de la décentralisation artistique qui investit la cour à la fin du règne de Louis XIV, touchant davantage la ville. L’analyse des œuvres représentées aux deux Comédies ci à l’Opéra à la fin de règne en illustre les modalités d’appropriation par les interprètes, les poètes et les compositeurs, renfermant ainsi le cercle idéal du parcours de l’air d’opéra italien de sa scène d’origine à celle d’accueil. La continuité dans la pratique des airs italiens sur la scène parisienne en ces décennies témoigne de l’intérêt grandissant du public pour ce répertoire, anticipant les Goûts réunis et l’inclinaison pour la musique italienne de la RégenceThe study concerns the reception of Italian airs in Paris between 1687 and 1715. It consists of two parts: the first one is devoted to the analysis of French volumes containing Italian airs, manuscript and printed, circulating in Paris among the two centuries; the second one concerns the performance of the repertoire of Italian airs in Parisian theatres (Comédie Italienne, Comédie Française and Opera) between the death of Lully (1687) and the death of Louis XIV (1715). As a complementary part of this work, a catalogue of the sources has also been constituted. The documentary corpus consists of Italian airs of the last quarter of the l7th century as the core of the reception of the Italian repertoire and of its impact on the Parisian theatrical world. The identification of the sources, mainly anonymous at the beginning, shows that the airs are Italian opera excerpts. As far as the geographical area concerned. the axis Versailles-Paris appeared as the most appropriate for following the circulation of this repertoire: firstly known by the élite (aristocracy. collectors), it subsequently reached Paris as the consequence of the artistic decentralization from the court to the city at the end of the reign of Louis XIV. The analysis of the Italian airs sung at the Comédie Italienne, the Comédie Française and the Opera show how performers, poets and composers seized this repertoire, closing the ideal cercle of the path of the Italian opera excerpt from its originary stage to the French stage. The continuity of this practice in Parisian theatres during several decades shows the growing interest of the public for this repertoire, anticipating the Goûts réunis and the inclination towards Italian music of the Regency
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Shichijo, Megumi. "Les suites instrumentales issues des opéras de Lully publiées à Amsterdam : études historique, philologique et musicale sur l’éditeur Estienne Roger (1665/66 - 1722)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040109.
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Les opéras de Jean-Baptiste de Lully (1632-1687) ont joui d’une diffusion européenne tant de son vivant que de manière posthume. Parmi les pays où ses opéras suscitèrent un véritable engouement, la Hollande bénéficiait d’une situation particulière. En effet, les opéras ont paru aussi bien dans les théâtres que dans l’édition musicale. Concernant l’édition musicale, la ville d’Amsterdam occupa un rôle primordial, où les opéras de Lully furent publiés non seulement en partitions générales et réduites, mais aussi en extraits vocaux et instrumentaux, dont les derniers ont pu être considérés comme les suites instrumentales. Celles-ci constituent un corpus exceptionnel dans la diffusion de l’opéra de Lully, car elles sont arrangées en 4 parties au lieu des 5 originairement présentées et ont joué un rôle intermédiaire entre l’opéra français et la suite d’orchestre allemande. Parmi les éditeurs contribuant à ce phénomène, il faut notamment distinguer un éditeur ayant exercé le commerce extensif : Estienne Roger (1665/66 - 1722). Au sein des recherches sur Roger, la publication de la musique instrumentale italienne et le commerce international représentaient deux enjeux majeurs. Pourtant, la place de la musique française dans ses éditions n’a pas suffisamment été évaluée, bien qu’elle ait atteint jusqu’à un tiers. Cette thèse traite de la particularité commerciale et éditoriale de ce domaine, en se focalisant sur les suites provenant des opéras de Lully. Trois points seront mis en examen : avantage de Roger en tant que libraire huguenot, son utilisation des catalogues lors de la vente des œuvres de Lully, caractéristiques musicales des suites par le biais de l’arrangementThe operas of Jean-Baptiste de Lully (1632-1687) enjoyed a European diffusion both during his lifetime and posthumously. Among the countries where his operas aroused a real enthusiasm, Holland enjoyed a special situation. Indeed, the operas appeared both in theaters and in music publishing. Concerning musical publishing, the city of Amsterdam occupied a primordial role, where Lully's operas were published not only in scores, but also in vocal and instrumental extracts, the last of which could be considered as the instrumental suites. These suites constitute an exceptional corpus in the diffusion of Lully's opera, as they are arranged in 4 parts instead of the 5 originally presented and played an intermediate role between the French opera and the German orchestra suite. Among the publishers contributing to this phenomenon, we must distinguish a publisher who has carried out the extensive marketing: Estienne Roger (1665/66 - 1722). In the researches about Roger, the publication of Italian instrumental music and international trade were two major issues. Yet the place of French music in his editions has not been sufficiently evaluated, although it has reached as much as a third. This thesis deals with the commercial and editorial character of this field, focusing on the suites resulting from the Lully’s operas. Three points will be examined: Roger's advantage as a Huguenot bookseller, his use of catalogs in the sale of Lully's works, musical features of the suites through the arrangement
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Lasmezas, Franck. "Vies et mises en récits (auto) biographiques : la collection "l'un et l'autre" de J.B Pontalis (1988 - 2013)." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2091.
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Déclaré moribond avec le XXème siècle finissant, le genre biographique allait renaître sous l’impulsion de figures du monde éditorial dont J.-B. Pontalis fut l’une des principales. La collection L’un et l’autre explore la relation biographique sous les angles de la paternité, de la maternité, du soin. Ces notions ne sont pas littérales, mais littéraires, inscrites non seulement dans le langage, mais dans une langue particulière. La collection fait vivre des parallélismes dont le plus important est celui de la création littéraire de J.-B. Pontalis : la collection a influencé l’œuvre, qui a à son tour rétro-agi sur la collection. C’est ce dont témoignent les motifs humains, animaux et objectaux qui innervent la collection et sont autant d’avatars de l’altérité. L’autre peut s’incarner dans la figure du frère, de la sœur, mais aussi dans un lieu lui-même emblématique d’un temps, notamment celui de la Shoah. Dans la collection L’un et l’autre comme dans l’œuvre de Pontalis, l’écrivain peut trouver son alter ego dans le peintre ou le musicien, les mots se muer en images ou en mélodies. C’est toutefois l’écrivain qui reste le meilleur miroir, parfois narcissique, de cet écrivain particulier qu’est un biographe. La collection de J.-B. Pontalis a de plus en plus évolué de l’hétérographie vers l’autographie, reflétant en cela la pratique littéraire et existentielle tardive de son directeur. Du vivant et après la mort de Pontalis émergea une poétique autographique lisible et scriptible dans d’autres collections et hors-collection ; ses motifs dispersés témoignent d’un retour de la littérature à ce qui la dépasse et qu’elle dépasse : la vieIn France, biography was said to be close to its death at the end of the twentieth century, but J.-B. Pontalis and other editors helped promoting its renewal. Biographical relationship is being explored by L’un et l’autre under the focus of fatherhood, motherhood and care. These topics are less things than words, they belong to literature and language, and to a peculiar language. L’un et l’autre reflects the literary work of J.-B. Pontalis : one had an impact on the other and then the other way round. This is true for the human, animal and objectal topics which are spread throughout L’un et l’autre and may be called variorum of otherness. The other being or the other thing might be brother, sister, place or time, the last one referring especially to the Holocaust. In L’un et l’autre as well as in the work of Pontalis, the writer may find his alter ego in a painter or a musician, words can become pictures or tunes. Nevertheless the best mirror for a writer, and a biographer is a writer indeed, is another writer. More and more, the books edited by J.-B. Pontalis evolved from biography of the other towards biography of the self, following thus the late work of Pontalis as a writer. During the late life and after the death of J.-B. Pontalis, a « autographic » way of writing was born, the widespread topics of which show that french literature performed and still performs a comeback towards its second self : life
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Caetano, Nuno Gonçalo de Vilhena. "Recommending brand awareness strategies for Syncsongs, a music publishing company." Master's thesis, 2018. http://hdl.handle.net/10400.14/25551.
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Syncsongs is a Portuguese small-size firm, with its activity in the Music publishing market. This firm is a sub-publisher, as it represents both Sony/ATV and EMI Music song catalogues in Portugal. The firm also represents the publishing rights of several well-known Portuguese authors. Currently, it has the aim of increasing its revenues from two sources: participation of songs from its catalogues in advertisement campaigns as well as in television shows’ soundtracks. Syncsongs is experienced in both those two branches of business, still, it has the objective of expanding its brand awareness within these markets. Thus, the firm is interested in developing a thorough brand communication plan to reach its present goal. Based on in-depth interviews, conducted with experienced professionals from sectors related with the Portuguese music publishing market, this thesis provides actual recommendations of brand awareness strategies for Syncsongs. Based on the findings, the most suitable brand awareness communication mechanism, for Syncsongs, could be the face-to-face commercial meetings with specific players in the market. The specific professionals, who should be reached, are also identified in this thesis. Moreover, the applicability of online strategies, as an efficient website or the usage of several social media platforms, in this process have been scrutinized.A Syncsongs é uma empresa Portuguesa, de pequena dimensão, com atividade no mercado de Publishing de música. Esta empresa funciona como sub-publisher, visto ser a representante em Portugal dos catálogos de música internacionais da Sony/ATV e da EMI Music. A Synconsgs dispõe também dos direitos musicais de múltiplos autores Portugueses. Atualmente, a empresa tem como principal objetivo incrementar as suas receitas, por duas vias distintas: participação de músicas dos seus catálogos quer em campanhas publicitárias, quer em bandas sonoras de shows televisivos, nomeadamente em telenovelas. Apesar da considerável experiência nestas duas áreas de negócio, a Syncsongs tenciona expandir a visibilidade da sua marca nestes mercados. Neste sentido, a empresa deseja desenvolver um plano de comunicação de marca detalhado. Tendo por base vastas entrevistas realizadas a profissionais, pertencentes a diferentes sectores de atividade relacionados com o mercado português de publishing de música, esta tese fornece recomendações concretas relativamente a estratégias de comunicação de marca, direcionadas especificamente para a Syncsongs. Tendo em conta os inputs recolhidos, reuniões pessoais de cariz comercial, com profissionais de certos sectores de atividade, foi identificado como sendo o método de comunicação de marca mais eficaz a aplicar pela Syncsongs. Os profissionais que deverão ser alcançados estão detalhadamente identificados na corrente tese. Foi também avaliada a possibilidade de aplicação de ferramentas digitais, nomeadamente através de redes sociais e de um website eficiente, para uma melhor comunicação da marca Syncsongs.
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Huang, Yu-hsuan, and 黃玉萱. "The Research of the Development of Professional Classical Music Publishing in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/59751185409368541344.
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碩士南華大學
出版與文化事業管理研究所
98
Taiwan, in essence, is a society organization of cultural hybrid resulted from diversified culture molded under a succession of varied racial rulings. Hence, this accounts for its diversified and melting-pot format characteristics in displaying types either in traditional arts and literatures, cultural thoughts, living customs and even musical arts as well. The focal points for this research rest upon the theme that under the premise of various educational system reforms and the impacts from society music atmosphere changes, the professional classical music publishers managed to evolve in the course of industrial development during past decades. And how they adapted themselves along the trending changes so as to transform its respective structural formats is also important. Thus, it is feasible to retain the stabilized publisher types and formats even the publisher market here in Taiwan is still depressed as of now. This research adopted the quality research approach. First of all, according to demand from the nature and structure for this research subject, it selected senior music teachers and musicians as its first phase primary research subjects. As for information collection, there are systematic collections and objective assessment as well as related information for the already occurred incidents. And through interview, this research managed to understand the actual scenarios. Hence, this research primarily bases on factual information gathering and supplemented with historical structural analysis. Lastly, there were cross-reference analysis and exploration conducted for all collected factual information, literatures and documentations, interview and survey information. And from these, summaries and findings are acquired as result. Since the era of regaining the lost territory from Japanese occupation here in Taiwan, it does not matter whether the profile is music education, classical music development status, publishing environment or society environment, the western classical music does have profound relevance as well as casting impact towards the music publishing business in Taiwan. And this research will summarize the above mentioned four factors to discuss the integral course of development for professional publishers of classical music here in Taiwan.
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"The publication of traditional pipa anthologies: 1819-1936." 2002. http://library.cuhk.edu.hk/record=b5891086.
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So Hon-tou.Thesis (M.Phil.)--Chinese University of Hong Kong, 2002.
Includes bibliographical references (leaves 55-59).
Text and abstracts in English and Chinese.
Abstract --- p.i
Table of contents --- p.iii
Introduction --- p.1
Chapter Chapter I: --- "Relationship between the pipa and the guqin, and other instruments" --- p.7
Chapter Chapter II: --- Establishment of authority and legitimacy of the editor's own edition --- p.17
Chapter Chapter III: --- Influence of the record industry --- p.21
Chapter Chapter IV: --- A Compilation of the Textual Parts from the Anthologies --- p.25
Conclusion --- p.54
Selected bibliographical references --- p.55
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Cooper, Victoria L. "The house of Novello practice and policy of a Victorian music publisher, 1829-1866 /." 1992. http://catalog.hathitrust.org/api/volumes/oclc/38482422.html.
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TANG, YUN-HUAN, and 湯運煥. "Using TPB to Explore the Behavioral Intention of Crowdfunding Publishing for Hakka Pop Music." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/45759h.
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碩士佛光大學
傳播學系
106
The aim of the study was to explore peoples’ behavioral intention about Crowdfunding Publishing for Hakka Pop Music. The study was based on the theory of planned behavior (TPB) and related literature to establish research framework. The study used questionnaire survey and experts’ interviewing to collect required related data. The questionnaire was obtained from 200 online and 100 papers, a total of 270. The effective questionnaire rate was 95.9%, 259 valid. The obtained data were analyzed with descriptive statistics, independent sample t-test, one-way ANOVA, Pearson correlation, regression analysis through SPSS 20.0 package software. The six conclusions were as follows: (1) different background variables for Crowdfunding Publishing of Hakka pop music’s attitude, subjective norms, perceived behavioral control has partial significant relationship; (2) The public’s attitude towards the crowdfunding publishing for Hakka pop music has a significant influence on the behavioral intention of fundraising; (3) The public’s subjective norm towards the crowdfunding publishing for Hakka pop music has a significant influence on the behavioral intention of fundraising; (4) The public’s perceived behavioral control towards the crowdfunding publishing for Hakka pop music has a significant influence on the behavioral intention of fundraising; (5) The public’s behavioral intention towards the crowdfunding publishing for Hakka pop music has a significant influence on the actual behavior of fundraising; (6) The public’s perceived behavioral control towards the crowdfunding publishing for Hakka pop music has a significant influence on the actual behavior of fundraising. The suggestions based on the conclusions will be provided for the academia, government and related institutions as reference.
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Chen, You-fang, and 陳玉芳. "The Influence of Music Publishing in Venice on the Prevalence of Italian Madrigals in the Sixteenth Century." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/cd4dut.
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碩士國立中山大學
音樂學系研究所
96
In the sixteenth century, because of the prosperous environment of commerce, the parpularity of printing was obvious. Moreover, the technique of the music printing was changed from multiple printing to one impression, and it made the music scores cheaper. The Italian madrigal of Florence and Rome were disseminated to Venice . A large number of madrigals printed in Venice. The main part of the thesis discuss the circumstances of publishing madrigal in Venice. The interaction among composer, assistance, patrons and the purchaser. The thesis consist of three main chapters, in addition to the introduction and conclusion. Chapter one exams the society and economic background, the music in relation to environment. The develop of printing industry and the transfermance of music printing technique in the sixteen century Venice will be explore as well. Chapter two focus on the process of madrigal expanded from Florence and Rome to Venice which is based on the informantion early madrigal manuscripts and a few printed score. Chapter three deal with the influences of the madrigal in the music publishing industry. The main contents focus on two music printing families who monopolized music publishing market in Venice, discussing the process of their madrigal score printing and locating the works. In addition the study will further discuss the business skill they used for selling madrigal, the customers who was willing to buy madrigal score and the route the printers selling the madrigal works, in order to demonstrate the importance of music printing to the prevalence of Italian madrigals.
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Bunton, Jean. "Imaginative music for Chinese-speaking children." Thesis, 2013. http://handle.uws.edu.au:8081/1959.7/543305.
Full textAbstract:
This thesis aims to explain my personal musical voice, illuminate creative intentions, shed developmental insight on the music theatre compositions, and argue for the positioning of these compositions as a multiplicit subversion of linear educational learning processes towards imaginative eclecticism to engage both children and adults. I consider that my music theatre compositions are underpinned by a personal creative voice that draws from my imagination and uses a wide scope of colours based on a rich hymn-like harmonic sense and juxtapositional variety within structural levels. This voice also emphasizes sound as a tangential explosion simultaneously subverting linear learning processes. I see this subverting of the linear method, where small amounts of learning are built upon in stages, and the simple into imaginative complexity, as a way of engaging Chinese-speaking children and as an escape world for adults. This imaginative journey is explored through my credo principles, historical places that inform it, and an analysis that unpacks its techniques, and concludes with its imaginative and transformative aims. My credo principles drawn from journeying are, musically: eclectic ideas and imagination, tangential relationships, combinations of elements, harmonic and timbral colour, and organic musical design leading to relentless climaxes; and educationally: textual and lyrical zaniness, juxtaposition between structure and architecture, and moving from scaffolding to simultaneous levels. Donald Schön’s reflection-in-action process has given me insight into indeterminate practice-based situations and the collaborations required. The thesis analyses the three works: The Magic Jungle in terms of colouring and juxtapositional variety; Megan and the eBike, for styles and cultures; and Megan and the eBike Orchestral Suite, for orchestral colour.
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Harbour, Tim. "Music in Indie video games: a composer's perspective on musical approaches and practices." Thesis, 2016. http://hdl.handle.net/10539/22634.
Full textAbstract:
A thesis submitted to the Faculty of Humanities, University of Witwatersrand, Johannesburg, in
fulfilment of the requirements for the Degree of Master of Music
Johannesburg, 2016In this part-written, part-composed creative research project I consider the music of ‘indie’ video games, specifically exploring some of the myriad dynamic compositional approaches in this particular category of game development. In my written work I analyse three indie video games – Braid (2008), Fez (2012) and Journey (2012) – each of which use unique methods to apply music dynamically. I use interviews with the games’ creators, as well as close analysis and transcription of significant sections of each video game, in order to reveal how music is used to provide the player with a more immersive, satisfying, and involving gaming experience. I also consider the use of ambient music in indie video games, a common feature of a large number of contemporary games, weighing up its merits and limitations. Musical concepts and compositional approaches raised in my written work have informed the portfolio of compositions submitted for this degree, and, similarly, my creative work has informed my analytical research. My creative work explores, amongst other aspects, indeterminate form, ambient music, and ways of ‘looping’ material in the creation of unrepeatable structures. This thesis also considers music which functions narratively in games – a function that might necessitate a greater degree of musical linearity — and how this musical role might be incompatible with the demands of interactivity. After briefly introducing the concepts dealt with across this thesis in Chapter 1, Chapters 2 to 4 take the form of case studies of the indie games mentioned above, with each chapter tackling unique challenges that game composers face when writing music for non-linear games, by which I mean games structured so that not all players will experience the content in the same order due to player agency. More specifically, Chapter 2 deals with the game Braid and its use of pre-composed, licensed music and how the game’s developer applies this music dynamically to the game. Chapter 3 deals with Fez and its mainly adaptive musical approach, its built-in software music engine, ‘Fezzer’, which allows for a composer to input and manipulate musical loops in the game, and nostalgia in indie video game aesthetics. Chapter 4 centres on the video game Journey and on how autonomous, ‘narrative’ music in video games might be seen to exist in opposition to music’s ability to be truly dynamic. Finally, Chapter 5 reflects on my own creative work for this thesis; how concepts from the case studies have informed my creative work and vice versa.
MT2017
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Human, Rene Irene. "Contextualizing African music in choral performance through the process of translation as negotiation." Diss., 2007. http://hdl.handle.net/2263/24340.
Full textAbstract:
This dissertation investigates the process of translating contemporary African choir music for non-African choirs, as performed by African choirs themselves, in the Gauteng area, and mostly as part of the ‘traditional’ section of their repertoires, through the process of negotiation. The aim of this research is to contextualize relevant material and problematize the issues that arise when the music from an African choir culture is translated for non- African choirs in order for these choirs to perform this music as part of their repertoires. Issues that develop from the contextualization of the main problem of the research, namely translation as negotiation, are problematized and notions of hegemony, identity and cultural relationships are addressed and the compatibility of cultural systems within a performance context is explored. The methodology focuses on fieldwork, processing and publishing of the Choral Music from South Africa Series, a multimedia package of contemporary African choir music, for performance by non-African choirs as published by the researcher. The research is located within the theoretical framework of postcolonial studies, and concepts flowing from the study will be discussed, based on the works by prominent scholars in the field: firstly, the notion of difference, experienced as ‘otherness’, will refer to the world acclaimed work, Orientalism, by Edward Said (1978). Secondly, the notion of change, as expressed by Jean Comaroff (1985), in Body of Power Spirit of Resistance: Culture, Consciousness, and Structural Transformation, as well as thirdly, the negotiational aspect of dialogue between cultures as expressed by Bakhtin (1981) in The Dialogic Imagination: Four Essays by M.M. Bakhtin, will be addressed. Fourthly, boundaries and cultural hybridity viewed by Homi Bhabha (1994) as a concept of ‘third space’ in his work The Location of Culture and lastly the impact of commerce and technology on African music with reference to Walter Benjamin (1973), in The Work of Art in the Age of Mechanical Reproduction, as well as its significance in/for publication will be explored. The researcher argues that the translation of contemporary African music for choirs can only be brought about by means of cultural dialogue, within cultures and between cultures.Dissertation (MMus (Music Education))--University of Pretoria, 2008.
Music
unrestricted
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Nováková, Kristýna. "Interakce mediálního a marketingového diskurzu na příkladu mediálního obrazu hudebníka Tomáše Kluse." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-298794.
Full textAbstract:
This diploma thesis Interaction of media and marketing discourse on the media image of musician Tomáš Klus examines the influence of the corporate agenda through the marketing and PR department of a record label Sony Music Entertainment Czech Republic s.r.o. on the agenda of the media, which represent the work of three full-scale Czech newspaper MF Dnes, Právo a Blesk. The theoretical approach is being built on the basic theses of media construction of reality and construction of media image, the concept of agenda setting and issue of the music industry. Thus, areas involved and influence the marketing and media world and form the basic framework of the theoretical structure of media reality. The empirical part is devoted to a particular process of agenda setting on an example of the media image of a Czech musician Tomáš Klus over three years through marketing and PR department of a record label Sony Music Entertainment Czech Republic s.r.o. sampled for analysis of print media - newspapers MF Dnes, Law and Flash. The goal is to trace how and to what extent the marketing discourse influences the media discourse and how does this interaction influence the musician's final media image.
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Chang, Duan-cheng, and 張端成. "A Study of Performance Methods for W. A. Mozart's Violin Concerto No.5 in A Major K.219Based on a Comparison of the International Music Publishing Company and Barenreiter Versions." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/81896836555681031694.
Full textAbstract:
碩士輔仁大學
音樂研究所
101
Since September, 1992. Jointly recommended by several teachers from the department of music at some university, the researcher has had the opportunity to teach in music classes in several elementary and junior high schools in Taipei and New Taipei City, Taiwan. In the elementary and junior high school music classes that the researcher has been teaching, W. A. Mozart's Violin Concerto No.5 in A Major K.219 has always been students’ fixed track for final practical examination every semester, and also a common track for a music competition. The researcher does this study by comparing two most commonly seen versions in Taiwan-- International Music Publishing Company and Barenreiter. In addition to improving understanding of Mozart’s music, the most important purpose of this study is to help the researcher in teaching fingering, bows, and the correct interpretation of Mozart’s violin concertos. The study contains seven chapters. They are: 1. reasons for selecting versions of International Music Publishing Company and Barenreiter for comparison; 2. life of Mozart; 3. introduction of Mozart’s Violin Concerto No.5 in A Major K.219; 4. introduction of versions of International Music Publishing Company and Barenreiter; 5. comparison of the two versions; 6. sharing of school teaching; and 7. conclusion and reflection. The researcher expects that the study might have certain contributions to the promotion of violin teaching.
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Peterson, Erik C. "Playing, learning, and using music in early Middle Indiana." Thesis, 2013. http://hdl.handle.net/1805/3804.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)This thesis is a study of how people in the nine counties of central Indiana learned, appreciated, and performed music from 1800 to 1840. A concluding proposal for a public history application of this research is included.