Dissertations / Theses: 'Music theory – History – Italy'

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Wuidar, Laurence. "Musique et hermétisme après le concile de Trente: astrologie et canons énigmes." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210717.

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Etude des relations entre musique et astrologie par (1) un panorama européen de la présence de l’astrologie dans les traités de théorie musicale de la fin du 15ème siècle au début du 18ème siècle (Burzio, Gaffurio, Finck, Zarlino, Mersenne et l’horoscope du parfait musicien, Bartolus, Werckmeister) et dans les « Accademie » italiennes (l’Academia Ortolana d’Antonfrancesco Doni et l’Academia dei Gelati de Bologne), (2) l’étude des écrits astrologiques manuscrits et édités de compositeurs Italiens du 17ème siècle (Zacconi, Osio, P. F. Valentini) et (3) le décodage de l’astrologie dans un corpus de partitions musicales (analyse de Milleville, « Madrigali », 1617 ;Strozzi, « Elementorum », 1683 ;des sonates « Zodiacus Musicus »…). Lue en parallèle avec les énigmes musicales et « canoni enigmatici » italiens du 17ème siècle étudiés sous l’angle de l’expression de l’hermétisme et de l’ésotérisme musical. Les fonctions sociales, sacrées et symboliques de cette forme musicale ainsi que des caractéristiques esthétiques et herméneutiques propres au 17ème siècle se dégagent de l’analyse des sources (analyses détaillées des œuvres de Romano Micheli, du manuscrit de canons de P. F. Valentini et du manuscrit des « Hiéroglyphes musicaux » de Zacconi ;présentation des manuscrits de canons énigmes conservés au Museo Civico Musicale de Bologne (Nanino, Agostini, Costanzo Porta, Milanta, Martini, Mattei) et analyse des énigmes dans les messes romaines, Anerio, Soriano, Agostini…). Plus de 80 sources manuscrites (Venise, Pesaro, Milan, Bologne, Rome, Vatican, Londres) et de 120 sources anciennes (Agrippa, Bruno, Cardano, Ficino, Kircher ;Banchieri, Cerreto, Liberati, Rodio, Steffani…), 44 reproductions hors texte.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished

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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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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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Ertz, Matilda Ann Butkas 1979. "Nineteenth-century Italian ballet music before national unification: Sources, style, and context." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11296.

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xxiv, 603 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two important collections: The John and Ruth Ward Italian Ballet Collection, part of the Harvard Theatre Collection, and the New York Public Library for the Performing Arts Research Collections. After discussion of primary and secondary sources (Chapters II and III), I provide an overview of the context in which ballets were performed during the period (Chapter IV). In Chapter V I discuss musical styles for mime and for dance, and dance sub-categories such as the pas de deux, ballabile, and national dances. I also explore specific commonly occurring choreo-musical sub-topics such as anger, love, storms, hell, witches, devils, and sylphs. Finally, I examine two complete ballets in detail. Chapter VI on Salvatore Viganò's La Vestale includes a discussion of the hitherto neglected manuscript full score and of the published piano reduction. Chapter VII on Giuseppe Rota's Bianchi e Negri explores the musical and dramatic adaptation of Harriet Beecher Stowe's Uncle Tom's Cabin . While examining the traits of Italian ballet music as a genre and exploring relationships between music, dance, and libretto, this dissertation initiates a wider discussion of the social-political context of ballet music in nineteenth-century Italian theatrical life during the turbulent decades spanning the 'Risorgimento' period.
Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Marc Vanscheeuwijck, Member, Music; Jenifer Craig, Outside Member, Dance

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Moreland, John Francis. "Archaeology, history and theory : settlement and social relations in Central Italy A.D. 700-1000." Thesis, University of Sheffield, 1988. http://etheses.whiterose.ac.uk/5977/.

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The first two chapters of this thesis trace the development of historical and archaeological thought in an attempt to arrive at an understanding of the reasons behind the present polarization of the two disciplines. It is concluded that this polarization is the result of the stress placed on a series of oppositions -structure/agency, society/individual, synchrony/diachrony, past/present. It is argued that a rapprochement between History and Archaeology Is essential, especially for those who study the early med e.val period where both have some relevance, and that this rapprochement is only possible through an adequate theorisation of the recursive links which connect each of the oppositions. This theorisation is the subject of chapters 3 and 4. The essential elements of the theoretical perspective produced are that all the traces of the past should be seen as material culture produced by agents working in and through societal structures. The link between the past and the present is also stressed, and the past is seen as a resource drawn upon in the creation and negotiation of social relations. I use this theoretical perspective in a re-examination of the nature of settlement patterns and social structures in early medieval central Italy. I suggest that the archaeological evidence used to support the notion of massive depopulation at the end of the Roman empire, refers more to the dominance of the feudal mode of production. This is not to argue that population did not decline. It did, and much of this thesis is concerned with attempting to isolate the mechanisms through which elites tried to exercise control over people. These included increased management of production through the use of the written text and the development of administrative sites. These efforts culminated in the tenth century with the "incastellation" of much of the rural population.

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Lefcoe, Andrew. "Kuhn's paradigm in music theory." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.

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Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than those in other fields. After reviewing some of the salient distinctions between scientific and nonscientific endeavors, some of Kuhn's insights into science are found to clarify an issue in the history of music theory, namely the nature of the succession from figured-bass theory to the formulations of J. P. Rameau.

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Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.

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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.

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Williams, Benjamin John. "Music Composition Pedagogy: A History, Philosophy and Guide." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274787048.

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Rusak, Helen Kathryn. "Rhetoric and the motet passion." Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.

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

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

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Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.

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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.

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Ayres, Michelle Elizabeth. "Crossover Genres, Syncretic Form| Understanding Mozart's Concert Aria "Ch'io mi scordi di te," K. 505, as a Link between Piano Concerto and Opera." Thesis, The University of North Carolina at Greensboro, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10977683.

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Mozart’s concert aria Ch’io mi scordi di te K. 505 bridges the genres of piano concerto and opera seria aria by combining elements of sonata rondo, sonata concerto, and ritornello. Mozart’s experimentation with Classical form emerging in the late eighteenth-century is characterized by unique transitions and retransitions, surprising modulations to secondary keys, and polarization of tonic and dominant tonalities. K. 505, a two-tempo rondo for soprano with piano obbligato, is the only one of its type in Mozart’s oeuvre and shares many of the same ritornello form and dialogue between the soloist and the orchestra found in Mozart’s piano concerti. Composed as a duet for himself, an accomplished pianist, and his close friend Nancy Storace, a highly regarded opera singer, as part of her farewell concert in Vienna, K. 505 highlights their virtuosic abilities celebrating artistic kinship.

After establishing the historic contexts for its composition, this study applies the theories and models developed by James Hepokoski and Warren Darcy (2006), Martha Feldman and Rosa Cafiero (1993), John Irving (2003), and Simon P. Keefe (2001) in order to analyze K. 505 as a work in a composite genre utilizing compositional techniques later associated with more conventional applications of sonata-form. K. 505 is one of several compositions rooted in Mozart’s tonally adventurous Idomeneo (1781/1786). An analytical comparison of K. 505 with related works—the concert aria Non piu tutto ascoltai…non temer amato bene K. 490 for soprano and violin obbligato, a replacement aria in the revised Idomeneo (1786) and the Viennese piano concerto no. 25 in C Major K. 503 (1786) demonstrate how Mozart’s syncretic genres played a part in the creation and expansion of the maturing conventions of sonata-form in the late eighteenth-century.

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DelGizzi, Jesse D. "Zydeco Aesthetics| Instrumentation, Performance Practice, and Sound Engineering." Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10816360.

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This thesis examines aesthetics, sonic characteristics, and performance practices of zydeco music as heard in south Louisiana today. The first chapter describes the roles of instruments in a zydeco band, focusing specifically on the importance of the kick drum and the snare drum. It also details the evolution of the modern zydeco sound and how certain instruments, their modifications, and their timbres came to characterize the style especially prevalent among a group of artists who play for zydeco trail rides. The second chapter examines the tempo of modern zydeco music through quantitative analysis of musical recordings. This chapter also elucidates the use of beat patterns and drumming techniques within the genre, providing evidence for a current preference for the boogaloo beat over the on-the-one and the double beats. The third chapter discusses sonic goals and values of the sound engineer in zydeco music in live performance. This chapter also includes analysis of the frequency spectrum profiles of live zydeco recordings which depict how sound reinforcement practices, instrument modifications, and playing techniques discussed in the thesis are manifested in these performances. Research methods employed for this thesis include interviews with zydeco musicians, empirical analysis of live musical recordings, and examination of spectrograms.

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Venegas, Carro Gabriel Ignacio. "The Slow Movements of Anton Bruckner's Symphonies| Dialogical Perspectives." Thesis, The University of Arizona, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10684077.

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This study presents a detailed analytical examination of formal organization in Anton Bruckner’s early instrumental slow movements: from the String Quartet, WAB 111, to the Third Symphony, WAB 103. It proposes an analytical methodology and conception of the formative process of musical works that seeks to 1) reappraise the development and idiosyncrasies of his slow movements’ form, and 2) turn the textual multiplicity often associated with Bruckner’s large-scale works (a scholarly issue often referred to as the “Bruckner Problem”) into a Bruckner Potential.

In addressing traditional and innovative formal aspects of Bruckner’s music, critics have tended to overemphasize one side or the other, consequentially portraying his handling of form as either whimsical or excessively schematic. By way of a reconstruction of Bruckner’s early experiments with slow-movement form (1862–1873), this study argues that influential lines of criticism in the reception history of Bruckner’s large-scale forms find little substantiation in the acoustical surface of Bruckner’s music and its dialogic engagement with mid- and late-19th-century generic expectations.

Because the textual multiplicity often associated with Bruckner’s works does not sit comfortably with traditional notions of authenticity and authorship, Bruckner scholarship has operated under aesthetic premises that fail to acknowledge textual multiplicity as a basic trait of his oeuvre. The present study circumvents this shortcoming by conceiving formal-expressive meaning in Bruckner’s symphonies as growing out of a dual-dimensional dialogue comprising 1) an outward dialogue, characterized by the interplay between a given version of a Bruckner symphony and its implied genre (in this case, sonata form); and 2) an inward dialogue, characterized by the interplay among the various individualized realizations of a single Bruckner symphony. The analytical method is exemplified through a detailed consideration of each of the surviving realizations of the slow movement of Bruckner’s Third Symphony, WAB 103.

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Zikanov, Kirill. "Listening to Russian Orchestral Music, 1850-1870." Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10957348.

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The following dissertation combines reception history and technical analysis in a revisionist account of Russian orchestral music from 1850 to 1870. Through close readings of a wide range of reception materials, I recover little-known historical perspectives on this repertory, focusing particularly on ways in which Russian musicians engaged with transnational musical trends. These historical perspectives inform my analyses of compositions by Mikhail Glinka, Mily Balakirev, Alexander Dargomyzhsky, and Anton Rubinstein. In these analyses, I elucidate formal, harmonic, and orchestrational features that nineteenth-century Russian listeners found notable, such as Balakirev's disintegrating recapitulations, Dargomyzhsky's ubiquitous augmented triads, and Glinka's timbrai crescendos. This analytical approach allows me to reimagine this repertory as a variegated network of musical works, where each new composition is a reaction to existing ones, to domestic reception, and to pan-European aesthetic currents.

Chapter 1, entitled "Glinka's Three Models of Instrumental Music," traces the organicist discourse surrounding Glinka's orchestral fantasias, links the origins of this discourse to the writings of Adolf Bernhard Marx, and articulates the musical features that distinguish the three fantasias. Chapter 2, "Formal Disintegration in Balakirev's Overtures," portrays Balakirev's attempts to distinguish himself from Glinka as well as from established formal conventions of the time, primarily through creative reinterpretations of formal strategies employed by Robert Schumann, Hector Berlioz, and Franz Liszt. Chapter 3, "Satire,

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Pollaci, Marco. "Pedagogical traditions and compositional theory in late nineteenth-century Italy : the legacy of Italian teaching methods for Giovane Scuola composers." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/52141/.

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Mainstream views on the evolution of opera composition towards its present form are fraught with reductionist – such as Wagnerian – views. These tend to neglect the wider subtleties of an extraordinarily nuanced creative landscape with many landmark influences and threads through time. A particularly barren territory is opera composition of the latter part of the nineteenth century in Italy. This is unfortunate because the heritage in question stands at the end of a long and distinguished tradition that is worthy of study. This study demonstrates that partimento traditions and their effects are a key factor in this legacy. The Neapolitan compositional school is shown to be very much alive. Understanding this not only sheds light on the late nineteenth-century Italian opera composition but also serves as a small and modest shift towards a view of the evolution of opera composition, as a myriad of fluid forces rather than monolithic steps. To begin the task of filling this gap in music scholarship, this thesis selects three figures who are arguably the last of the great Italian opera composers – Alfredo Catalani, Francesco Cilea and Umberto Giordano – to explore their early pedagogical foundations that underpinned their later professional activity. The three are also viewed in the shadow of Giuseppe Verdi, who is relevant for his influence on the Giovane Scuola generation. The approach employed in this research exploits a multitude of rare sources such as sketches, counterpoint notebooks, and the studies of these individuals as pupils. It reconstructs not only the specifics of the composers’ training, but also the prevalent compositional theory and practice of the time. In parallel, it undertakes an analysis of relevant aspects of their early compositions and operatic works.

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Zammarchi, Enrico. "“My style is strictly Italo”: A History of Italian Hip-Hop." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574612200487536.

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Lenar, Richard E. "The Figure of Mary in Italian Opera: Theological Foundations and Technical Analysis." IMRI - Marian Library / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=udmarian1557504767565933.

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Chung, Kyung-Young. "Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4668/.

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Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in the first four decade of the seventeenth century.

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McLaughlin, Ashley. "Precarious Partnership or Incomplete Antagonism?: Cavour, Garibaldi & the State of Italy." Thesis, Boston College, 2008. http://hdl.handle.net/2345/547.

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Thesis advisor: Kenji Hayao
Thesis advisor: Hiroshi Nakazato
The most stunning example of two historical figures working both together and against one another to fashion a shared goal is the demonstration of power and compromise displayed by Count Camillo Benso di Cavour and Giuseppe Garibaldi during the Sicilian Revolution of 1860 and additional events during the greater Italian Risorgimento. This thesis is an attempt to uncover the bargaining strategies utilized by Cavour and Garibaldi throughout their political interactions as well as reach important conclusions concerning the use of interpersonal relationships to aid, not hinder, the outcome of a common political aim. This case study focuses on the years from 1852 to 1870, but specifically looks at 1859 to 1861, largely considering the theoretical framework of political game theory as outlined by Thomas Schelling. After forming two distinct hypotheses regarding both the competitive and cooperative nature of the two men's relationship, this thesis finds a greater cooperative characteristic to their historic interactions, although both hypotheses contribute to a relationship that formed the state of Italy
Thesis (BA) — Boston College, 2008
Submitted to: Boston College. College of Arts and Sciences
Discipline: International Studies
Discipline: International Studies Honors Program

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Muraoka, Anne H. "Il fine della pittura: Canon Reformulation in the Age of Counter-Reformation. The Lombard-Roman Confluence." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/24398.

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Art History
Ph.D.
Counter-Reformation treatises are typically dismissed as determiners of style. This dissertation challenges the prevailing view that rejects Counter-Reformation theory as key motivators of sacred style, and will prove that one treatise in particular, Cardinal Gabriele Paleotti's 1582 Discorso intorno alle imagini sacre e profane, held a considerable amount of authority almost immediately after its publication. Through a close study of the Discorso's nature-centered language and its applicability to the Lombard tradition of presenting "tangible presences," it is evident that one artist, in particular, fulfilled Paleotti's vision for a "reformed" sacred style, and one who seldom appears in connection with the cardinal: Michelangelo Merisi da Caravaggio. The interconnection of Paleotti's theology of nature, Lombard painting style, and the sacred works of Caravaggio is established through this contextual study of Counter-Reformation Rome in the late Cinquecento and early Seicento. Paleotti's Discorso is evaluated as a whole and as an expression of Paleotti's ideas on sacred art. This examination and analyses of Paleotti's major points and emphases shows how they collectively form a cohesive language and theoretical basis ("theology of nature") for the reformulation of sacred images based on naturalism. Careful readings of Cinquecento and Seicento literature on art (from Vasari to Bellori) draw correspondences between the words used to describe Lombard style and Paleotti's language in his Discorso. The dissemination of his "theology of nature" is demonstrated through reconstruction of Paleotti's Roman circle. Paleotti's important ties to the Oratorians, the Jesuits, the Accademia di San Luca, and his friendships with key cardinal-patrons in the circle of Cardinal Francesco Maria Del Monte, provided an ideal network for the dissemination of his ideas that would in fact put him into contact with Caravaggio. Caravaggio's plebian religious scenes and figures correlate with Paleotti's conviction that naturalism served as a bridge between painted subject and Christian viewer. This dissertation fills not only a critical lacuna in Counter-Reformation studies, but also opens new contextualizing avenues of research and dialogue on the intricate and determining relationship between Counter-Reformation theory and style, at which, at the heart, stand Cardinal Paleotti and Caravaggio.
Temple University--Theses

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Getz, Christine Suzanne 1957. "Music and Patronage in Milan 1535-1550 and Vincenzo Ruffo's First Motet Book." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332652/.

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The present study reconstructs the musical milieu in which Vincenzo Ruffo's 1542 motet collection was conceived through an examination of the archival materials surviving from each of the major musical establishments known to be active in Milan 1535-1550. The relationship of the 1542 collection to Milanese musical activity. Its publication problems and its current position in source studies are then explored in light of the archival information that is currently available.

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Safran, Benjamin. "SOUNDING STRATEGY: COMPOSERS’ USES OF SOCIAL JUSTICE AND POLITICAL THEMES IN CONTEMPORARY CLASSICAL CONCERT MUSIC." Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/570955.

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Music Composition
Ph.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which I discuss). Concurrently with my research, I composed a large-scale experimental work to be used in a protest to demonstrate the potential for contemporary classical music to support nonviolent movements. I organized a pilot performance that brought together music students and community members in the lobby of a large utility headquarters as part of an ongoing campaign for local green jobs in Philadelphia.
Temple University--Theses

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Safran, Benjamin. "Action pieces final." Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/571017.

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Music Composition
Ph.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which
Temple University--Theses

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Safran, Benjamin. "Action Piece 3." Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/571018.

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Music Composition
Ph.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which
Temple University--Theses

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26

Tanikawa, Takuma. "Ondo for Chamber Orchestra." Thesis, The University of Chicago, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10809519.

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Ondo was written for my grandmother’s 88th birthday. The composition comprises six sections based on a popular folksong, called “Tanko-Bushi,” which can be heard in every Japanese town during the Bon festival. Obon is a holiday in August, when we return home once a year to pay respect to our elders and ancestors. “Tanko-Bushi” became popular in Japan around the end of the Second World War and was based on a popular song from the early part of the twentieth century, around the time my grandmother was born, and has taken many forms since; it continues to do so under varied contexts and the versions I encountered there as a child, while attending the summer festivals with her, would have been but a small sample of these. As I worked on Ondo, I tried to imagine what it might have been like to live through all of the changes that took place in Japan over the past century. I think of the composition as a commentary on the westernization that has been taking place there and on the orientalization of Japanese identity—as an act of harmonizing disparate values. Between and within the sections, I explore varying degrees of fragmentation as they relate to, or disrupt, unifying threads that run through the four main sections (1, 3, 5 and 6). Above all, I wanted the piece to be enjoyable for my grandmother to listen to. The Saint Paul Chamber Orchestra gave a reading of the four main sections of Ondo on 28 January 2011 at the SPCO Center in Saint Paul, MN. Subsequent to the reading, two interludes (sections 2 and 4) were added as contrasting materials and as expansions upon the relationships explored between the diverse approaches to formal considerations in the piece.

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Webster, Peter Jonathan. "The relationship between religious thought and the theory and practice of church music in England, 1603-c.1640." Thesis, University of Sheffield, 2001. http://sas-space.sas.ac.uk/3208/.

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This thesis explores the ways in which people in early Stuart England understood the place of music in worship, its effect on the auditor, and the task of determining what was appropriate music for the task. Central to this is the task of exploring the validity of the trend in current historiography to assign to the ‘Laudian’ movement a polemically and practically distinctive view of music in worship. Part One deals with the published and manuscript discussions of the nature and role of music. It contends that in the 1630s music became associated with one of the two rival conspiracy theories of Popish tyranny and Puritan profanity and subversion (chapters 1 and 2). In subsequent chapters (3-7), it examines the common language in which music was discussed; the use of Biblical, patristic and continental authorities; and continental and broader philosophical understandings of music. It is concluded that no clear theologies of church music can be attributed to church parties as identified in the historiography to date. In Part Two, the thesis considers the surviving musicological evidence of practice in cathedral and collegiate churches from 1603 onwards, to attempt to discern any patterns of distinctive usage in ‘Laudian’ institutions. It examines the use of musical instruments (ch.9), the incidence of various anthem texts (ch. 11), the singing of parts of the liturgy, and the incidence of compositions in various styles (ch. 12). It is argued that much ‘Laudian’ practice was indistinguishable from that in non-Laudian cathedrals, and that the habit of the scholars to extrapolate a ‘Laudian’ style from the work of John Cosin is a misleading one. Overall, it is then concluded that the necessary place that church music has been given in the Laudian experiment is not a tenable one, either in theory or practice. There was no necessary relationship between Laudian churchmanship and elaborate church music.

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Kranias, Alison. "Verovio's keyboard intabulations and domestic music making in the late Renaissance." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98544.

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At the end of the sixteenth century, Simone Verovio printed a series of canzonetta anthologies in Rome. These collections were unique, in that they contained keyboard and lute intabulations alongside their vocal parts. The keyboard intabulations seem primarily intended as accompanimental parts. As such, they inform us about the use of keyboard instruments in ensembles of mixed voices and instruments. This thesis examines how the printing format of Verovio's keyboard intabulations arose from a larger context. In particular, it asks what were the skills and training of amateur keyboard players (often women), when or when not to transpose pieces with chiavette (or high clefs), and how instrumental embellishments relate to the canzonetta's text as well as musical texture. This examination contributes to a better understanding of Italian sixteenth-century performance practice, especially of the ways in which instruments were used along with voices in domestic music making.

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Kim, Hae-Jeong. "Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278255/.

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This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This practice is documented by the increased number of pieces that appear in the manuscripts. Two of the transcriptions from the church of San Lorenzo included in the appendix are selected from this later repertoire.

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Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.

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The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.

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Park, Joon. "Music, Motion, and Space: A Genealogy." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19354.

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How have we come to hear melody as going “up” or “down”? Why does the Western world predominantly adopt spatial terms such as “high” and “low” to distinguish musical notes while other non-Western cultures use non-spatial terms such as “large” and “small” (Bali), or “clear” and “dull” (South Korea)? Have the changing concepts of motion and space in people’s everyday lives over history also changed our understanding of musical space? My dissertation investigates the Western concept of music space as it has been shaped by social change into the way we think about music today. In our understanding of music, the concept of the underlying space is so elemental that it is impossible for us to have any fruitful discourse about music without using inherently spatial terms. For example a term interval in music denotes the distance between two combined notes; but, in fact, two sonic objects are neither near nor far from each other. This shows that our experience of hearing interval as a combination of different notes is not inherent in the sound itself but constructed through cultural and social means. In Western culture, musical sound is often conceptualized through various metaphors whose source domains reflect the society that incubated these metaphorical understandings. My research investigates the historical formation of the conceptual metaphor of music. In particular, I focus on historical formation of the three underlying assumptions we bring to our hearing of music: (1) “high” and “low” notes and motion between them, (2) functionality of musical chords, and (3) reliance on music notation. In each chapter, I contextualize various music theoretical writings within the larger framework of philosophy and social theory to show that our current understanding of musical sound is embedded with the history of Western culture.

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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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Leo, Katherine M. "Blurred Lines: Musical Expertise in the History of American Copyright Litigation." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461148846.

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Epstein, Louis Kaiser. "Toward a Theory of Patronage: Funding for Music Composition in France, 1918-1939." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10952.

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This dissertation illuminates the funding contexts that structured art music composition in interwar France. While music historiography tends to focus solely on patronage - an ill-defined and limited category - as the paradigmatic economy within which pre-paid composition takes place, I bring patronage into conversation with other, similarly enabling funding sources: publishing, radio, film, orchestras, and ballet companies. Through a series of case studies of the individuals, institutions, and practices that provided a market for interwar French art music, I pursue two central ideas: first, that musical works, genres, and styles present sonic traces of the economic forces that structured their composition, and second, that the funding context of music often determines its historiographical reception. The rich musical landscape of interwar France provides a unique setting through which to explore these ideas. Between a remarkable flowering of artistic movements, the rapid proliferation of new media for cultural expression, and steadily increasing institutional involvement in music composition and performance, we can observe a remarkable context of wealth and power exerting a significant impact on the practices of music composition and performance. In order to theorize patronage in the broader context of funding for music composition, I explore the conventions of individual, aristocratic patronage, focusing on commissions as contractual exchanges and as reflective of the "collections" to which they belong, both for patrons and composers. While the state lagged far behind individual patrons in terms of direct commissions to composers, it nevertheless found numerous ways to intervene in musical culture in the hope of stimulating the market for art music composition, particularly with respect to symphonic music. The clear-cut patronage of aristocratic individuals and public ministries contrasts sharply with the ambiguous roles played by the leaders of three influential ballet companies (Ballets Suedois, Soirees de Paris, Ballets Ida Rubinstein) whose competition with the Ballets Russes engendered precisely the market for new French music that the state sought vainly to encourage. Through my study of these ballet companies and of the business correspondence of Darius Milhaud, I show that rather than constraining or corrupting creativity, many sources of funding not ordinarily considered "patronage" nevertheless freed composers to pursue experimental avenues and enrich musical culture, in their time and in ours.
Music

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Swanson, Barbara Dianne. "Speaking in Tones: Plainchant, Monody, and the Evocation of Antiquity in Early Modern Italy." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1365170679.

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Chen, Whey-Fen. "History and Development of Theory of Lü: A Translation of Selected Chapters of Huang Ti-Pei's Perspectives of Chinese Music." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc504186/.

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This study first narrates on the importance of theory of lü-lü (theory of tone generation) in the history of Chinese music from the Chou Dynasty (ca. 400 B.C.) to the Chin Dynasty (ca. end of 19th century), its symbolism and ramification. The main body of this study is devoted to critical translation of Huang Ti-Pei's Perspectives of Chinese Music, particularly those sections which give chronological narratives and comparative critiques of major theories of lü-lü, in order to provide the western scholarship with documents toward understanding the evolution of tone system of Chinese music. The study concludes with a comparison of Chinese tone systems from ancient time to present, and offers comments on comparison of tone systems between the eastern and western musics.

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Shagidullina, Adelya. "TATAR FOLK MUSIC AND ITS INFLUENCE ON THE FIRST NATIONAL BALLET." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/581968.

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Music Performance
D.M.A.
The purpose of this monograph is to introduce Tatar national music to the Western world by focusing on the influence of Tatar folklore on the first national ballet, quite possibly the most beloved and popular musical work of Tatars to this day. The monograph will include a brief discussion of the history of Tatars, as well as historical background of Tatar folk music and its importance to the development of concert music in Tatarstan. An analysis of characteristic elements of the folk music of Tatars and their influences on the music of the first Tatar national ballet will also be discussed. In my study, I rely on available sources, including books, articles, reviews, dissertations, recordings, and musical scores. I hope my monograph will help to promote Tatar national music and spark the interest of English-speaking scholars and musicians.
Temple University--Theses

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Yau, Shek Fung. "Theory and practice : controversies in Rameau's theory of harmony and thoroughbass practice." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/152.

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Dobbs, Benjamin M. "A Seventeenth-century Musiklehrbuch in Context: Heinrich Baryphonus and Heinrich Grimm’s Pleiades Musicae." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804836/.

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Heinrich Baryphonus (1581-1655) and Heinrich Grimm’s (1592/3-1637) didactic treatise, Pleiades musicae (1615/1630), provides a vivid testimony to the state of music education and music theory pedagogy in Protestant Germany in the early seventeenth century. Published initially by Baryphonus for use at the Gymnasium in Quedlinburg and reissued in an expanded format by Grimm for use at the Gymnasium in Magdeburg, the text examines the fundamentals of pitch, intervals, counterpoint, and, in the second edition, triadic theory and composition. Throughout the remainder of the seventeenth century and into the eighteenth century, music theorists including Johann Andreas Herbst (1588-1666), Otto Gibel (1612-1682), and Andreas Werckmeister (1645-1706), used the document as a source for their own musical writings, solidifying its status as a significant contribution to the field of music theory. Recently, scholars such as Carl Dahlhaus, Benito Rivera, and Joel Lester have found value in Pleiades musicae for its role in the early stages of the development of triadic theory and the emergence of harmonic tonality. However, with the exception of the passages on triadic theory, the treatise continues to be relatively unknown. In order to understand the full extent of Baryphonus and Grimm’s contributions to the history of music theory, and to provide a multifaceted context for situating Pleiades musicae in the culture of its time and place of origin, the present study examines both editions of the text from biographical, cultural, educational, philosophical, music-theoretical, and historical perspectives, and includes modern Latin editions and English translations of the two editions of the treatise.

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Lifter, Rachel. "Contemporary indie and the construction of identity : discursive representations of indie, gendered subjectivities and the interconnections between indie music and popular fashion in the UK." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5681/.

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This thesis presents a historicized account of the construction of identity within contemporary indie. Indie emerged as a music scene in the early 1980s, and existing scholarly accounts of it focus on practices of music production and consumption. Indie has expanded and diversified over the last 30 years, however. Crucially, in the UK it has become increasingly interconnected into popular fashion – a development that has transformed indie from being a space solely for the construction of masculine identities, as it was in the 1980s, into a space for the construction of both masculine and feminine identities. These transformations within indie have not been addressed, and one of the contributions of this research is to fill this gap. This thesis contributes to the field of youth cultural studies by providing new knowledge on the relationship between youth culture and popular fashion. Drawing on the Bourdieuian concept ‘field’, the thesis explores the relationship between the sub-field of indie music and the field of popular fashion in the UK, arguing that contemporary indie forms at the points of overlap between these two fields: where their value systems are mutually informative and where their value systems diverge. Drawing on Foucault’s concepts ‘discourse’ and ‘practices of the self’, this thesis explores the way in which this complex popular cultural formation creates a space for the construction of identities. Through an analysis of media representations, it considers the discursive constitution of indie, and through an analysis of participant observation and interviews, it explores the ways in which those people participating in this formation construct the self. The thesis contributes to the field of fashion studies in that it draws together these two methodologies into an examination of the construction of identity and, more specifically, gendered identities.

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Reza, Matthew. "A different mimesis : the fantastic in Italy from the Scapigliati to the postmodern." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:912367bc-0bab-401e-b463-b99c6baef661.

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This thesis investigates the literary fantastic in Italy from the late nineteenth century to the second half of the twentieth century. The purpose is to analyse the way in which the fantastic functions in a story—its ʻmechanicsʼ—and to see how the fantastic evolved structurally over the first century of its existence in Italy. This investigation is carried out by the development of a new theoretical methodology together with the close reading of a selection of texts from four key Italian authors of fantastic literature. The thesis is divided into six chapters. The first chapter is a historical overview of the emergence of the fantastic in Italy in the late nineteenth century up to the second half of the twentieth century; it examines the obstacles the fantastic has faced and some of the thematic and structural characteristics of texts which emerge. The second chapter is a literature review of the theoretical models used to analyse and understand the fantastic, followed by an outline of a new model, entitled Different Mimetics, which looks at the internal logic of the fantastic. In the following four chapters Different Mimetics is applied to the study of a selection of fantastic texts by four authors. Chapter three focuses on Ugo Tarchetti, and shows that his stories are defined by coexistence and coincidence in both historical and thematic terms. Chapter four demonstrates how Giovanni Papini reverses the mechanics one might expect, and how his stories are structured as internal narratives. Chapter five looks at how Dino Buzzatiʼs stories are characterised by instability and stretched narrative paradigms; and finally, chapter six looks at how Italo Calvinoʼs narratives focus on world creation and paradox and how they question the stability of narrative paradigms.

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Katz, Jonathan. "The musicological portions of the Saṅgītanārāyaṇa : a critical edition and commentary." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:14ee1fc0-dcae-4183-9481-0add2a7d42f3.

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The Saṅgītanārāyaṇa, attributed to the Gajapati king Nārāyad nadeva of Parlākhimidi but almost certainly composed by his guru Kaviratna Purud sottamamisra, is the most extensive surviving Sanskrit treatise on music to have been composed in the eastern region of India now known as Orissa. The treatise contains four chapters, gītanirnaya (on vocal music), vādyanirṇaya (on instruments), nāṭyanirṇaya (on dance and the mimetic art), and śuddhaprabandhodāharaṇa (sample compositions of the śuddha and sālaga varieties). The thesis contains a critical edition of the first, second and fourth of these chapters with an English translation, commentary and introduction. Though the whole text was issued in a printed edition by the Orissa Sangeet Natak Akademi in 1966, the new edition offers substantial revisions and corrections to the published version. Eleven manuscripts have been examined; these are in Nagari, Bengali and Oriya scripts and are held in collections in Orissa, in other South Asian libraries, and in two British libraries. All of the manuscript evidence has been presented in a critical apparatus and in a section of supplementary textual notes. The commentary examines the technical contents of the work in detail and places the treatise within its Eastern Indian context. Special attention is drawn to certain subjects, for instance the account of compositional forms and metres, which represent a regional tradition, but all topics are placed also against the background of Sanskrit musicological traditions from other parts of India; some topics in the traditional sastra are thereby re-examined. In the introduction, the historical setting of the work is assessed, and the manuscript evidence is summarised. The proposed stemma codicum shows two groups of manuscripts, one from Orissa and one based in North India; manuscripts discovered in the future are expected to fit into one of these two.

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Lynch, Tosca. "'Training the soul in excellence' : musical theory and practice in Plato's dialogues, between ethics and aesthetics." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4290.

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This thesis offers a technically informed examination of Plato's pervasive, though not innocent, use of musical theory, practice and musical concepts more generally within the ambitious ethical project outlined in many of his dialogues: fostering the ‘excellence' of the soul. Starting from Republic 3, Chapter 1 will focus specifically on music stricto sensu in order to assess Plato's interpretation of the basic ‘building blocks' of musical performances, creating a core repertoire of musical concepts that will prepare the way to analyse Plato's use of musical terms or categories in areas that, at first sight, do not appear to be immediately connected to this art, such as politics, ethics and psychology. Chapter 2 examines a selection of passages from Laws 2 concerning the concept of musical beauty and its role in ethical education, demonstrating how Plato's definition is far from being moralistic and, instead, pays close attention to the technical performative aspects of dramatic musical representations. Chapter 3 looks first at the harmonic characterisation of the two central virtues of the ideal city, sophrosyne and dikaiosyne, showing how their musical depictions are not purely metaphoric: on the contrary, Plato exploited their cultural implications to emphasise the characteristics and the functions of these virtues in the ideal constitution. The second half of Chapter 3 analyses the Platonic portrayal of musical παρανομία, studying both its educational and psychological repercussions in the dialogue and in relations to contemporary Athenian musical practices. Chapter 4 looks at how different types of music may be used to create an inner harmonic order of passions in the soul in different contexts: the musical-mimetic education outlined in the Republic, the musical enhancement of the psychological energies in the members of the Chorus of Dionysus in the Laws, and finally the role of the aulos in the Symposium.

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McKay, John Zachary. "Universal Music-Making: Athanasius Kircher and Musical Thought in the Seventeenth Century." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10653.

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Athanasius Kircher’s Musurgia universalis (1650) was one of the largest and most widely circulated works of music theory in the seventeenth century. Although his reputation has waned over the centuries, Kircher was a leading intellectual figure of his day, authoring dozens of treatises on a multitude of topics and corresponding with scholars from around the world. Kircher’s central place within the world of learning resulted in a unique perspective on music theory and musical practice within the seventeenth century. The present study investigates a number of topics from Kircher’s music treatise and provides context from within the intellectual discourse of the time. The first chapter explores the seventeenth-century conception of encyclopedias, as well as the possible meanings associated with an encyclopedia musica, a novel term Kircher uses in his preface to describe Musurgia. Kircher’s attempt to describe all that was known about music, from highly speculative theories to the most utilitarian compositional tools, results in a complex blend of philosophical and practical elements. The middle chapters disentangle a few strands from this web of ideas, tracing the development of Pythagorean traditions and speculative music theory, as well as changing attitudes regarding empirical and occult methodologies in the early modern period. The final chapter concerns Kircher’s central goal for Musurgia, an algorithmic method based on the ars combinatoria and the emerging mathematical field of combinatorics that would allow anyone to compose musical settings, including the setting of texts in any poetic meter and in any language. Kircher’s arca musurgica—a device that contained tables to generate music—was in effect a distillation of the rules of harmony and counterpoint in the seventeenth century. Its underlying syntax of standard four-part progressions stands at the juncture between old and new ideologies of music theory and composition.
Music

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45

Rathmann, Hannes [Verfasser], and Katerina [Akademischer Betreuer] Harvati. "Reconstructing human population structure and history from dental phenotypes : Theory, methods and application to the ancient Greek colonization of southern Italy / Hannes Rathmann ; Betreuer: Katerina Harvati." Tübingen : Universitätsbibliothek Tübingen, 2019. http://d-nb.info/1191752615/34.

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Trani, Maria. "La poesia di E.A. Mario /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68141.

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The present work examines the poetry in neapolitan language and particularly the works of E. A. Mario, fin de siecle poet and melody writer, who contributed considerably to the song history.
The first part introduces us to the neapolitan regional poetry as well as to its language to finally conclude with the poetry set to music: the song. The ideal atmosphere is the cafe-chantant. The poets of the time including Salvatore Di Giacomo and the generation after are surveyed.
The second part deals with the author. It describes his life, his art and his works, rich of popular and especially classical elements, which crowned him with success.

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Fuller, Rachael Anora. "In Pursuit of "The Walden State-of-Mind": Henry David Thoreau in Charles Ives's Music." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1428944240.

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48

Daigle, Paulin. "Les fonctions harmoniques et formelles de la technique 5-6 à plusieurs niveaux de structure dans la musique tonale /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35996.

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This research constitutes a detailed study of 5 - 6 voice-leading technique that is often found in music - theoretical literature and in the tonal repertoire. The study aims to prove that this technique is an essential theoretical and analytical concept for understanding the evolution of tonal music.
The first part of this study examines concepts and descriptions of 5 - 6 technique as they appear in the theoretical literature of the eigthteenth and nineteenth centuries and in the writings of Heinrich Schenker and the modern Schenkerian school. The descriptions of 5 - 6 technique in earlier conterpoint, figured-bass and harmony treatises led Schenker and his disciples to place the technique in a much broader context, though even they do not always grasp the full implications of their procedures.
In the light of William Caplin's recent theory of formal functions, (Caplin 1985; 1998), the second part of the thesis in a substantial selection of musical excerpts from the eighteenth through the early twentieth centuries, demonstrates that 5 - 6 technique as a contrapuntal analatycal concept, provides an effective model for understanding the development of chromaticism and the extension of the tonal language at multiple structural levels.

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49

MacGilvray, Brian. "The Subversion of Neoplatonic Theory in Claude Le Jeune’s Octonaires de la vanité et inconstance du monde." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1481567182875404.

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Perfetti, Guglielmo. "Absolute beginners of the 'Belpaese' : Italian youth culture and the Communist Party in the years of the economic boom." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/9132/.

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Abstract:

This study has the aim of exploring aspects of youth culture in Italy during the economic boom of the late 1950s and early 1960s. Its theoretical framework lies between the studies around Italian youth culture and those around the Italian Communist Party (PCI), investigating the relationship between young people and contemporary society and examining, for the first time, the relationship of the former with the PCI, its institutions and media organs. The arrival of an Anglo-American influenced pop culture (culture transmitted by the media and targeted at young people) and of its market, shaped the individualities of part of the pre-baby boomers that, finally, were able to create bespoke identities somewhat disconnected from the traditional party-related narrative while remaining on the left of the political spectrum. Pop symbols that blossomed in the late 1950s, such as the striped t-shirt, would characterise the style of young protesters who included them in their collective imagination from the early 1960s onwards. Simultaneously, a flourishing pop market gave space to other cultural experiences including Cantacronache, a group of young musicians based in Turin who vividly depicted Italy of the boom through their lyrics. Their efforts can be read as belonging to a pop market that finally starts to open up towards new musical stimuli. They aimed to make their music available beyond the circle of left-wing activism as well and they were produced by a label linked to the PCI that in those years was reshaping its approach towards society, getting rid of its radical fringes and opening to a dialogue with diverse strata of the public, including young people, women and non-members. The thesis investigates how the Communists and its Youth Federation (FGCI), reacted to the development of youth culture as an aspect of modernisation in general. Through an examination of the party’s approach to the youth revolts of the early 1960s and of its formal documents targeted at young people in general, we analyse how – and how successfully – the Communists tried to engage with young people while often, internal strands, the monolithic nature of the party and other elements, posed severe obstacles in meeting their demands, creating a fracture that would grow in the following years. The thesis also investigates how the party’s attempt to address young people was translated into the promotion of magazines in which serious political topics were discussed alongside other themes such as investigations into society and into the “questione giovanile.” In this respect, we will see how the FGCI journal Nuova generazione tried, in the late 1950s, to take account of youth inclinations paying attention to other important topics such as the emancipation of young women. The generation we look at is the first to claim the right to build its individual identities by drawing on pop culture and modernisation, developing codes and behaviours that pulled away from those set by the institutions.

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Dissertations / Theses on the topic 'Music theory – History – Italy'

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