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Dissertations / Theses on the topic 'Musical criticism'
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Cameron-Caluori, George. "Philosophy and musical criticism." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5314.
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LaFleur, Brandon Kyle. "Musical Colors| On Establishing a Methodology for Color Applications in Musical Analysis." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271870.
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This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scriabin?s Prometheus, the luce presents the colors to the audience. These colors emphasize the harmonic, formal, and mystical elements of the piece. Messiaen?s Des Canyons aux etoiles features chords that were specifically included to paint the colors of the places he had visited. Sonata No. 6 by Ciurlionis is a painting that includes the three major sections of sonata form with the color changes to match. Symphony verte by Valensi includes complex structural variations and the various shading and saturations found in the timbral diversity of a symphony. Accounting for the bimodal aspects of these pieces provides us with a more concise holistic understanding of the artist?s purpose.
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Reside, Douglas Larue. "THE ELECTRONIC EDITION AND TEXTUAL CRITICISM OF AMERICAN MUSICAL THEATRE." UKnowledge, 2006. http://uknowledge.uky.edu/gradschool_diss/350.
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For many, contemporary theatre is represented by the musical. The form remains, however, virtually unstudied by literary scholars. In part, this may be a result of the difficulty of accessing the texts. Reading a musical from a traditional codex is no easy matter. The integration of text and music in a musical make it inappropriate to separate the two. One can try to follow along with a cast recording. In most cases, though, this is awkward. Many cast albums record a significantly modified version of the score and lyrics and few include the entire work. Further, musical theatre texts often exist in many different versions. This work begins with a summary of the problems one encounters when editing a multi-authored text (musicals often have a lyricist, librettist, and composer) which may be revised for practical (rather than aesthetic) reasons. The merits of restoring the material changed during the production process are debated. In this discussion some attempt is made to identify who should be considered the dominating collaborator (or auteur) of a musical. Ultimately, this dissertation argues that the notion of trying to restore an "authorial Ur-Text" makes little sense given the multitude of collaborators involved in the process of making musicals. Instead, an electronic variorum edition is presented as an alternative means of studying and teaching musical theatre texts. The study concludes with a narrative of the authors own work on an electronic edition of the 1998 Broadway musical Parade and ends with a critical introduction to this text.
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Jackson, Simon John. "The literary and musical activities of the Herbert family." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283892.
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Injejikian, Hasmig. "Sayat Nova and Armenian ashoogh musical tradition." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59269.
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The main objective of this thesis is to show that the thirty melodies ascribed to the ashoogh Sayat Nova are melodically and rhythmically homogeneous, and that they bear similarity to both Armenian folk and sacred melodies. Since very little has been written on this topic in Occidental languages, it has been necessary to provide (1) a descriptive account of the ancient Armenian music; namely, vibassan, koosan, folk and sacred traditions; (2) a presentation of ashoogh poetic forms, rhyming schemes, and accentuation patterns, which are summarized for the first time in a chart with corresponding sources; (3) a chapter on Armenian tzayns as a background to the melodic analysis and codifications of Sayat Nova's melodies, which is contrary to the accepted practice of codifying these melodies with Greek modal names.Professor Nigoghos Tahmizian's analysis of Sayat Nova melodies was used as a starting point. Furthermore, through analysis based primarily on available secondary sources, certain conclusions have been obtained: such as, the unity of rhythm/meter with language conventions, presence of specific melodic patterns, cadential endings, intervallic patterns and ranges in Sayat Nova melodies, as characterised by individual tzayn codifications. Further research is suggested to clarify codification of poetic forms, tzayn designations, and specifically, to solidify accentuation conventions of the Armenian language and of its dialects.
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Nilsson-Tysklind, Emma. "Marxist Comrades or Capitalist Pigs? : From Musical Proletarians to Musical Capitalists in Roddy Doyle's The Commitments." Thesis, Högskolan Dalarna, Engelska, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3421.
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Marxist themes of Roddy Doyle’s The Commitments have not often been looked at. Yet, they are decidedly prominent. The band make use of a Marxist image and of collectivist easy-played, easily-understood music in order to gain working class listeners. In fact, the band itself is based on an egalitarian structure, until it, due to an increasing individualist wish for success, falls apart. The aim of this essay is thus to argue, through pointing to the Marxist rhetoric of the band and the hypocrisy around it, and through a comparative reading between The Commitments and Orwell’s Animal Farm, that The Commitments has an allegorical value, much like Animal Farm does, when it comes to depicting the way Marxism has worked and failed as it has been practised in reality.
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Yeagley, David Anthony. "Franz Liszt's "Dante Sonata": The origins, the criticism, a selective musical analysis, and commentary." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186883.
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The earliest European Christian (Catholic) music was exclusively vocal. Western music's Renaissance (c.1400-1600) brought about independent instrumental music. However, the idea that religious sentiment could be expressed non-vocally, in non-liturgical contexts, on instruments not associated with religious circumstance, did not develop before Franz Liszt (1811-1886). Though Beethoven (1770-1827) wrote non-liturgical music regarded as "spiritual," (e.g., the late piano sonatas, the late string quartets), Liszt sought to articulate a category of music specifically religious, apart from vocal, liturgical associations. Liszt invented such music at the piano, an instrument incorporating the variety of sounds, gestures, and harmonies he considered evocative of religious sentiment. The Dante Sonata is such a composition. Except for a brief, early moment in the Dante Sonata, the score is void of scales and arpeggios--very basic pianistic musical gestures. The score instead comprises innovative harmonies, creative use of octaves, chords, and original concepts of notation and rhythm. However, scales arpeggios, and indeed the gamut of 19th century pianism, are used by Liszt in other "religious" piano solos. The Legendes de St. Francois, contain substantial use of scales and arpeggiated figures. Other Catholic works, such as Pater noster, Vexilla Regis Prodeunt, Ave Maria, and numerous death-oriented works, though not virtuosic, are not limited in pianistic style. The Harmonies Poetiques et Religious (1845-1852, Nrs. 1-10), contain pieces with both limited and non-limited pianism. The Invocation is void of scales and arpeggios, like the Dante Sonata; but the Benediction and the Cantique d'amour contain much typical arpeggiated accompaniment of melody. The present essay does not identify individual compositional elements as "religious." Each element of the Dante Sonata selected for present analysis, is simply cited as interesting. The Dante Sonata itself is put in the context of religious music. The subjects of religious music and pianistic innovation are both addressed, though neither is interpreted nor defended. That the Dante Sonata is religious music, and pianistically innovative, are the author's judgments a priori. This essay assumes responsibility for circumstantial, pragmatic exemplification of these judgments, not the due process of academic logistics by which they derive. (The latter process requires separate essays.)
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Riley, Matthew. "Attentive listening the concept of Aufmerksamkeit and its significance in German musical thought, 1770-1790 /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 2000. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.325815.
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Carneiro, Albuquerque Liliana. "Mockumentaries and the music industry : between flattery and criticism." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/125712.
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This thesis discusses the relationship between mockumentaries and the music industry. Because this subject has yet to be studied in depth, the original contribution to knowledge is to further examine this relationship. To do so, a literature review documenting what has thus far been written about mockumentaries is provided. This audiovisual strategy is also contextualized within contemporary practices.
In the next section, the music industry is discussed in broad terms. Firstly, the relationship between cinema and music is addressed. Then, music is depicted as a cultural phenomenon, with recent issues also being brought to light.
In the last chapter, four music-related mockumentaries are analysed. Then, extensive conclusions are drawn.Esta tesis analiza la relación entre la industria de la música y los falsos documentales. Teniendo en cuenta que esta cuestión todavía no se ha estudiado en profundidad, la contribución original al conocimiento es centrarse en el análisis de esta relación. Para ello, una revisión de la literatura se proporciona, discutiendo lo que hasta ahora se ha escrito acerca de falsos documentales. Esta estrategia audiovisual también se estudia en el contexto de otras prácticas audiovisuales contemporáneas. En la siguiente sección, la industria musical es tratada en términos generales. En primer lugar se aborda la relación entre la música y el cine. A continuación, la industria de la música es analizada como un fenómeno cultural, y además se abordan cuestiones actuales. En el último capítulo cuatro falsos documentales relacionados con la música son analizados y por último se presentan una serie conclusiones.
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Santos, Diogo Maia. "A reelaboração e a relação com a obra musical: uma reflexão sobre fidelidade, criatividade e crítica na prática de reelaboração musical." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13012016-102541/.
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A presente dissertação expõe uma investigação histórica, conceitual e filosófica a respeito da prática de reelaboração musical. O objetivo desse estudo é revelar diferentes perspectivas através das quais podemos tratar a obra musical nessa atividade. Procuramos discutir o equilíbrio entre a criatividade e a relação de fidelidade/autenticidade estabelecida com o original, considerando a personalidade do intérprete/reelaborador. Para tal, construímos um panorama histórico das práticas de reelaboração: transcrição, orquestração, redução, arranjo, adaptação e paráfrase, e as definimos segundo seus propósitos e o grau de transformação de seus materiais musicais. Por fim, analisamos os conceitos de score compliance, werktreue, obra musical e interpretação, além de estabelecermos um paralelo com a tradução literária, a fim de estimular a crítica e compreender melhor a forma como essa atividade foi exercida ao longo da história e como podemos compreendê-la na atualidade.This thesis presents a historical, conceptual and philosophical research about the practice of musical reworking. The aim of this study is to reveal different perspectives through which we can treat the musical work in this activity. We seek a balance between creativity and the relationship of fidelity/authenticity established with the original, considering the performer\'s personality. To this purpose, we will build a historical overview of reworking practices: transcription, orchestration, reduction, arrangement, adaptation and paraphrase, and we will define them according to their purpose and the degree of transformation of its musical material. Finally, we will analyze the concepts of score compliance, werktreue, musical work and interpretation. In addition, we will offer a parallel to the literary translation in order to stimulate a critical understand of how this activity was exercised throughout history and how we can understand it today.
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Dumitrescu, Theodor. "The early Tudor court and international musical relations /." Aldershot [u.a.] : Ashgate, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016142806&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Revised Thesis (doctoral)--University of Oxford, 2004.Foreign cultural models at the English royal court -- International events and musical exchanges -- Building a foreign musical establishment at the early Tudor court -- Anglo-continental relations in music manuscripts -- English music theory and the international traditions. Includes bibliographical references (p. [297]-315) and index.
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Karnes, Kevin C. "Music, criticism, and the challenge of history : shaping modern musical thought in late nineteenth-century Vienna /." Oxford : Oxford University Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780195368666.
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Serni, Nicole Mioni. "Canções cinematográficas : análise dialógica do filme musical Les Misérables /." Araraquara, 2018. http://hdl.handle.net/11449/154573.
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Orientador: Luciane de PaulaBanca: Maria da Penha Casado Alves
Banca: Marco Antonio Villarta-Neder
Banca: Odilon Helou Fleury Curado
Banca: Marina Célia Mendonça
Resumo: Esta pesquisa se propôs a analisar o filme musical Les Misérables (2012), de Tom Hooper, sob a ótica dos estudos do Círculo Bakhtin, Medviédev, Volochinov, tendo como objetivo refletir, por meio de uma análise dialógica, acerca da constituição da arquitetônica do filme musical como gênero discursivo, em sua forma, conteúdo, estilo, produção e circulação, conforme as ideias do Círculo. A partir de Les Misérables este trabalho buscou investigar a especificidade do gênero filme musical assim como analisar os diálogos entre o filme escolhido e outras obras musicais produzidas no cinema norte-americano. A canção, aqui também considerada como um gênero, é elemento constitutivo do filme escolhido e sua presença é de extrema importância na formação do musical, configurando-o como intergenérico. O filme musical norte-americano é marcado por elementos de canto e dança que se consolidam especialmente na era de ouro (anos 50 e 60). Les Miserables apresenta características diferentes de outros filmes musicais, como, por exemplo, a temática (a partir da obra de Victor Hugo), a fala cantada constante (e não apenas canto em momentos performáticos), e a ausência de dança (ainda que as movimentações sejam ritmadas). Estas especificidades do gênero discursivo filme musical foram discutidas ao longo desta pesquisa a partir da trajetória do filme musical, sendo possível, deste modo, analisar como a obra cinematográfica em questão dialoga com outras produções, de diferentes períodos; assim como as... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research aims to analyze the musical film Les Misérables (2012), by Tom Hooper, within the perspective of the Circle Bakhtin, Medviédev, Volochinov studies, having as objective to reflect, by a dialogic analysis, about the constitution of the architectonic of the musical film, as a discursive genre in its form, content, style, production and circulation, based on the ideas of the Circle. With the study of Les Misérables this work focuses on the investigation of the specificity of the musical film genre as much as analyze the dialogs between the musical film, and other musicals produced in the North American cinema. The song, here as well considered as a genre, is an element that constitutes de movie chosen and its presence is of extreme importance in the formulation of the musical, which is built with intergenres. The North American musical film is marked by elements of singing and dancing that are consolidated in the golden era (the 50's and 60's). Les Misérables presents characteristics which are different from other musical films, such as, for example, the thematic (based on the novel by Victor Hugo), the constant singing (and not just singing in performatic contexts), and the absence of dance (even though every move is punctuated). These specificities of the musical film as a discursive genre were discussed along this research from the trajectory of the musical film, making it possible to analyze how the cinematographic work in focus dialogs with other productions, f... (Complete abstract click electronic access below)
Doutor
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Borschel, Audrey Leonard. "Development of English song within the musical establishment of Vauxhall Gardens, 1745-1784." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26033.
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This document provides a brief history of Vauxhall Gardens and an overview of its musical achievements under the proprietorship of Jonathan Tyers and his sons during the 1745-1784 period when Thomas Arne (1710-1778) and James Hook (1746-1827) served as music directors. Vauxhall Gardens provided an extraordinary environment for the development and nurturing of solo songs in the eighteenth century. Here the native British composers' talents were encouraged and displayed to capacity audiences of patrons who often came from privileged ranks of society. The largely anonymous poems of the songs were based on classical, pastoral, patriotic, Caledonian, drinking or hunting themes. The songs ranged from simple, folk-like ballads in binary structures to phenomenally virtuosic pieces which often included several sections.
During the early years of vocal performances at Vauxhall (c. 1745-1760), the emphasis was on delivery of texts, sung to easily remembered melodies with little ornamentation and few florid passages. However, the coloratura style of Italian opera was assimilated and anglicized by Thomas Arne, his contemporaries, and later by James Hook.
In the 1770's and 1780's, composers continued to refine all the forms and styles that had been popular since the 1740's; this developmental
process was mainly technical. Vauxhall songs were composed with orchestral accompaniment and incorporated the techniques of the
Mannheim school. All the melodic, rhythmic, harmonic and orchestral devices of the era were available to the British composers, and they borrowed freely from each other and from the continental masters. While certain forms evolved more clearly in the 1770's and 1780's, such as the rondo, major changes were not observed in the poetry.
Vocal music at Vauxhall Gardens occupies a position in history as a steppingstone toward mass culture. Vauxhall ballads were printed in annual collections and single sheets by a vigorous publishing industry. When the Industrial Revolution caused the middle class to splinter into further groupings toward the end of the eighteenth century, the new lower middle class shunned the artistic pleasures of the upper classes and developed its own entertainments, which resulted in a permanent separation of popular and classical musical cultures, as well as the decline of Vauxhall GardensArts, Faculty of
Music, School of
Accompanied by cassette in Special Collections
Graduate
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Sowdon, Nancy, and Nancy Sowdon. "Mendelssohn's works for cello: a musical and technical analysis." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/624869.
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Felix Mendelssohn was a many-faceted individual. While known now primarily as a composer, in his time he was also important as a virtuoso pianist and conductor. His contribution to the musical life of his time and to posterity is significant.
As well as composing for nearly every genre (see Table 1) Mendelssohn was a popular soloist and dominated German conducting from 1830 until his death in 1847. Over the years his popularity has waxed and waned. The works of Mendelssohn were highly regarded during his lifetime and remained popular until about 1900.
Around 1900, however, there was a major shift in opinion. At this time, his music was considered to be mediocre. The rise of anti-Semitism in Germany during the twentieth century caused a further underrating of Mendelssohn's music in his
homeland. It is hoped that this, and other present-day studies, will offer a more objective view of his music.
As is true with most composers, in the body of Mendelssohn's compositions, one can find individual pieces to support either greatness or mediocrity. The music which is most familiar to the public: Italian and Scottish symphonies, the Hebrides and Overture and Incidental Music to A Midsummer Night's Dream orchestral overtures, and the String Octet in E-flat Major are undoubtedly some of Mendelssohn's best. On the other hand, his operas never have been effective. Even at the end of his life, he was still searching for the perfect libretto. But it is inconsistent writing within individual pieces which is the most frustrating aspect of Mendelssohn's music. The first cello sonata is one such example. Here a solid first movement is followed by two weak ones.
Included in the total number of pieces of chamber music on Table 1, are the four pieces that Mendelssohn composed for cello and piano. They consist of two short pieces and two sonatas, and were written over a sixteen year span (see Table 3, page 8). This paper aims to familiarize the reader with these cello works, investigate them in terms of the criticisms leveled at Mendelssohn's music, and examine their contribution and place in today's literature for the violoncello.
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McCachren, Jo Renee. "Antoine Reicha's Theories of Musical Form." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330751/.
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Antoine Reicha stands as an important figure in the growing systematization of musical form. While Traite de melodie (1814) captures the essence of eighteenth-century concern with tonal movement and periodicity, Reicha's later ideas as represented in Traite de haute composition musicale (1824-26) anticipate descriptions of thematic organization characteristic of his nineteenth-century successors. Three important topics emerge as crucial elements: melody, thematic development, and schematic categorization of complete pieces.
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Perry, Shirley Mercedes. "Selected Psalms, Old Verses and Spiritual Songs of the Canadian Doukhobors: Transcription and musical analysis." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185897.
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The purpose of this research was to select songs specific to the Doukhobor song repertoire which were not previously notated and to record, notate and analyze the melodies for use in music education. The first limitation of the study was to focus on the sacred repertoire which is comprised of three genre of song, namely the Psalms, the Old Verses and the Spiritual Songs. A comparison of the song titles of Old Verses and Spiritual Songs which are found in the two major Canadian Doukhobor song text collections was made with other Russian song text collections to determine a subset of songs unique to the Doukhobor tradition. The second limitation of the study was then applied, which was to select those Old Verses and Spiritual Songs believed to exist prior to the beginning of the twentieth century. Forty-five melodies, comprised of 11 Psalms, 18 Old Verses and 16 Spiritual Songs were included in the study. The notation of each example is accompanied by one verse of Russian text and transliteration and by documentary information stating the genre, the Doukhobor song text collection reference number, the singers' names, and a tape source in the researcher's private collection. Full and/or partial translations of the texts are provided.
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Ball, William Scott. "Reclaiming a music for England : Nationalist concept and controversy in English musical thought and criticism, 1880-1920. /." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1220045089.
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Lamberton, Elizabeth Jean. "The critical writings of Ernest Reyer." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28851.
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Ernest Reyer's career as music critic spanned the second half of the nineteenth century. For more than thirty years he held the position of music critic of the Journal des Debats, one of the most respected newspapers in nineteenth-century France. He also contributed regularly to four journals and the daily Courrier de Paris, and wrote as well for other newspapers and periodicals. Reyer was in addition a conductor and a noted composer, whose major musical works—the operas Sigurd and Salammbo--were performed frequently at the Paris Opera until after the turn of the century. This study deals with Reyer the critic: as a writer on music, he did much to raise the level of musical taste in France during the last third of the century.
The dissertation contains ten chapters and two appendices. Chapter I provides a biographical sketch of Reyer before focusing on his personality
and his music. Chapter II surveys Reyer's literary legacy: the extent of his writings in newspapers, periodicals, and other publications;
his musical preferences; subjects of considerable importance to Reyer; his literary style; and the two compilations of his writings (Notes de musique and Quarante ans de musique, which together represent less than ten percent of his literary production). Chapter III demonstrates
that Reyer believed his role as critic was to educate the public, and that he sought to fulfil this role by founding his approach to critical writing on three basic tenets: professional knowledge of music; intellectual integrity; and the consistent application of an aesthetic. The principles of his aesthetic and the consistency of their application are illustrated in Chapter IV through consideration of Reyer's judgments of operatic composition and performance.
The next five chapters examine Reyer's writings on topics and composers
of particular importance to him. Chapter V studies his views on the complex situation in Parisian lyric theatres during the second half of the nineteenth century, and offers a detailed picture of his conception
of an ideal theatre. Chapter VI discusses Reyer's attempts to stimulate public interest in Gluck, Spontini, and Weber, whose works for lyric theatre were either neglected in Paris or known mainly through mutilated versions. Chapter VII outlines Reyer's long struggle—as both critic and conductor—to establish Berlioz's reputation in France. Reyer's advocacy was so effective that some of his countrymen eventually credited him with having done more than anyone else to bring honor to Berlioz in his homeland. Reyer also played a major role in establishing Wagner's music in France, as is shown in Chapter VIII. Chapter IX demonstrates that Reyer's support was important in launching and sustaining
the careers of many contemporary French composers, including Gounod, Saint-Saens, Bizet, and Lalo. The final chapter summarizes Reyer's achievement as a writer on music. Among the subjects discussed are the strong influence of Berlioz's writings on both Reyer's literary style and his aesthetic, and the impact of Reyer's writings on Parisian musical life.
Appendix A contains an annotated bibliography of Reyer's more than seven hundred critical writings, with an explanation of how they were culled from newspapers and periodicals. Appendix B is a list of other published writings by Reyer. Our examination of his criticism reveals that it would be of interest to have Reyer's complete works available collected volumes.Arts, Faculty of
Music, School of
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Begnaud, Edward M. C. "Musical Aesthetics: An Objective Approach to "Music Appreciation" for American Public Education." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500415/.
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The specific problem prompting this investigation is the creation of a method of music criticism. The purposes for the investigation are three in number. First and foremost, the purpose of the investigation is to develop an unrestricted method of music criticism. The development of such a method fulfills the second reason for the investigation. Although Mortimer Adler and the Paideia Group have clearly stated the classes and pedagogy to be utilized in a Paideia curriculum, they have done little to suggest specific class content. This study resolves the content problem for one class. It is recommended that the music masterworks class be treated as a course in music criticism. Through such treatment of the class, students will meet the goals of the Paideia Group and develop the tools for societal reconstruction. Finally, the goal of establishing a method of music criticism harmonious with the educational philosophy of reconstructionism is the end to the previous two "means" purposes.
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Brown, Jennifer R. "Monsters, of whom I am chief a metaphoric and generic criticism of Jars of Clay's concept video, Good Monsters /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.
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Moon, Geoffrey. "The inner musical workings of Robert Schumann, 1828-1840 : in two volumes." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm817.pdf.
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A thesis which examines Schumann's secret musical language and the development of that language into a highly complex system of extra-musical meanings expressed in tones, special motifs, harmonic progressions and keys. This study traces the development of Schumann's procedures by first analysing the songs of 1840 to see which repeated musical devices connected with texts. Once they have been identified, the application of these devices is then examined, retrospectively, in selected works for solo piano. Relying heavily on Schumann's diaries and letters, as well as a detailed analysis of selected works for voice and solo piano, this study shows the extra-musical meaning to be ultimately concerned with Schumann's wish to marry Clara Wieck and her father's unyeilding opposition to the idea.
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Leung, Tai-wai David, and 梁大偉. "Memory, aesthetics and musical quotation: four case studies in 20th century music." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39733919.
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Johnston, Gregory Scott. "Protestant funeral music and rhetoric in seventeenth-century Germany : a musical-rhetorical examination of the printed sources." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27359.
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The present thesis is an investigation into the musical rhetoric of Protestant funeral music in seventeenth-century Germany. The study begins with an exposition on the present state of musicological inquiry into occasional music in the Baroque, focusing primarily on ad hoc funeral music. Because funeral music is not discussed in any of the basic music reference works, a cursory overview of existing critical studies is included. The survey of this literature is followed by a brief discussion of methodological obstacles and procedure with regard to the present study.
Chapter Two comprises a general discussion of Protestant funeral liturgy in Baroque Germany. Although numerous examples of the Divine Service in the Lutheran Church have survived the seventeenth century, not a single order of service for the funeral liturgy from the period seems to exist. This chapter provides both the social and extra-liturgical background for the music as well as a plausible Lutheran funerary liturgy based on documents from the period and modern studies.
Prosopopoeia, the rhetorical personification of the dead, is the subject of Chapter Three. After examining the theoretical background of this rhetorical device, from Roman Antiquity to the German Baroque, the trope is examined in the context of funerary sermonic oratory. The discussion of oratorical rhetoric is followed by an investigation into the musical application of the concept of prosopopoeia in various styles of funerary composition, from simple cantional-style works to compositions in which the personified deceased assumes certain physical dimensions.
Chapter Four includes an examination of various other musical-rhetorical figures effectively employed in funeral music. Also treated in this chapter are musica1-rhetorical aspects of duple and triple metre, where triple metre in particular, depending on the text, can be understood figuratively, metaphorically or as a combination of both. As this chapter makes clear, owing to the perceived antithetical properties of metre and certain figures, musical rhetoric was often used to illustrate the distinction between this world and the next.Arts, Faculty of
Music, School of
Graduate
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Pounds, Michael S. "Using spatial analogy to determine musical parameters in algorithmic composition." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/958778.
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This thesis presents a method of algorithmic composition in which the music is seen as motion through a multidimensional musical space. An analogy is drawn between physical space and musical space, each direction of the physical space corresponding to a musical parameter. A computer program was developed using the MAX programming environment to simulate the goaldirected motion of a mobile robot through an environment containing obstacles. The potential field method of mobile robot path planning was used. The program maps the location of the robot to musical parameters in the musical space. Based on the instantaneous values of the musical parameters, the program generates melodic material and transmits the resulting MIDI data to a synthesizer. For this research, the program was limited to three spatial dimensions and one obstacle. The program successfully created simple compositions consisting of large musical gestures. A model composition was created. Suggestions were made for further development and more elaborate applications of the method.School of Music
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Roos, Dorette Maria. "The Faust legend and its musical manifestations : a historical overview." Thesis, Stellenbosch : Stellenbosch University, 2010. http://hdl.handle.net/10019.1/5156.
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Thesis (MMus (Music))-- Stellenbosch University, 2010.ENGLISH ABSTRACT: This thesis explores the Faust legend and its musical manifestations since the 19th century. The objective is to provide a thorough background to the legend, before drawing up an account of compositions inspired by the Faust legend. Firstly, the origin of the legend is investigated, followed by a brief summary of the most important literary works on the subject of Faust. This is followed by a comprehensive outline of the story as told by Johann Wolfgang von Goethe, and then the most significant compositions inspired by the legend are discussed. A short section containing comparisons of the compositions and the conclusions of the study appears at the end. The legend tells the story of Faust, a scholar, philosopher and alchemist in search of divine knowledge, power and pleasure. Faust encounters the devil and makes a pact with him in which he agrees to surrender his immortal soul, if the devil can satisfy Faust’s thirst for knowledge and grant him the experience of true happiness. The Faust legend is a very popular theme among composers and artists. One of the reasons for the success of the Faust legend is its universal appeal. This has led to various composers using the material as the basis for their works. Goethe’s version of the legend has proven to be the most popular source for composers. To produce a composition that attempts to capture the drama in its entirety, including its psychological and spiritual elements, is not feasible. Works centred on a smaller section, scene or character from Goethe’s Faust were often more successful than the larger operatic compositions. Like all great universal ideas, the Faust legend lends itself to an abundance of interpretations. Similarities between works are rare. Each composer who made use of the Faust legend interpreted it subjectively, which has produced many unique and varied compositions.
AFRIKAANSE OPSOMMING: In hierdie studie word die Faust legende, soos wat dit in verskeie musikale komposisies van die 19de eeu uitgebeeld is, ondersoek. Die doel van die studie is om ‘n lys van werke wat deur die Faustlegende geïnspireer is, saam te stel. Die tesis ondersoek die oorsprong van die legende en gee ‘n kort opsomming van die mees prominente litirêre werke met die Faustlegende as onderwerp. Daarna volg ‘n uiteensetting van die storielyn soos vertel deur Johann Wolfgang von Goethe. ‘n Lys, bestaande uit gesaghebbende Faust komposisies, word ingesluit en laastens volg vergelykings en gevolgtrekkings uit die studie. Die legende vertel die verhaal van Faust, die professor, filosoof en alchemis op soek na kennis, mag en plesier. Faust tree in gesprek met die duiwel en gaan met hom ‘n ooreenkoms aan om sy siel prys te gee in ruil vir kennis en ware geluk. Die Faust legende is sekerlik een van die mees gewilde literêre onderwerpe vir gebruik deur komponiste en kunstenaars. Die universaliteit van die legende dra by tot die gewildheid daarvan en om gebruik te word as onderwerp in toonsettings. Goethe se weergawe word meestal ingespan as bron van inspirasie. Om die volle omvang van die drama, met al sy sielkundige en geestelike elemente in ‘n komposisie vas te vang, is feitlik onmoontlik. Soos die meeste groot universele werke, word Faust op verskillende maniere geïnterpreteer. Gevolglik is daar min ooreenkomste tussen die verskillende toonsettings. Elke komponis se interpretasie van die legende is uniek.
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Marcus, Reker Katherine B. ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/876.
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This thesis proposes a critical study of the theoretical framework of Urinetown, asking the question of whether or not the show is truly a “Brechtian musical,” utilizing the tenets and beliefs of Bertolt Brecht. Set in a quirky, Gotham-like town where you have “to pay to pee” due to a severe drought, Urinetown follows a cast of absurdist characters as they navigate a society plagued by the perils of big business, ecological devastation, and the inequalities of capitalism. While the show appears to make a relevant social commentary, supporting a righteous rebellion to overthrow the evil Urine Good Company, in the end, by proving that revolution does not always succeed, writers, Kotis and Hollman invalidate these commentaries, proving that despite its Brechtian appearance, the show in its textual form is much more simply a comedic parody. However, Pomona College’s production, in which I played Hope Cladwell, takes on a much more severe tone, creating legitimate commentary by replacing many of the comedic, two-dimensional characters with living breathing, realities. In a text traditionally lacking authenticity, I approached Hope Cladwell with the intention of finding strength and satire in an otherwise vapid character.
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Gentry, Jonathan C. "Memory and hypnotism in Wagner's musical discourse." PDXScholar, 2007. https://pdxscholar.library.pdx.edu/open_access_etds/3660.
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A rich relationship unites the composer Richard Wagner (1813-1883) and the history of psychology, especially if one considers his attempt to make music speak with the clarity of verbal language. Wagner's musical discourse participated in the development of psychology in the nineteenth century in three distinct areas. First, Wagner shared in the non-reductive materialist discourse on mind that characterized many of the thinkers who made psychology into an autonomous intellectual pursuit. Second, Wagner's theories and theatrical productions directly influenced two important psychologists - Friedrich Nietzsche (1844-1900) and Christian von Ehrenfels (1859-1932). Finally, the experiences of music achieved by Wagner at his Bayreuth festivals created greater sensitivity toward psychology, especially among the more sympathetic participants.
In tracing a narrative from Wagner's first conception of a festival in 1849 to the premiere of Parsifal in 1882, one can also see several arcs in the evolution of Wagner's musical discourse. These include the shift from mnemonic to hypnotic techniques for giving music a voice, as well as the transition from a socially critical festival to one of personal affirmation. Connected to both of these augmentations of musical discourse was the volatile relationship between music and text in Wagner's compositions. Important in facilitating these transformations was not only Wagner's discovery of Schopenhauer's philosophy, but also the larger contingencies of instituting a festival in the Griinderzeit. In looking at the reception side of theatrical productions, in addition to their staging, this thesis has been able to identify psychologically-related links important to the history of music, science, and culture.
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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.
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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.
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Oliveira, Lauro César Pecktor de. "Doppelgänger : da ideia à obra." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/103499.
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Este memorial trata da investigação do processo criativo de Doppelgänger, para dois pianos. Com suporte nos pressupostos metodológicos da crítica genética expandidos para o campo da música, o olhar investigativo procurou elos entre as operações que, nos níveis de decisão, colocaram o processo criativo em movimento. A expansão da crítica genética para a música fez com que se tornasse imprescindível restituir aos documentos de processo a sua realidade sonora e temporal, considerando-a como parte do estatuto genético da obra em investigação. A pesquisa sobre a gênese do processo criativo de Doppelgänger revelou uma série de decisões tomadas e operações empreendidas, permitindo reconstruir o caminho da ideia à obra.The creative process in Doppelgänger for two pianos is investigated in this paper. With genetic criticism as its methodology, it attempts to recreate the compositional process that has transformed an idea into a finished work through a web of creative operations. In music, genetic criticism has to take into account the sonic and temporal reality of the avant-textes, as they are integral to the construction of the genetic dossier of a particular work. The genetic investigation on Doppelgänger has brought to light a series of decisions and operations, which, in their written and sonic representations, chart the creative trail that led to the finished piece.
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Hawkins, Cynthia Susan. "Aspects of the musical education of choristers in Church of England choir schools." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63228.
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Delazari, Ivan. "Musical experience in fictional narrative: William T. Vollmann, William H. Gass, and Richard Powers." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/487.
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This doctoral thesis contributes to the ongoing scholarly conversation on literary representation of musical sounds, forms, and compositions. My close examination of the tangible presences of Western art music in the fiction of three contemporary American novelists relocates traditional foci of intermediality and word and music studies from referential precision and structural equivalence across the arts to the problem of readerly experience of music through fictional narrative. Exploring a variety of diegetic encounters with music in William T. Vollmann's Europe Central (2005), William H. Gass's Middle C (2013), and Richard Powers's Orfeo (2014), I draw from cognitive narratology and the philosophy of music, among others, to construct a concise model of musical experience and a system of its literary correlatives, which can provide for the reader's enactive response to music-related themes and means in fiction. I discuss the different strategies the writers apply to communicate the presumably elitist experience of Western classical music as suggestive and relevant to their 21st-century readerships, whether big or small. I order my chapters dialectically, regarding the three authors' literary approaches to musical experience as thesis, antithesis, and synthesis. In Chapter I, Vollmann's intermedial transpositions of Dmitri Shostakovich's fictionalized works are shown to be framed by a mimetic bias, under which diegetic music functions as a characterization means for the author's historical preoccupations. The thesis (i) I infer from Vollmann's approach is that music is part of the fictional reality representative/informative/definitive of what that reality is like. Chapter II is devoted to Gass's metafictional distrust of representation, whereupon his novelistic narrative discards diegetic music almost completely and points out ways of experiencing verbal textures musically. Gass's method is thus antithetical (ii) to Vollmann's: music is a metaphor for creativity, indifferent to the subject matter and/or plot, which at representation level may well be a parodic perversion of the very idea of creativity. Powers's balanced treatment of musicalized content and form and his generous supply of multivalent experiential cues are forged to appeal to a broader reading audience, as I argue in Chapter III. In what I see as a synthesis (iii) of Vollmann and Gass, Powers's storyworld contains abundant diegetic music that constructs narrative settings and drives the events of the plot, but is itself graspable through musical metaphors. The findings of the thesis open new directions for research into musico-literary reception. Encouraging a revival of reader-response awareness in literary analysis, musicalized fiction is an untrivial subject for interactive theoretical scrutiny by psychologists and philosophers of music, transmedial narratologists, and cognitive scientists. Empirical studies of actual readers' experience of musicalized prose may prove particularly promising in further investigation of this intersectional phenomenon.
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Trowles, Tony Albert. "The musical ode in Britain, c.1670-1800." Thesis, University of Oxford, 1992. https://ora.ox.ac.uk/objects/uuid:2c30162d-7b1d-45ba-9e3c-301129ecb38c.
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The musical ode, which developed during the 1660s and 1670s as a means of celebrating occasions of particular significance (often by setting a specially written text), remained popular throughout the eighteenth century, and can be regarded as the earliest form of large-scale secular choral music to have developed in England. This dissertation discusses the nature of the genre (including its relationship with the poetical ode), and surveys the contexts in which odes were composed and performed. It is supplemented by a catalogue which lists some 270 examples of the genre. Among the earliest odes were those written for performance at the court in London. These have already been the subject of musicological study, but although they were the biggest stylistic influence on the other odes written during the late seventeenth and early eighteenth centuries, they were not quite the earliest examples of the species. At the University of Oxford, the practice of performing specially composed odes to enhance academic ceremonial dates from at least 1669, and the custom continued throughout the following century. The odes on St Cecilia's Day also originate in the late seventeenth century, but although the works performed in London between 1683 and 1701 have received some scholarly attention, odes on the same theme written later in the century, along with works performed at a number of provincial centres, have not hitherto been discussed in the context of the wider ode genre. Also neglected have been the birthday odes performed at the Vice-regal court in Dublin during the eighteenth century. These complement the London court odes, but have not previously been listed or discussed in detail. Other odes were written for charitable causes, and to commemorate a miscellaneous array of occasions, including military victories and the inauguration of new buildings. In addition, in the latter half of the eighteenth century, some composers responded to developments in the poetical ode by setting libretti which had no 'occasional' inspiration, but which were notable literary achievements in their own right.
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Parker, Dixon Amy. "Towards a poetics of criticism : Adornoian negativity and the experiential in the essays and musical marginalia of Virginia Woolf." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2338/.
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Through an analysis of the work of Virginia Woolf and T.W. Adorno’s theory of the aesthetic, this dissertation seeks to develop a poetics of criticism that takes account of the philosophy of the non-identical in subjective experience. As the subversion of the positivist and subjectivist tendencies of identity thinking, Adorno’s negative dialectic is read here in parallel with Woolf’s work as an example of a discourse that preserves the particularity of experience. Much of Woolf’s writing about music is in the form of diary entries, letters and notes or jottings and is singularly unfinished. Her writing about music pushes her to the extremes of essayistic practice where she is forced to improvise and invent a musical-critical voice. This dissertation argues that subjectivity and aesthetic experience are constructed negatively in Woolf’s diaries, letters and essays and by reading her tendency to resist describing musical experiences as a resistance to the domination of conceptual subsumption, I hope to show that Woolf’s writing could offer a new perspective on criticism. The present work attempts to develop a three-fold thesis, the presentation of which will constitute a poetics of criticism. Firstly, Woolf’s attempts to write a critical selfhood actually serve as a critique of transcendental subjectivity and undermine the ideology of a priori subjectivity. Secondly, Woolf’s essays complement work done by Adorno on genre theory which asserts that contradiction remains essential to the critical essay, contradiction which secures the identity of negative dialectics and a contradiction that can simultaneously be read as fundamental to the architectonics of a modernist subjectivity. Woolf’s essays, therefore, will be read for their potential status as a means of critique. And thirdly, the technique of parataxis as a form of writing that Adorno thought best expressed the inaccessibility of objectivity will be shown to be decisive in analyzing Woolf’s fragments. What I hope to assemble, therefore, is a constellation of ideas that map several points ofconnection between Adorno and Woolf.By effecting a salvaging of Woolf’s musical marginalia this thesis argues that ostensibly ill-informed or naïve testimony can be given legitimacy within contemporary music criticism. In addition, this thesis presents all the references to music found in Woolf’s diaries and letters, and, as such, the appendices found at the back of the dissertation constitute not only the first attempt to bring this material together, but are also presented in such a way so as to reinforce the paratactical nature of Woolf’s writing about music. That is to say, structurally, the appendices appear as they appear in Woolf’s original texts, and this thesis has, self-consciously, tried to resist the conceptual overdetermination of these fragments. This structural consideration implies that this dissertation fulfils a performative, as well an analytical function.
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Cooper, Amy Nicole. "Criticism of Beethoven's Pastoral Symphony in London and Boston, 1819-1874: A Forum for Public Discussion of Musical Topics." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103304/.
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Critics who discuss Beethoven’s Pastoral Symphony often write about aspects that run counter to their conception of what a symphony should be, such as this symphony’s static nature and its programmatic elements. In nineteenth-century Boston and London, criticism of the Pastoral Symphony reflects the opinions of a wide range of listeners, as critics variably adopted the views of the intellectual elite and general audience members. As a group, these critics acted as intermediaries between various realms of opinion regarding this piece. Their writing serves as a lens through which we can observe audiences’ acceptance of ideas common in contemporaneous musical thought, including the integrity of the artwork, the glorification of genius, and ideas about meaning in music.
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Divett, Andrew Brennan. "Musical Ekphrasis in the Poetry of Nicolás Guillén, Federico García Lorca, and Langston Hughes." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955012/.
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Musical ekphrasis was occurring in the twentieth century in different centers around the world, Cuba: Andalusia, Spain; and Harlem, New York, simultaneously. The writers at the heart of this movement used poetry about music as a means to celebrate the cultures of the marginalized people in their lands, los negros, los gitanos, and African-Americans. The purpose of this study is to define musical ekphrasis and identify it in the works of Nicolás Guillén, Federico García Lorca, and Langston Hughes. Also explored are the common characteristics in ekphrastic poetry by the three poets and the common themes found in their ekphrastic poetry, as well as common influences. Each author is considered in the context of his surroundings and his respective culture, and how that influenced his musical tastes as well as his writing style.
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Panyaniti, Rawin. "Bartók as ethnomusicologist and composer: folk music and art music influences on his musical language." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31223278.
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Hurley, Therese. "Jeanne d'Arc on the 1870s Musical Stage: Jules Barbier and Charles Gounod's Melodrama and Auguste Mermet's Opera." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12991.
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The purpose of this study is to examine the presentation of Joan of Arc's life in two lyric works, Jules Barbier and Charles Gounod's Jeanne d'Arc (1873) and Auguste Mermet's Jeanne d'Arc (1876), that premiered in Paris following the upheaval of the Franco-Prussian War and Paris Commune. Relying on Parisian journals of the day, I follow two trends: some critics called for a historically-informed presentation of Joan's life and others appealed to retain certain supernatural elements, specifically the Fairy Tree and the Voices, of Joan's story. In addition to these trends, I consider an article printed shortly before the premiere of Mermet's opera and discuss the political and religious implications of the final scene (Charles VII Coronation in Reims or Joan's execution in Rouen) in these two stage works.
After an introductory chapter and a chapter tracing the geneses of the melodrama and the opera, the remaining chapters each deal specifically with one of the three above-mentioned lines of inquiry as they relate to Joan of Arc's story. Chapter III discusses historical characters (Charles, duc d'Orléans, King René, and Agnès Sorel), historical music (minuet and Vexilla regis), and music believed to have been sung in the presence of Joan of Arc (Veni Creator Spiritus and Orate pro ea). Chapter IV addresses the continuing presence of legendary, supernatural elements--specifically the Fairy Tree and the Voices--and how these elements have changed in nineteenth-century stage works about Joan. In Chapter V, the difficulty of adapting Joan's life on the stage is examined. A closer look reveals that differing views existed during the 1870s as to exactly what her mission entailed. The two works reflect the changing attitudes on this topic.
As a whole, this dissertation offers an examination of two rarely discussed stage works that reveal the political, religious, and musical climate surrounding the figure of Joan of Arc in the 1870s.
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Joo, Hwajoon. "Yoon-Seong Cho's Jazz Korea a cross-cultural musical excursion /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6089.
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Potgieter, Johann Hendrik Loedolff Smuts. "The initial years (ca. 1528-1565) of Claude le Jeune : Huguent and musical humanist." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1007392.
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Claude Le Jeune (born at Valenciennes , ca. 1528; died at Paris, 1600) was a towering figure in French Renaissance music. In spite of this, few biographical details have survived the turmoils of his time , which was marked primarily by the Wars of Religion, the last years of the reign of the Valois, and the struggle of Henry IV for the crown of France. In order, therefore, to attain a more complete picture of Le Jeune's life and work, the general historical and spiritual background, circumstantial evidence, is considered more implicating much intensely than usual. The two dominating beacons in Le Jeune's life are his allegiance to the Reformed Faith , involving close connections to leading Huguenot figures, and his inclination towards Humanism, confirmed by his association, from 1570 onwards, with the Academie de Poesie et de Musique of Jean-Antoine De Baïf. The present study is concerned with the initial years of Claude Le Jeune, covering the thirty- seven years of his life from 1528 (the assumed year of birth) intil 1565. In terms of publications, this period includes his "youthful" works : four early chansons from 1552, the Dix Pseaumes with a dialogue for seven voices , Mais qui es-tu,of 1564, and a single motet à 3, Nigra sum sed formosa, published in 1565. The background of his northern homeland is screened with particular attention to the involvement of the members of the Le Jeune family in the religious affairs of the time. Also the general cultural and musical milieu of the Netherlands is investigated within this and Le Jeune's first published works are considered biographical framework. These works still bear the stodginess and gaucheness of an apprentice. The probability of a sojourn in Italy is explored with positive findings. This visit most likely brought Le Jeune within the circle of the ageing Willaert at Venice, Major focus is placed upon the Dix Pseaumes, the first comprehensive collection to appear entirely under Le Jeunes ' s own name and dominating the initial period of his creative life. Detailed analyses reveal the hand of a now asserted composer. well-versed in technical matters and in possession of a fine perception for both the tenets of Calvinism and the aspirations of musical Humanism . As far as the latter is concerned. pertinent attention is given to its roots in the rhetorical and philosophical traditions. and how Le Jeune accommodated issues which sprouted from these and occupied the theorists of his time. Musical text expression holds. since the Dix Pseaumes. a central place in Le Jeune's works in which he maintains a fresh and subtle approach steering clear of the dogmatism of some contemporary theorists. Using various musical devices (modes, chiavette, melody, rhythm, harmony, texture, and even structure) to serve text expression. Le Jeune' s parlance gradually develops a currency in its own right. often expressing the meaning or implication of a text more comprehensively than can be attained by means of a linguistic medium. Appropriate to this particular trait of development in language. recognition is given Le Jeune's musical language. Included into the discussion are concordances of works by other composers where these exist as well as references to the relevant musical topography. A concluding summary of the moulding forces in the initial years of Claude Le Jeune's life as well as the gradual formulation of his distinct musical language concludes this study which can be regarded as an introduction to a more comprehensive programme of research on the life, times and works of Claude Le Jeune, Huguenot and Musical Humanist. A general bibliography is included while the folling appendices are included. 1 . A Bibliography of the works of Claude Le Jeune (all printed editions from 1552-1775). complete with descriptions . text incipits. sources. and class nubers; 2 . some relevant documents; 3. the literary texts of the works discussed; and 4. the "youthful" works. all of these (except the chanson spirituelle. Mais qui es- tu,as yet not republished . Various portraits. maps and other relevant illustrations are intended to enhance the presentation.
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Leal, Luã Ferreira 1991. "Compassos e descompassos : a música popular e o tempo da tradição." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279736.
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Orientador: Renato José Pinto OrtizDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-27T16:25:37Z (GMT). No. of bitstreams: 1 Leal_LuaFerreira_M.pdf: 1646864 bytes, checksum: 6547ce2b528081a4bbbbaff2377d032f (MD5) Previous issue date: 2015
Resumo: O passado é ordenado mediante a definição de princípios de classificação e a atribuição de níveis de relevância dos fatos históricos. A música popular entre as décadas de 1960 e 1970 era objeto de reflexão na imprensa enquanto as pesquisas no âmbito universitário estavam voltadas para outros enfoques de interpretação da sociedade brasileira. Mesmo com a recente inserção da música popular nos debates de cientistas sociais e historiadores profissionais, a escrita da história efetuada por jornalistas ainda forma o núcleo dos "clássicos" da bibliografia sobre o tema. A fonte principal das referências sobre a música popular nos centros urbanos do Brasil pode ser encontrada em um conjunto de textos publicados desde o século XIX por memorialistas e cronistas. A partir da década de 1960, Ary Vasconcelos, José Ramos Tinhorão e Sérgio Cabral, devido à ampla circulação de seus textos e à dimensão de seus acervos com discos, documentos e objetos relacionados à história da música popular brasileira, conquistaram prestígio como "redescobridores" dos músicos do passado. A produção intelectual dos historiadores não acadêmicos ¿ em sua maioria, profissionais das redações de jornais e revistas ¿ pode ser analisada como diagnóstico das transformações sociais na segunda metade do século XX. Para os historiadores-jornalistas convertidos ao posto de pesquisadores da música, a alegada "autenticidade" do elemento popular confere os traços da identidade brasileira. Os textos de Ary Vasconcelos, José Ramos Tinhorão e Sérgio Cabral serão analisados para a compreensão da construção dos pilares do panteão da música popular brasileira entre a década de 1960 e o início da década de 1980. Na condição de defensores do "popular", os três autores conciliam a busca pela preservação da música com características tidas como nacionais e a repreensão aos desvios à "tradição", os quais ocorrem com a comercialização da cultura do "povo" brasileiro
Abstract: The past is ordered by the definition of classification principles and the assignment of levels of relevance of historical facts. Popular music in the 1960s and 1970s was an object of reflection in the press while research in the university was focused on other approaches to interpretation of Brazilian society. Despite the recent inclusion of popular music in discussions among social scientists and professional historians, the writing of history made by journalists still forms the core of the "classics" of literature on the theme. The main source of reference to popular music in urban centers in Brazil can be found in a set of texts published since the 19th century by witnesses and chroniclers. From the 1960s, Ary Vasconcelos, José Ramos Tinhorão and Sérgio Cabral ¿ given the wide circulation of their texts and the size of their collections of records, documents and objects related to the history of Brazilian popular music ¿ gained prestige as "rediscoverers" of the musicians of the past. The intellectual production of non-academic historians (mostly newspapers and magazines newsrooms professionals) may be taken as a diagnosis of social changes in the second half of the 20th century. For these journalist-historians converted to the position of music researchers, the alleged "authenticity" of the popular element conveys the Brazilian identity. The writings of Ary Vasconcelos, José Ramos Tinhorão and Ségio Cabral are analyzed in order to understand the building of the Brazilian popular music pantheon pillars between the 1960s and the early 1980s. In the condition of guardians of "the popular", the three authors concile the pursuit for preserving the music characterized as national and reprehending of deviations to the "tradition", defined as commercialization of the brazilian "popular" culture
Mestrado
Sociologia
Mestre em Sociologia
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Guillaumier, Christina. "From piano to stage : a genealogy of musical ideas in the piano works of Sergei Prokofiev (1900-c.1920)." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/6451.
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This thesis is a study of Prokofiev's musical ideas as they emerge in his early writing for piano. It is concerned with elucidating the connections between Prokofiev's pianistic technique and his compositional technique. In doing so, the study explores the genealogy of composer's musical gestures and thematic ideas. Both his playing and his compositional styles have been labelled as distinctive: the thesis attempts to deconstruct that distinctiveness by pinpointing the origins of the composer's playing and compositional styles, tracing their gradual evolution into a mature idiom. The first chapter is concerned with Prokofiev's juvenilia (1898 to c. 1906). Drawing upon a large amount of previously unpublished archival resources, this chapter uncovers the original gestures and thematic ideas which characterize Prokofiev's early style. The next chapter focuses on Prokofiev's period at the St Petersburg Conservatory, tracing his development into a virtuoso pianist, examining the nature of that virtuosity and chronicling the creation of Prokofiev's performing persona. The gestures and idea- types identified in the first chapter are then examined within the context of Prokofiev's works for solo piano, his early works with orchestra and his first two major operas. Conclusions are then drawn about the nature of Prokofiev's distinctiveness, his compositional legacy and about his current position as a major twentieth-century composer.
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Da, Veiga Jardim Neto Oswaldo. "The role of the military and municipal bands in shaping the musical life of Macau, ca.1820 to 1935." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B2994739X.
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Daussat, David M. "Birth of a Modern Concerto: An Explication of Musical Design and Intention in Journey: Concerto for Contrabass Tuba and Orchestra." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6116/.
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John Stevens was commissioned by the Chicago Symphony Orchestra (CSO) and the Edward F. Schmidt Family Commissioning Fund to compose a concerto for its principal tubist, Gene Pokorny. The piece began with multiple conversations between composer and performer and from these meetings actualized the influences that shaped the work. The most important influences that the performer mentioned were his passions for American steam locomotives and the Three Stooges, both of which were used by Stevens in his rendering of the composition. This concerto was designed to be played on the famous CC York tuba that was played by the former principal tubist of the CSO, Arnold Jacobs, the same instrument used today. Insight into the history of the York tuba will be given as well as their influence on contemporary manufacturing and design. Focus is given to how Stevens writes the piece idiomatically to the CC tuba and potential performance problems when a performer uses tubas of a different key. Conversations with both gentlemen will display the non-musical influences on Journey and how this effects the composition. Stevens' compositional language is explored and discussed in respect to the challenges and idiosyncrasies within the work. Collegiate tuba professors provide explanation for works level of interest within their respective schools and experiences.
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Dalamba, Lindelwa Ncedisa. "Passports to jazz : the social and musical dynamics of South African jazz in Britain, 1961-1973." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.697434.
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Nussbaum, Carolyn. "The Flute: the Mechanical Improvements on the Body of the Orchestral Instrument since 1847." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277877/.
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This thesis uniquely explains the mechanical improvements which have occurred to the flute over the last 147 years. Theobald Boehm revolutionized the flute by changing many of its components culminating with the 1847 model flute. Since that time other improvements have been made which enhance the flute's capabilities in terms of pitch, tone, timbre, and simplification offingeringpassages. Among those improvements which are discussed in the following pages are the Dorus G-sharp key, the gizmo key, the Cooper scale, and The Brogger Mekanik as well as the makers behind the various improvements including Vincent Dorus, George Barrere, and Albert Cooper.
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Young, Toby. "The artistic self : identity and self-representation in Nicholas Maw's 'Life Studies' : portfolio of compositions and critical writing." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:92443395-2833-40dd-abae-6e3b859a5faa.
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In his article 'The Death of the Author', Roland Barthes posits that the intentions and identity of an author are irrelevant to the understanding of an artwork. Yet in his analysis of a text by Balzac, Barthes inadvertently demonstrates that there are basic thematic categories associated with an artist's identity, which are intrinsic to a work's interpretation. This thesis proposes that the author of an artwork functions as a semiotic curator, collating signifiers from within these external categories in order to reflect their understanding of the world. Taking as a case study Nicholas Maw's 1976 score Life Studies - a piece described by the composer as being based on his own life - this experiential understanding of identity and self is explored through the lens of David Hume's bundle theory, where the unified experience of self is created through the collection of a series of perceptions. This thesis hypothesises that there are five key categories of perception that constitute Maw's artistic self in Life Studies: simulacra, narrative, design, agency, and nostalgia. Methodologically, these five areas - or rhizomes - are presented through a tripartite study, in an attempt to combine the three distinct disciplines which the philosopher Gilles Deleuze believed approached a holistic understanding of reality: philosophy, analysis, and - in the accompanying portfolio - composition (creativity).
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Laurier-Cromp, Méliane 1983. "L'identité culturelle dans "Montreal", d'Ariane Moffatt : une analyse musicale sémiologique." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116006.
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The song " Montreal ", by Ariane Moffatt, has achieved a great success in the Summer of 2006. This thesis scrutinizes the causes of this popularity. After a review of the diverse existing methods in popular music research, three modes of analysis are presented. First, the study shown here describes the song through a music-theoretical approach; it observes the rules governing the voice, the melody, the rhythm, the phrases, the bass, the tonality, the chords, and the instruments used, supported by a precise transcription of the song. Then, this paper studies the musical codes that are found in "Montreal". In this section, the musical message of the piece is analyzed, while taking in consideration the sociohistorical context of the Summer of 2006, the national history that preceded the release of this piece, and the lyrics of the song. Finally, this study investigates the issue of national identity in Quebec, the place of "Montreal" into the collective imagination of Quebeckers, and the popular music tradition of the province.
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Eales, Andrew Arnold. "An object-oriented toolkit for music notation." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1006473.
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This thesis investigates the design and implementation of an object-oriented toolkit for music notation. It considers whether object-oriented technology provides features that are desirable for representing music notation. The ability to sympathetically represent the conventions of music notation provides software tools that are flexible to use, and easily extended to represent less common features of music notation. The design and implementation of an object-oriented class hierarchy that captures the structural and semantic relationships of music notation symbols is described. Functions that search for symbols, and update symbol positions are also implemented. Traditional context-sensitive and spatial relationships between music symbols may be maintained, or extended to provide notational features found in modern music. MIDI functionality includes the ability to play music notation and to allow step-recording of MIDI events. The toolkit has been designed to simplify the creation of applications that make use of music notation; example applications are created to demonstrate its capabilities.Microsoft Word
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