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Dissertations / Theses on the topic 'Musical styles'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Bellmann, Hector Guillermo. "Toward a scientific taxonomy of musical styles." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16387/1/Hector_Bellmann_Thesis.pdf.

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The original aim of the research was to investigate the conceptual dimensions of style in tonal music in order to provide grounds for an objective, measurable categorization of the phenomenon that could be construed as the basis of a scientific taxonomy of musical styles. However, this is a formidable task that surpasses the practical possibilities of the project, which would hence concentrate on creating the tools that would be needed for the following stage. A review of previous attempts to deal with style in music provided a number of guidelines for the process of dealing with the material

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Bellmann, Hector Guillermo. "Toward a scientific taxonomy of musical styles." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16387/.

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The original aim of the research was to investigate the conceptual dimensions of style in tonal music in order to provide grounds for an objective, measurable categorization of the phenomenon that could be construed as the basis of a scientific taxonomy of musical styles. However, this is a formidable task that surpasses the practical possibilities of the project, which would hence concentrate on creating the tools that would be needed for the following stage. A review of previous attempts to deal with style in music provided a number of guidelines for the process of dealing with the material

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3

Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.

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A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of

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4

Nyvlt, Monica. "Merengue and bachata, a study of two musical styles in the Dominican Republic." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57712.pdf.

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5

Hao, Chen. "The influence of musical styles on the use of performance cues by pianists." Thesis, Royal College of Music, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.668173.

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6

Cannon, Robert S. "An Investigation of Musical Styles and Applications in Select High School Choral Music." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1335226836.

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Nyvlt, Monica Carleton University Dissertation Sociology and Anthropology. "Merengue and bachata: a study of two musical styles in the Dominican Republic." Ottawa, 2001.

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8

Hsu, Chiung-Tan. "Fusion of musical styles and cultures in Bright Sheng's opera "The Song of Majnun" /." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1261054889.

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9

Wang, Tianshu. "Alexander Tcherepnin's "Five Concert Studies": An homage to Chinese musical styles, instruments, and traditions." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/284005.

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The influence of traditional Chinese art permeates Alexander Tcherepnin's piano compositions, particularly his Five Concert Studies, Op. 52 . A survey of Tcherepnin's life, his musical achievements, and the impact various cultural influences exerted on his musical development reveals the depth of feeling Tcherepnin possessed for China and things Chinese. As a product of Tcherepnin's "Chinese Years" (1934--1937), the Five Concert Studies, Op. 52, show the direct influence of specific Chinese elements and original art forms that the composer imitated, including the Pi Ying Xi (Shadow Play), Mu

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10

Ginocchio, John F. "Music style preference : a ranking of musical styles and comparison by age, gender, ethnicity, music training, and rural, suburban, or urban upbringing." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1336616.

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The purpose of this study was to review the findings of Leblanc (1979) utilizing the most common styles of popular music in today's media. Seven styles of popular music, traditional jazz, and Romantic classical music were ranked in order of preference; subject responses were compared by age, gender, environment of upbringing, and amount and type of music training. The sample consisted of 332 fifth graders and college non-music majors. Subjects completed a Personal Information Form, listened to a recording of 19 musical examples representing the styles being studied, and recorded their preferen

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11

Macevičiūtė, Ugnė. "Ketvirtų klasių mokinių klausomos muzikos pasirinkimo ypatumai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100707_145741-61423.

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Tyrimo tikslas - ištirti Vilniaus rajono ketvirtų klasių mokinių klausomos muzikos pasirinkimo ypatumus. Tyrimo objektas - veiksniai, kurie daro įtaką vaiko nuostatoms apie įvairų stilių klausomą muziką. Tyrimo uždaviniai: apžvelgti teorinę literatūrą apie vaikų muzikinio skonio ir muzikinės tapatybės formavimąsi; anketine apklausa nustatyti keturių Vilniaus apskrities mokyklų ketvirtų klasių mokinių prielankumą įvairių stilių muzikai; grupinio interviu metu išsiaiškinti mokinių nuostatas ir įvairias priežastis, kurios lemia abejingumą ar prielankumą klausomai muzikai; išnagrinėti, ar berniukų

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12

Bellmann, Hector G. "Categorization of Tonal Music Styles: A Quantitative Investigation." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366215.

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The objective of this study is to identify the main conceptual dimensions of tonal musical style in order to provide a theoretical understanding of the phenomenon which could constitute the basis for a scientic taxonomy of styles. Music style is a substantial quality of the musical material that can be readily recognized as belonging to individual composers or associated with their epoch. I was initially attracted to the topic through the knowledge of the successes of literary stylometry, in the expectation that similar accomplishments could have been achieved in the realm of music. I was surp

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13

Dunbar, David Arthur, and David Arthur Dunbar. "Symphony No. 1 in F Major, Op. 17, By Zdeněk Fibich: An Amalgamation of Czech and German Musical Styles." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626371.

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The purpose of this study is to demonstrate that Symphony No. 1 in F major, Op. 17, by Zdeněk Fibich embodies musical style features associated with both Czech and German composers of the nineteenth century. The identification of these style features is accomplished by comparing and contrasting Fibich's Symphony No. 1 in F major with works by other prominent Czech and German composers whose music was performed and well-known at the time. Particular emphasis is placed on the aural similarities between Fibich's first symphony and that of other composers' works in an effort to show Fibich'

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14

Pardo, Daniel (Flutist). "Expansion of Musical Styles, Function of Texture, and Performing Techniques in Brian Lock's Sonic Archaeologies No. 1: A Performance Guide." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849630/.

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British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Witold Lutoslawski in his innovative works for instrumental sounds and electronics. His most recent work for flute, Sonic Archaeologies No.1, was premiered at the University of North Texas by Mary Karen Clardy, flute; Brian Lock, piano/electric keyboard; and Daniel Pardo, laptop/live mixing. The purpose of this dissertation is to provide flutists with artistic and technical guidance in preparing this work for flute, prerecorded orchestra, interactive electronics and improvisatory accompaniment. Son

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Haecker, Allyss Angela. "Post-Apartheid South African choral music: an analysis of integrated musical styles with specific examples by contemporary South African composers." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3461.

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16

Rife, Nora Anne. "The relationship between psychological differentiation in field dependence-independence, cognitive flexibility-constriction, and performance anxiety in professional musicians /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11975969.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1996.<br>Includes tables. Typescript; issued also on microfilm. Sponsor: Leah Blumberg Lapidus. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 98-113).

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Williams, Matthew Thomas. "The styles of percussionist Bob Becker| Combining and peforming disparate eastern and western musical traditions from Indian tabla and rudimental snare drumming to ragtime." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523326.

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<p> Percussionist Bob Becker is known as an eclectic composer and performer of classical western and world musical styles performed through a wide range of percussive genres. Originally trained to be a classical marimba player and orchestral percussionist, Becker turned his attention to playing music from classical Indian and Ghanaian traditions, as well as the American ragtime xylophone music of George Hamilton Green early in his career during the 1970s. This paper explores Becker's musical training, eclectic and disparate performance repertoire, and his novel and philosophical approaches to

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Willsie, Lucas. "Latin American Fusion: An Analysis of U.S. and Latin American Musical Styles and their Synthesis Exhibited in "The Cape Cod Files" by Paquito D'Rivera." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505206/.

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This document focuses on background and performance practice of various musical styles encountered in Paquito D'Rivera's The Cape Cod Files. More specifically, the musical styles examined include: boogie-woogie, Argentine milonga, classical and popular Cuban music, American twelve-bar blues, contemporary atonal music, and Cuban danzón. A brief biography of Paquito D'Rivera is included to establish context of the composer's musical background. Each chapter examines one of the four movements and the musical styles found within that movement. A brief history of each musical style is provided to i

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Kirchhubel, Julie, and n/a. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training." Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040427.122927.

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The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-st

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Kirchhubel, Julie. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367185.

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The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-st

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21

Walker, Julie. "Le dernier style de Chopin : contexte, analyse et stratégies narratives des œuvres tardives." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC028/document.

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Cette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux œuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narrat

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Nigel, Andrew Nigel Andrew. "Developing concepts of musical style." Thesis, Durham University, 2001. http://etheses.dur.ac.uk/3809/.

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This thesis explores the development of sensitivity to musical styles in children aged between 3 and 16 years old. The thesis is divided into four parts. The first part of the thesis explores the historical background of the developmental and the social psychology of music and reviews some pertinent previous literature. This section places the later studies in a theoretical context. The second part presents a review of the four previous studies, which have been carried out into style sensitivity, namely, Gardner (1973), Castell (1983), Tafuri et al. (1994) and Hargreaves and North (1999). This

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Grimley, Daniel MacGregor. "Nielsen, nationalism and Danish musical style." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343036.

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ZHU, DI. "PROKOFIEV'S PIANO TRANSCRIPTIONS: A COMPARATIVE STUDY OF HIS TRANSCRIBING TECHNIQUES." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1153173318.

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25

Pagnutti, Johnathan. "Real Time Algorithmic Musical Variation Using Style." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/honors_theses/46.

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My honors thesis aims to develop a program that could assist with music composition, or even write interesting music on its own. The starting point is a melody and chord progression composed by a musician, which is the same amount of information that a Jazz performer might get with a lead sheet. Then the computer is tasked with writing a harmony to the melody. The harmony is not only based on the melody and chords, but also on what the program user might want to hear. The program can be provided, in real time, with some descriptors of what a user might want to hear next-such as the words "brig

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Gadd, Robin Neal. "Theorising style." Thesis, University of Southampton, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310571.

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27

Cifka, Ondrej. "Deep learning methods for music style transfer." Electronic Thesis or Diss., Institut polytechnique de Paris, 2021. http://www.theses.fr/2021IPPAT029.

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Récemment, les méthodes d'apprentissage profond ont permis d'effectuer des transformations du matériel musical basées sur les données (data-driven). L'objet de cette thèse est le transfert de style musical, dont le but est de transférer de manière automatique le style d'un morceau à un autre. Dans la première partie de ce travail, nous nous concentrons sur les méthodes supervisées pour le transfert de style des accompagnements dans une représentation symbolique, visant à transformer un morceau donné en lui générant un nouvel accompagnement. La méthode proposée est basée sur l'apprentissage sup

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Garnett, Elizabeth Ann. "Constructions of gender and musical style, 1790-1830." Thesis, University of Southampton, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296997.

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Tregear, Peter John. "Ernst Krenek and the politics of musical style." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428728.

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Hoffman, Brian D. "Elements of the Musical Theater Style: 1950–2000." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322562.

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31

Xaluva, Nomfundo. "An analysis of the musical style of Miriam Makeba." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8249.

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Includes bibliographical references (leaves 56-67).<br>The motivation behind this study is to explore the musical style of the late Miriam Makeba. The intention is that it will add a valuable contribution to the study of South African musicians and those subsequent scholars, with a common interest, will use the work to further the analytical study of the musical style of South African jazz.

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32

Kenney, Sharon Elizabeth. "Musical style in Bruno Bettinelli's Cinque liriche di Montale." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008246.

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Washington, Charles Gregory. "A commentary on African-American musical style with an analysis of the influences of African-American musical style on the composition Simple City /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487849696966734.

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34

Estienne, Nathalie. "La voix chantée des enseignants d’éducation musicale dans l’enseignement secondaire en France : entre modèles esthétiques et profils éducatifs." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL023.

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L’étude a pour objet le chant de l’enseignant en Éducation musicale en France. Elle s’appuie sur la question suivante : Comment l’enseignant doit-il chanter ? Trois grandes parties structurent la démarche. Le premier Livre explore les écrits concernant la voix chantée de l’enseignant, qui, d’un « modèle » vocal légitime problématique dans le contexte de l’enseignement de masse, évolue vers une vocalité se voulant plus adaptée au contexte, mais toujours incertaine. Il conclut à la prégnance des choix esthétiques dans tout ce qui touche à la vocalité en éducation musicale. Le Livre II cherche à

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35

Mandolini, Ricardo. "Langages en expansion réflexions critiques sur le style, sur le compositeur et sur l'oeuvre : analyse des travaux /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37607648q.

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Tsounis, Demeter. "Rebetika music-making in Adelaide : diaspora musical style and identity /." Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09pht88195.pdf.

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37

Ward, Russell Gillian. "William Russell (1777-1813) : an enquiry into his musical style." Thesis, University of Leicester, 1994. http://hdl.handle.net/2381/28514.

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That eighteenth-century England produced no composer of the calibre of Haydn, Mozart, or Beethoven cannot be denied: however, in the past this fact has led to an unjust dismissal of English music of the late eighteenth and early nineteenth centuries. More recently there has been an awakening of interest in the music of this era. It was a time of intense musical activity in England, but native musicians were coerced, by public taste and fashion, into subservience to foreign performers and composers. This enforced inferior status was not totally unproductive, however, since it brought both profe

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Cassell, Thomas. "In Seeking a Definition of Mash: Attitude in Musical Style." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3916.

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“Mash” is a term used to describe one of the most recent major style shifts in the iconic American string band music known as bluegrass. Beginning in the 1990s, the bluegrass sound began to evolve, and ‘mash’ worked its way into the genre as a descriptor of a certain sound. Though a handful of scholars have discussed the social stigmas of the style, no one yet has investigated the simple musical question about mash: what is it? The purpose of this thesis is to define mash in its musical form through a combination of transcription methods and extensive analysis. Through this research, a recurri

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Sorensen, Andrew. "A Markov approach to style replication." Thesis, Queensland University of Technology, 1998.

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The design of algorithms modelled on the abstraction of compositional formalisms has been practised by composers for several centuries. Modern science has provided us with the technology to model such processes within digital micro-domains, establishing a mechanism for the autonomous generation of musical material. This study investigates the abstraction of musical processes integral to the design of such micro-domains, focusing in particular on the design and implementation of a software package developed to model musical style systems using probability theory. Markov systems provide a mea

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Plumley, Yolanda Meritxell. "Style and structure in the late fourteenth century chanson." Thesis, University of Exeter, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280877.

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41

Allcock, Phillip James. "Analysing the musical style of Sir Elton John : an interdisciplinary approach." Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/24705/.

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This thesis aims to explore the musical style of Elton John by taking an interdisciplinary approach to popular music analysis. In addition to analysing Elton John’s musical style, the approach taken will itself be assessed to ascertain whether it can be beneficial for future research into popular music. The introductory chapter defines the key concepts and considers who or what Elton John is. With a career spanning over 45 years and in excess of 300 million albums sold, Elton John is a major popular music artist. However, the Elton John brand is not confined to popular music records. Elton Joh

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Draper, Brian, and Brian Draper. "Text-Painting and Musical Style in the Lieder of Fanny Hensel." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12441.

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The Lieder of Fanny Hensel have received very little attention from modern music scholars, and her music has mostly been looked at as only a sidebar to the music of her much more famous brother, Felix Mendelssohn. Adding to the pioneering works on Hensel's life and music by Marcia Citron, Stephen Rodgers, Yonatan Malin, R. Larry Todd, and several others, this study illuminates many of Hensel's characteristic text-painting devices and offers insight into her Lied style in general. I show how Hensel uses the musical parameters of melody, harmony, and their inherent attributes such as contour, te

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Cook, Alicia. "The Evolving Style of Libby Larsen." Digital Commons @ Butler University, 1996. http://digitalcommons.butler.edu/grtheses/8/.

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Merck, Kathy Johnson. "An expert system to generate musical variations in the style of Telemann /." Online version of thesis, 1991. http://hdl.handle.net/1850/10708.

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Thornton, Tony. "The Influence of Poetry Upon James Mulholland's Compositional Process and Musical Style." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/194964.

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According to James Mulholland, choral works in which the composer begins by using the text to inspire creativity evolve in three stages. First, the poet carefully chooses words and expressions as a vehicle for thoughts and emotions. The composer, in the second stage, enhances the artistic impact of the poem by setting it to music. In the final stage, conductor and performers give voice to the poet's work and to the composer's musical expression of it in a live performance.Choral conductors serve two art forms, language and music. In this study, I will investigate the compositional process

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Heidlberger, Frank. "Canzon da sonar : Studien zu Terminologie, Gattungsproblematik und Stilwandel in der Instrumentalmusik Oberitaliens um 1600 /." Tutzing : H. Schneider, 2000. http://catalogue.bnf.fr/ark:/12148/cb371224773.

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Tual, François-Gildas Bayer Francis. "La pensée sérielle : théâtre social et nouvelles dramaturgies /." [Paris] : [F.-G. Tual], 2002. http://catalogue.bnf.fr/ark:/12148/cb40025319b.

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George, Miranda. "Reimagining “The Art of Phrasing” by Jean Baptiste Arban: Teaching Musical Style to Modern Day Trumpet Players." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822753/.

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“The Art of Phrasing” is a chapter from Arban’s Complete Celebrated Method for the Cornet (published in 1864) that contains a selection of 150 melodies from Classical and early Romantic works. This section of Arban’s method was necessary for a new generation of cornet and trumpet players to learn melodic phrasing and style. A larger part of the trumpet solo repertoire was written for the clarino register or composed in fanfares due to the limitation of the valveless trumpet. The newly chromatic cornet grew to be a prominent solo instrument in symphonies and wind bands by the mid 19th century

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Daley, Paul B. (Paul Byron). "An Investigation of Textural Activity and Its Hierarchical Structures in Selected Works by Krzysztof Penderecki." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500894/.

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This study focuses on temporal aspects of the music of Krzysztof Penderecki and deals with these on the level of textural activity. The analyses are based on a referential idea called a "discrete sound event," defined as an occurrence of a sound or collection of sounds which, as a unit, is distinct from the surrounding texture. These sound events are then used to appraise textural activity from layer fluctuation and composite density. The pieces selected for applying these techniques are the Threnody to the Victims of Hiroshima, from 1960, the Fluorescences, from 1961, and the 1965 Capriccio f

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Hsu, Shu-Hao. "Nicolai Medtner's Piano concerto no. 3, op. 60: musical style and performance strategies." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3469.

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Nicolai Medtner (1880-1951) is regarded as an accomplished composer and one of the most brilliant pianists of his time. He composed numerous compositions for piano that fall into three main categories: piano solo, piano with voice, and piano chamber music. He composed four large-ensemble pieces, including three concerti and the piano quartet in C major. This essay will concentrate on the lesser-known Piano Concerto No. 3, subtitled "Ballade." This three- movement work is extremely challenging because of its large and complex structure. Gaining a clear understanding of the structure and its for

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