Dissertations / Theses: 'Muslim Spain'

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Allen, Marilyn Penn. "Cultural flourishing in tenth century Muslim Spain among Muslims, Jews, and Christians." Connect to Electronic Thesis (ProQuest) Connect to Electronic Thesis (CONTENTdm), 2008. http://worldcat.org/oclc/443016315/viewonline.

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Vazquez-Paluch, Daniel Andrzej. "The establishment of the Maliki School in Muslim Spain." Thesis, SOAS, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.570656.

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This investigation looks at the development of the Maliki school in Muslim Spain in the 3rd/9th and 4th/10th centuries. It begins with an introduction to the subject which covers the relevant bibliography, the main sources used and a brief look at Malik's life and legal thought. Part I then deals with the beginnings of Malikism in al-Andalus. After a quick glance at Malik's earliest students in al-Andalus, the legal views of Yahya b. YaQya -Malik's most famous Andalusian student- are closely analysed. Then the legal views of the two other most famous Andalusian Malikis of the 3rd/9th century _clsa b. Dinar and C Abd aI-Malik b. I:IabIb- are looked at. In part II the variety of legal trends in the 4th/10th century are looked at using the works of al-Tulaytall, al-KhushanI, al-Jubayn, Ibn Zarb, Ibn Abi Zamanin and Ibn al-Attar. The analysis, attempts to concentrate on the legal views of the jurists -their attitude towards Malik's authority, their way of dealing with the binding texts of the Qur'an and the injunctions of the Prophet and whether there is a sense of school doctrine. The investigation concludes that already in the 3rd/9th century Malik's authority was well established whilst his students were becoming increasingly important. By the 4th/10th century the school was firmly established although attitudes to Malik's views showed that it was still acceptable to differ from the eponym.

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Rosander, Eva Evers. "Women in a borderland : managing Muslim identity where Morocco meets Spain /." Stockholm : Department of social anthropology, University of Stockholm, 1991. http://catalogue.bnf.fr/ark:/12148/cb35515935g.

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El-Bachouti, Mohammed Hicham. "Individualization of muslim religious practices: contextual creativity of second-generation Moroccans in Spain." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/402893.

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Given the limitations posed on some religious practices in secular contexts, a trend of individualization, or a self-fashioned approach to religious practices, has surfaced in an emerging debate in literature dealing with the study of Muslim minorities and their practices. While the term is used for critical arguments, it lacks empirical data, which this research aimed to contribute to by using in-depth, semi-structured interviews. The study starts by mapping the basic elements of a “theory of individualization,” and analyzing the literature behind it. Following it, interviews are conducted and analyzed, by which the study contextualizes individualization in Europe, taking Spain’s second-generation Moroccans as a case study, to answer the research question: How do Muslims reconcile their religious duties with their everyday life in contemporary Spanish society? The literature points to the generational gap in analyzing individualization, and draws a line to secularization. However, the empirical findings of this project help us argue that individualization is a product of a process I refer to as Contextual Creativity. By such, the study poses a theoretical challenge to secularization in Europe. The limited set of religious options in a context demonstrates that they matter more than the generational effect. Equally, they do not translate to personal secularization, but an expression of limitations, rather than liberties. In order to invite our interviewees to share with us their trajectories’ patterns and modes of individualization, the project invoked two specific practices: daily prayers and social interactions (school, work, community), as these two stand as a continuous everyday struggle for the individual trying to accommodate both religious duties and societal interferences.
Dadas las limitaciones que se plantean en algunas prácticas religiosas en contextos seculares, una tendencia de individualización, o una manera individual de abordar sobre las prácticas religiosas, ha salido a la superficie en la literatura que trata sobre el estudio de las minorías musulmanas y sus prácticas. Si bien el término se utiliza para los argumentos críticos, que carecen de datos empíricos, ésta investigación espera poder contribuir a ello a través del uso de entrevistas llevadas a cabo en profundidad. Se inicia el estudio mediante la asignación de los elementos básicos de una "teoría de la individualización", y el análisis de la literatura detrás de ella. A raíz de ésta teoría, se realizan entrevistas y se analizan, y tras estudiarlas se contextualiza la individualización en Europa, usando como marco a marroquíes de segunda generación de España, para entonces responder a la pregunta de investigación: ¿Cómo concilian los musulmanes sus deberes religiosos con su vida cotidiana en la sociedad española contemporánea? La literatura señala en repetidas ocasiones a la brecha generacional en el análisis de la individualización, y traza línea a la secularización. Sin embargo, los hallazgos empíricos de este proyecto ayudan a plantear que la individualización es producto de un proceso al cual me refiero como Creatividad Contextual. Así el estudio propone un reto contra el entendimiento de secularización en Europa. El conjunto limitado de opciones religiosas en un contexto demuestra que importan más que el efecto generacional. Igualmente, no se traducen a la secularización individual, sino una expresión de limitaciones en lugar de libertades. Con el fin de invitar a los entrevistados a compartir las formas de individualización y sus trayectorias, el proyecto invoca a dos prácticas específicas: las oraciones diarias y las interacciones sociales (escuela, trabajo, comunidad), ya que estos dos se destacan como lucha diaria continua para aquella persona que intente dar cabida a la vez a los derechos religiosos y las interferencias sociales.

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Carpentieri, Nicola. "The Poetics of Aging: Spain and Sicily at the Twilight of Muslim Sovereignty." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10614.

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Aging as a physical, aesthetic and intellectual process gained, after muhdath poetry, a position of prominence in Classical Arabic poetry and poetics. Despite its relevance to the development of subgenres such as that of shayb (white hair) and zuhd (ascetic poetry), Arabic verse on aging received little attention by major contemporary critics. This study focuses on the verses on aging penned by the Andalusian poet Abu Ishaq al-Ilbiri and the Sicilian 'Abd al-Jabbar Ibn Hamdis in the XI and XII centuries, arguing for the creative processes through which these two poets reworked the motif of old age, together with other poetic subgenres, fashioning a 'poetics of aging.' By means of such a poetics, al-Ilbiri and Ibn Hamdis voiced their apprehension for the end of their lives, and at once, for the end of Islam's political supremacy in their homelands. Both al-Ilbiri and Ibn Hamdis, as they aged, became more and more preoccupied with the political decline of Islam in Muslim Spain and Sicily. They addressed the prominent political figures of their times, inciting them to a restore Maghribi Islam to its former glory. At the same time, they devoted a significant part of their overall production to subgenres such as the elegiac and the ascetic, in which they reflected upon their physical decay and advocated a withdrawal from worldly pursuits. My study questions this apparent contrast. It is my contention that al-Ilbiri's and Ibn Hamdis's poetics of aging does not imply of personal withdrawal from public life. Such a poetics should instead be read as part and parcel with their public verses of tahrid (public instigation). In what follows I illustrate how al-Ilbiri and Ibn Hamdis combined verses on physical decline, elegies and ascetic verses, in order to convey their late-life reflections as two first-hand witnesses to the end of Islam's social and political cohesion in the Muslim West. Emerging from these verses is a fascinating combination of a political documentation for later Maghribi Muslim history and a quasi-autobiographical voicing of the anxieties these poets experienced living at both the temporal and spatial margins.
Near Eastern Languages and Civilizations

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Salem, Rafik M. "Exile and nostalgia in Arabic and Hebrew poetry of al-Andalus (Muslim Spain)." Thesis, SOAS, University of London, 1987. http://eprints.soas.ac.uk/28839/.

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The purpose of this study is to examine the notions of "exile" (qhurba) and "nostalgia" (al-hanin ila al-Watan) in Arabic and Hebrew poetry in al-Andalus (Muslim Spain). Although this theme has been examined individually in both Arabic and Hebrew literatures, to the best of my knowledge no detailed comparative analysis has previously been undertaken. Therefore, this study sets out to compare and contrast the two literatures and cultures arising out of their co-existence in al-Andalus in the middle ages. The main characteristics of the Arabic poetry of this period are to a large extent the product of the political and social upheavals that took place in al-Andalus. Some of the cities which for many years represented the bastions of Islamic civilization were falling into the hands of the invading Christian army. This gave rise to a stream of poetry that reflects the feelings of exile and nostalgia suffered by those poets who were driven away from their native land. This Arabic poetry had a substantial influence on the literary works of the Jewish poets who were reared within the cultural circles of the Arabic courts. As a consequence the Hebrew poetry they composed, in many respects, bore the stamp of the Arabic poetry in form and content. This thesis is divided into three major parts organized as follows: the first part deals with the themes of exile and nostalgia in Arabic poetry in al-Andalus. It contains three chapters: chapter one begins with a study of the origins of the themes of exile and nostalgia in the Arabic poetic tradition. Chapter two focuses on the nostalgia and lament poetry in al-Andalus describing the characteristics of each period through examining specimens of Andalusian poems. Chapter three is devoted to a study of the poetic product of Ibn Hamdis, the Sicilian (d.1133) and discusses how the themes of exile and nostalgia became the framework of both his life and his poetry. The second part of the thesis parallels the first part in that it deals with the Hebrew poetry in al-Andalus. It consists of three chapters: chapter one investigates the origins of the concept of the homeland in the Biblical sources. Chapter two discusses the form and the structural scheme of the Hebrew poetry in al-Andalus and the influence of the Arabic poetry on the Hebrew poetic works. Chapter three is devoted to a study of the poetry of the Jewish poet, Judah ha-Levi (d.1140) and his nostalgic expressions for Zion. The third part is a comparative literary study of two specimen poems of Ibn Hamdis and ha-Levi. The aim of this study is to develop methods for an analysis of the motifs and internal structure of these two poems. The linguistic analysis is focussed mainly on the levels of phonology, morphology and syntax, while the traditional analysis is focussed primarily on the content and imagery.

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Nusseibeh, Saker Anwar. "A comparative study of Ta'ifa states c.1018-1094, with special reference to Valencia and Zaragoza." Thesis, King's College London (University of London), 1993. https://kclpure.kcl.ac.uk/portal/en/theses/a-comparative-study-of-taifa-states-c10181094-with-special-reference-to-valencia-and-zaragoza(f90a42bd-c1d3-4445-a4e1-505a10e1d741).html.

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Hernandez, Eduardo Jose. "A MUSLIM FIFTH COLUMN: MORISCO RELIGION AND THE PERFORMANCE OF IDENTITY IN SIXTEENTH CENTURY SPAIN." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/372168.

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Religion
Ph.D.
At the beginning of the sixteenth century, the Muslims of the newly conquered territory of Granada rebelled against their Catholic Castilian and Aragonese masters. The Muslims of Granada were subsequently given the choice of expulsion or conversion, with many choosing to remain and convert to Catholicism. Beginning with these initial conversions, the question of Morisco Muslim-ness is one that has historians for years. For many scholars, Morisco religiosity represents a form of syncretic religion that blends both the Catholic and the Muslim in specific instantiations of religious practice. For others, the Moriscos represent a crypto-Islamic community that practiced a form of taqiyya, or the Islamic practice allowing Muslims to conceal their religious affiliation under duress or the threat of death. What these analyses fail to take into account is the performative aspects of Morisco religious practice at the boundaries of Catholicism and Islam. This dissertation intends to look at Moriscos as a suspect community from the perspective of the Spanish state, but also from the vantage point of the Moriscos themselves, who attempted to navigate the boundaries of Catholicism as articulated in legislation, polemical texts, and inquisitorial trials, while framing their religious practice in terms of cultural preservation. Similarly, this dissertation will examine the methods employed by the Moriscos in their performance of an oppositional Muslim identity set in direct contrast to a developing Spanish nationalism. Performance here is being employed to investigate how Moriscos, who represented a “fifth column” for the nascent Spanish state, constructed fluid identities that fluctuated in response to the socio-cultural and/or political context.
Temple University--Theses

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Goetsch, Emily Baldwin. "Extra-apocalyptic iconography in the tenth-century Beatus Commentaries on the Apocalypse as indicators of Christian-Muslim relations in medieval Iberia." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9488.

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This thesis is an iconographic study of the four earliest and relatively complete tenth-century manuscripts of Beatus’ Commentary on the Apocalypse: New York, Pierpont Morgan Library MS M. 644 (the Morgan Beatus); Valladolid, Biblioteca de la Universidad de Valladolid MS 433 (the Valladolid Beatus); Girona, Museu de la Catedral de Girona MS 7(11) (the Girona Beatus) and La Seu d’Urgell, Museu Diocesá de La Seu d’Urgell MS 501 (the Urgell Beatus). As a part of the tenth-century revival of Beatus’ text that initially was penned in the eighth-century, these works were created in monastic centres during a period when conflict between the Christian kingdoms in the north and Islamic rulers in the south was at a peak, the manuscripts’ iconographic innovations reflect the social, political and religious circumstances of their patrons, creators and audiences. While these manuscripts offer the possibility of furthering scholastic understanding of Iberia prior to the year 1000 the majority of past scholarship has been devoted to defining dates, stemma and the physical characteristics of the works. Debates over descriptions of style, labels and influence have overshadowed discussions of iconographic significance, which have begun to emerge only in the last few decades. Therefore, this thesis provides iconographic analysis of five under-studied scenes, which include the Mappamundi, the Four Beasts and the Statue, Noah’s Ark, the Palm Tree and the Fox and the Cock. While these images are just five of up to 120 included in the illustrative programmes of these manuscripts, they are the only scenes that illustrate the text of Beatus’ Commentary, rather than the narrative of Revelation. This is significant because these extra-apocalyptic scenes were selected and created specifically because of the messages within the Commentary that they enhance; the ideas promoted through these images are not restricted by the narrative of Revelation and therefore reveal much about the political, religious and social situation in the northern Iberian Christian communities that created them. By discussing the visual elements of these five images in conjunction with iconographic traditions from other parts of western Europe, the Byzantine world, the Mediterranean and the Islamic world, this thesis will examine the Beatus illustrations and, on a larger scale, the production of these manuscripts, in relation to the historical struggles of the time. Informed by postcolonial theory, it will not only diverge from the standard ways of approaching these works, but also will bring new insight into the Christian perspective of Muslim occupation in medieval Iberia, suggesting that monastic communities were attempting to combat the Muslim threat by encouraging participation in and dispersal of the Christian faith in order to maintain Christian practices and beliefs on the Iberian Peninsula and furthermore to assert Christian dominance at the Judgment.

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Alcala, Beito Jimenez. "Environmental aspect of Hispano-Islamic architecture : an approach to the daylight and summer thermal performance of Muslim buildings in Spain." Thesis, University of London, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516564.

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Dane, Kirstin Sabrina. "Power discourse and heresy in al-Andalus : the case of Ibn Masarra." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99584.

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This thesis is a study of zandaqa, or heresy, in the early medieval period of al-Andalus. The goal of this work is to uncover subtexts between caliphal power and legal authority through an analysis of the historiography of the Andalusian Muhammad ibn `Abd Allah Ibn Masarra al-Jabali (d. 319/931). This is accomplished by applying the Foucauldian theories of limit and transgression on the scholarly reconstructions of his life. The formation of the madhahib in al-Andalus, the construction of Orthodoxy and Heresy in Islam, and the historical-legal development of zandaqa colours how scholars have approached the subject, and leads to questions concerning the relationship that marginal or subversive intellectual developments had with authoritative bodies. The resulting play of divergent and authoritative discourses that emerge from a Post-Modernist analysis of the Masarrian context have the capacity to illustrate intellectual developments within early Andalusian society and provide an alternate explanatory narrative for historical reconstruction.

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Allard, Elisabeth Bolorinos. "My enemy or my brother? : Spanish representations of Muslim and Jewish culture during the colonial campaigns in Morocco, 1909-1927." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:6e0bcfff-12a2-4b59-92d4-57f9fff5adec.

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This thesis examines Spanish representations of Muslim and Jewish cultures in Morocco during the colonial campaigns in the Rif (1909-1927) in relation to constructions of Spanish identity during this period. It focuses on visual and textual narratives in the press (colonial photojournalism) and on three literary texts: Carmen de Burgos' En la guerra (1909), Ernesto Giménez Caballero's Notas marruecas de un soldado (1923) and Arturo Barea's La ruta (1943). The analysis undertaken centres on the use of the motifs of the body and the city and references to the medieval Castilian ballad tradition, the Romancero, by writers and photographers to explore the cultural relationship between Spain and North Africa. The chapters explore the delineation of boundaries between Spanish and Moroccan cultures by contemporary commentators and the power structures that underpin those boundaries, considering the different hierarchies that are established in Spain's relationship with Moroccan Muslims and Jews. Chapter 1 concerns the socio-historical context of the colonial campaigns and highlights the significance of the question of Spain's identity in relation to Morocco during this period. Chapter 2 compares representations of cultural and ethnic affinity between Spain and Morocco, arguing that beyond merely serving as a tool of colonial domination, they are harnessed in some cases to support the colonial venture, in others to challenge it, and yet in others to explore the pre-modern origins of the Spanish nation. In many of the examples examined, a process of self-Orientalisation is observed, where the 'Orientalist' and colonialist gaze is turned back on Spain as well as on Morocco. Chapter 3 examines representations of Muslim and Jewish alterity, arguing that these assertions of difference reveal Spanish anxieties about non-difference from North Africa, cultural regression, national fragmentation, and Spain's ability to dominate the protectorate. I conclude that these anxieties provide the fundamental underpinning to Spanish constructions of Morocco during the Rif War, and that this self-awareness about non-difference and failures of domination unsettles the predominant paradigm of discourse analysis within colonial studies.

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Moore, Katharine T. "Al-Andalus, the Umayyads, and Hispano-Islamic Art:The Influence of the Abbasids and Northern Christians on the Art of Muslim Patronage in the Iberian Peninsula from the 8th to 11th Centuries." Walsh University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors1587323490141253.

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Sullivan, John F. II. "Contemplating Convivencia: Cosmopolitanism, Exclusivism and Religious Identity in Iberia." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/rs_theses/43.

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Visigothic Hispania, Islamicate al-Andalus and Christian Spain are names representing three scriptural monotheistic civilizations in Iberia. Al-Andalus has stood apart from this list by representing a time and a place of convivencia in which Christians, Jews and Muslims cooperated and coexisted. Why and how the Islamicate civilization in al-Andalus differed from the Visigoths or the Spanish, despite all three sharing a religious orientation is an historical puzzle. By exploring the legal status of Jews within the legal regimes of Christian Rome and Visigothic Hispania, this thesis will suggest that it is cosmopolitanism and its converse exclusivism that best explain concepts of convivencia or coexistence in the face of religious diversity.

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Mendoza, Carmona Blanca Edurne. "Historias y trayectorias de éxito académico. Jóvenes musulmanas de origen marroquí en la educación superior de Cataluña." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/457980.

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Investigaciones previas han abordado el tema de la presencia de las y los hijos de inmigrantes marroquíes en el sistema educativo español demostrando cómo estos hacen frente a diversos problemas relacionados con bajos niveles de acreditación y una menor continuidad escolar en comparación con sus compañeros autóctonos. No obstante, estos trabajos se han enfocado sobre todo en las condiciones que promueven el fracaso académico, invisibilizando las trayectorias de éxito de aquellos estudiantes que han tenido un buen desempeño y una continuidad hasta la educación superior. Además, no han profundizado demasiado en los factores que definen las experiencias académicas de las y los estudiantes lo que deja un vacío empírico importante si tenemos en cuenta que el género condiciona las respuestas de escolarización. Otro elemento poco estudiado ha sido el de la religión y la forma en la que esta incide en las trayectorias académicas del alumnado musulmán de origen marroquí pero particularmente en las trayectorias de las estudiantes. Finalmente, en el contexto español la mayor parte de estas investigaciones se han centrado en los niveles obligatorios y postobligatorios por lo que al momento tenemos muy poca información relacionada con las trayectorias de este alumnado dentro de la educación superior. La presente investigación tiene como objetivo conocer qué elementos favorecen la construcción de trayectorias académicas exitosas de las jóvenes musulmanas de origen marroquí, entendiendo como ‘trayectorias académicas exitosas’ aquellas que han logrado desarrollarse hasta la universidad. El análisis desarrollado parte del trabajo etnográfico llevado a cabo dentro de diversas asociaciones estudiantiles y en plataformas de redes sociales (Facebook y WhastApp), así como los relatos biográficos de diecisiete jóvenes universitarias de origen marroquí. Los resultados obtenidos muestran como aquellas condiciones que han promovido el éxito académico de estas jóvenes muchas veces son originadas por situaciones de discriminación y subordinación que ellas han transformado en oportunidades para alcanzar sus expectativas académicas y personales. En este sentido, la educación superior ha originado una redefinición de sus identidades como jóvenes musulmanas españolas de origen marroquí. Estas estudiantes han desarrollado una identidad híbrida y flexible que les permite preservar sus valores culturales y religiosos al mismo tiempo que adoptar ciertos elementos de la sociedad mayoritaria para ser reconocidas como parte de esta. Para lograrlo han utilizado su éxito académico, su imagen personal y su participación social para representar una imagen revitalizada y positiva del Islam y de la comunidad marroquí con la finalidad de erradicar situaciones de desigualdad y discriminación, particularmente hacia las mujeres musulmanas que viven en este contexto. Con esta investigación hemos buscado no sólo poner en relieve aquellos elementos que han favorecido las trayectorias de estas estudiantes sino también hacer visible la capacidad que tienen para incidir en sus contextos más cercanos a partir de su éxito académico, así como las constantes reivindicaciones que llevan a cabo.
Previous research has addressed the issue of the presence of the children of Moroccan immigrants in the Spanish educational system demonstrating how they face various difficulties related to low levels of accreditation and lower school continuity compared to their native peers. However, these researches have focused mainly on those conditions that contribute to academic failure, making invisible the successful trajectories of those students who have performed well in school and have continued towards higher education. Furthermore, they have not delved into the elements that define the academic experiences of men and women, leaving a significant empirical gap if we consider that gender conditions the responses of schooling. Another element little studied has been the religion and the way in which it affects the academic trajectories of the Muslim students of Moroccan origin, in particular those of the female students. Last, in the Spanish context most of these researches have focused on compulsory and post-compulsory levels, so at the moment we have very little information related to the trajectories of Moroccan origin students in higher education. The present research aims to identify the elements that contribute to the academic success of young Muslim women from Moroccan origin, understanding as ‘successful academic trajectories’ those who have carry on until higher education. The study is based on an ethnographic work carried out within various student associations and on social networking platforms (Facebook and WhatsApp), as well as in the life stories of seventeen young female students. The results show that the conditions that have promoted the academic success of these young women are often originated by situations of discrimination and subordination that they have transformed into opportunities to achieve their academic and personal expectations. In this sense, higher education has motivated a redefinition of their identities as young Spanish Muslims of Moroccan origin. These students have developed a hybrid and flexible identity that allows them to preserve their cultural and religious values, and at the same time adopt certain elements from the mainstream society so they can be recognized as part of it. To achieve this, they have used their academic success, their personal image and their social participation to represent a positive and revitalized image of Islam and the Moroccan community with the aim of eradicating situations of inequality and discrimination, especially towards Muslim women living in Spain. With this research we have sought not only to highlight those elements that have encouraged the trajectories of these students, but also to make visible their ability to influence their closest contexts based on their academic success, as well as the constant vindications they make.

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Rodríguez-Quiles, y. García José A. "Spain : current planning for music education." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/3212/.

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Content: 1. Introduction 2. Music in the curriculum of The Educación Obligatoria 2.1 Music in Educación Primaria - Listening and Comprehension - Music Making - Rational Analysis (Musical Notation) 2.2. Music in Educación Secundaria Obligatoria (E.S.O. Compulsory Secondary education) and Bachillerato (Pre-University Education) 3. Music in the Spanish Non-Compulsory Education 3.1. Elementary and Medium Levels 3.2. The “Title of Higher Music Education” 4. The new certificate of “Didactic Specialization” 5. Concluding remarks

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Faires, Nancy Dean. "This is not a museum : the Guggenheim Museum Bilbao /." abstract and full text PDF (UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3294912.

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Thesis (Ph. D.)--University of Nevada, Reno, 2007.
"December, 2007." Includes bibliographical references. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2008]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

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Caraballo-Resto, Juan Francisco. "Shifting perspectives : an anthropological understanding of fundamentalism amongst Muslims in Spain." Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=211296.

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This dissertation focuses on religious fundamentalism. For the past two decades, fundamentalism has been discussed in the social sciences as a style of belief by which beleaguered followers attempt to preserve their distinctive identity as a people in the face of modernity and secularization. However, it is my contention that this universalistic approach often undermines religious diversity and oversimplifies cultural particularities. Moreover, I find that the term ‘fundamentalist' is, more often than not, a label for the ‘Other'; one that is invariably negative and thus, dismisses and vilifies. With this argument in mind, in my research I present how different Muslim groups in Madrid and Barcelona understand the concept of ‘fundamentalism'—a term widely used by the Spanish media after the Madrid bombings claimed by Al-Qaeda in 2004. By examining how different Muslim groups repeat, alter, adapt, and argue ‘fundamentalism' in their daily lives, I explore who uses the term, under what circumstances and with what intent. In doing so, we also analyze broader, everyday problematics pertaining to Muslims in Spain. Rather than providing an universalistic definition of ‘fundamentalism' that offers an all encompassing meaning, in my research I present an analysis that is entangled with the individual. Centered on agency, this work first examines the category-construction process of the concept of fundamentalism; second, it explores how Muslims in Madrid and Barcelona understand this concept; and finally, it analyzes the the [sic] how the popular rhetoric of fundamentalism impacts the ways in which some Muslims their religiosity in a Muslim-minority context like Spain.

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Echevarria, Arsuaga Ana. "Fortress of faith : the perception of Muslims in fifteenth century Spain." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/20493.

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ʻĪd, Yūsuf. "al-Funūn al-Andalusīyah wa-atharuhā fī Ūrūbbā al-quruwusṭīyah." Bayrūt : Dār al-Fikr al-Lubnānī, 1993. http://books.google.com/books?id=OCpIAAAAMAAJ.

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Echevarría, Ana. "The fortress of faith : the attitude towards Muslims in fifteenth century Spain /." Leiden ; Boston ; Köln : E. J. Brill, 1999. http://catalogue.bnf.fr/ark:/12148/cb370559002.

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Hoskin, Gabril Dan. "Music and cultural diversity among Brazilians in Madrid, Spain." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602544.

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This thesis examines music-making among Brazilian migrants in Madrid, Spain. It explores how cultural diversity is mediated through music and articulated in dialogue with national stereotypes of Brazil harboured by Spaniards. Since the independence of Brazil the country's popular music has been engaged in a unique dialogue with other international styles giving rise, in the early 20th century, to hegemonic notions of Brazil as a hybrid, happy, sensuous country represented by samba. With the country's urbanisation, the rise of new civil movements and the return to democracy in 1985, however, cultural diversity gained unprecedented attention as a wealth of previously under-represented ethnic and regional populations and their accompanying musical styles exploded onto the national scene. Developments in the cultural industry allowed such populations to make claims on national and international musical styles while articulating 'rooted' ;, identities through the manipulation of discourses and practices of 'mixing'. These new configurations have posed a threat to urban, middle class populations who had previously claimed to represent diversity while projecting a ,'civilised' image abroad. As Brazil suffered a series of economic crises in the 1980s, large numbers of middle class Brazilians began to migrate abroad and at the turn of the century, other previously under-represented populations were able to do the same. This has led to an increasingly heterogeneous Brazilian transnational scene where nationalism must be negotiated between them and between 'host' countries for whom hegemonic notions of Brazilian-ness remain. I argue that music-making provides a fundamental tool through which Brazilian immigrants articulate 'rooted' cosmopolitan identities through such negotiations

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Machin-Autenrieth, Matthew. "Andalucía flamenca : music, regionalism and identity in southern Spain." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/49178/.

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In recent years, flamenco has been consolidated as a prominent symbol of regional identity in Andalusia, the southernmost region of Spain. In the late 1970s, Spain began to decentralise into seventeen autonomous regions. As a result, each region has been encouraged to foreground its own culture vis-à-vis national culture. Although associated with Spain in general, flamenco has fulfilled the role of regional identity building in Andalusia. Increasingly, the Andalusian Government has focused attention on the development of flamenco within and outside of the region. In this thesis, I explore this relationship between flamenco and regional identity in Andalusia. In doing so, I draw upon the theoretical tenets of political geography. Through scholarly exchange, I argue that political geographers and ethnomusicologists can learn much about the relationship between music and regional identity. I use flamenco as a pertinent case study of this relationship in the European context. In particular, I discuss the role that governmental institutions play in the ‘regionalisation’ (Schrijver 2006) of flamenco (that is, the institutional development of flamenco as an ‘official’ symbol of regional identity). However, I argue that at times the regionalisation process can be disputed and subverted. Accordingly, I contend that regionalism (that is, the bottom-up identification with a region) in Andalusia is a fragmented concept. By examining the contexts, the discourses and the styles associated with flamenco, I present alternative readings of regionalism in Andalusia. Drawing upon virtual ethnography and traditional ethnography in Granada, I examine the reception and the production of flamenco at a local level as well as at a regional level. Arguably, some flamenco scholars present a somewhat rigid understanding of the relationship between flamenco and regional identity. By offering different readings of regionalism through flamenco, I reveal the complex and contested relationship between flamenco and identity in southern Spain.

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Stiles, Paula R. "Christian and non-Christian Templar associates in the 12th and 13th century crown of Aragon." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/13665.

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This thesis seeks to illuminate the nature, extent and complexity of Templar interactions with their associates, particularly non-Christians, women and Mozarabs, by examining these interactions where the most evidence exists for them---northeastern Spain. Evidence for Temple associations with both Christians and non-Christians is strongest and most prolonged here. The overall nature of these interactions was friendlier than expected in a crusading group. In fact, Templars actively competed with the secular Church, nobility and the king in the Crown of Aragon for lordship over non-Christians because non-Christians were a lucrative tax base. Some non-Christians also sought association with the Templars because the Templars were a strong, international group with friendly ties to the Aragonese kings. The Temple could therefore offer protection from other lords against excessive taxation and exploitation, and physical attack. Documentary evidence shows mutually beneficial interactions as the Temple's (and its non-Christian associates') ongoing preference over time and space. Chapter one examines Templar interactions in general, both with associates and non-associates. Chapter two looks at Templar associations in Novillas, the first Templar house founded in the Crown of Aragon. Chapter three deals with the Tortosa and the lower Ebro Valley, which has the most varied surviving Templar documentation in the areas studied. Chapter four deals with Gardeny (in Lleida/Lerida), which has the largest number of surviving documents for all of the areas in the study. Chapter five looks at Monzon and Barcelona, the main Templar houses for Aragon and Catalonia respectively. The last chapter deals with Huesca, the northernmost house in the study.

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Eckersley, Ben. "The myth of minority : cultural change in Valencia in the thirteenth century at the time of the conquests of James I of Aragon /." St Andrews, 2007. http://hdl.handle.net/10023/374.

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Dolan, Drew Forbes. "El Transparente." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1212156664.

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Tansey, Colin M. "Anti-radicalization efforts within the European Union : Spain and Denmark." Thesis, Monterey, Calif. : Naval Postgraduate School, 2009. http://edocs.nps.edu/npspubs/scholarly/theses/2009/Mar/09Mar%5FTansey.pdf.

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Thesis (M.A. in Security Studies (Europe and Eurasia))--Naval Postgraduate School, March 2009.
Thesis Advisor(s): Yost, David S. ; Shore, Zachary. "March 2009." Description based on title screen as viewed on April 24, 2009. Author(s) subject terms: anti-radicalization, assimilation, Denmark, European Union, integration, Islam, multiculturalism, Muslims, Spain, terrorism, tolerance. Includes bibliographical references (p. 71-77). Also available in print.

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Sacau-Ferreira, Enrique. "Performing a political shift : avant-garde music in Cold War Spain." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:df601c57-c9f0-4320-9a3a-8493ecf1101a.

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In my thesis, Performing a Political Shift: Avant-Garde Music in Cold War Spain, I argue that towards the end of the 1950s the Spanish ultra-conservative regime of Francisco Franco started to promote avant-garde music. This music contrasted with the aesthetically conservative one that had been promoted since the end of the Civil War (1936-1939). I examine the causes of this shift and reveal for the first time that they are connected to specific trends in Spanish politics and policies. In terms of national politics, the second phase of the Spanish dictatorship, from the late 1950s until Franco’s death in 1975, was dominated by young ministers who wanted to distance themselves from previous cabinets, mostly controlled by ultra-nationalist fascist politicians. These younger politicians styled themselves as part of a ‘technocratic’ regime. Thanks to its supposed ‘objectivity’ and ‘purely musical’ ideology-free concerns, avant-garde music sat well with these technocrats’ views of modern Spain, that is, a country benefitting from ‘objective’, ideology-free progress. On an international level, the defeat in the 1940s of Mussolini and Hitler, Franco’s main allies, had resulted in isolation for Spain. In order to break this isolation, the Spanish regime started to make a sustained effort at the end of the 1950s to establish diplomatic relations with other Western countries. These relations resulted in cultural, economic and military agreements with European democracies and the US. I also consider why recent Spanish musicology has failed to confront the political implications of the promotion of avant-garde music under Franco. I connect this void with the Spanish transition to democracy (1975-1978), which recent historians have called an exercise in amnesia, a discourse of forgiveness meant to promote reconciliation between Spaniards. As a result of this transition, the political implications of the activities of the composers and musicologists during the Franco years have been ignored or forgotten. The results of my thesis challenge the widely accepted view of the European avant-garde as a left-leaning movement. The main contribution of my thesis is precisely its substantial consideration of the cultural and political meanings of the avant garde and its context, using Franco’s Spain as a case in point.

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Swadley, John. "The villancico in New Spain 1650-1750 : morphology, significance and development." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/15532/.

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For almost three centuries, the sacred villancico was the primary vernacular musical form of Spain and its New World colonies. Consisting of a through-composed estribillo, or refrain, and a set of strophic coplas, or verses, these ‘devout and honest songs’ (as they were styled by the Third Mexican Provincial Council of 1585) featured in the Matins services of the cathedrals and convents of Mexico throughout the colonial period. This thesis traces the morphology, development and significance of the villancico in New Spain during the one hundred year period from 1650 to 1750, examining the musical development of the genre within the institutional contexts of cathedral, convent and girls’ school. The biographies and villancico oeuvres of the composers Juan Gutiérrez de Padilla, Antonio de Salazar, Manuel de Sumaya, and others who moved in their orbits are reconsidered in light of new music and documentation, while the supposed New World phenomenon of the villancico de negros, or African dialect villancico, receives fresh attention. In separate chapters, the feminine side of genre is examined. The musical aspects of the life of the Hieronymite nun Sor Juana Inés de la Cruz are considered from the viewpoint of the music historian, while the practice of the villancico in the feminine institutions of New Spain is explored. Focussing on period documents as a means of enriching the historical narrative, the thesis is intended as an interpretation of the villancico genre for the English-speaking reader.

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Marín, Miguel Ángel. "Music on the margin : urban musical life in eighteenth-century Jaca (Spain) /." Kassel : Ed. Reichenberger, 2002. http://www.gbv.de/dms/sub-hamburg/36478329X.pdf.

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Olson, Ted. "Recording Review of Spain in My Heart: Songs of the Spanish Civil War." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1145.

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Wahl, Robert J. "Fleeing Franco's Spain| Carlos Surinach and Leonardo Balada in the United States (1950-75)." Thesis, University of California, Riverside, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10181472.

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As a result of Francisco Franco overthrowing the young republican government during the Spanish Civil War (1936–39), countless citizens fled their home country in search of personal security and economic prosperity. Significantly, many of these expatriates were artists and musicians who eventually made their way to the United States, where they achieved celebrity status as dancers, singers, instrumentalists, and composers. This dissertation examines the lives and works of two such composers.

In the 1950s, Carlos Surinach (1915–97) and Leonardo Balada (b. 1933) came to the United States by way of New York City. Although both men were from Barcelona, their music and careers followed different trajectories. Surinach is often best remembered for his collaborations with choreographers of modern dance, such as Martha Graham, Doris Humphrey, Pearl Lang, and Alvin Ailey; however, his contributions to dance constitute only a portion of his creative output and were often adapted from his concert works, as choreographers found the rhythm and drama of his music appealing. Surinach’s style often exhibits a deliberate use of flamenco idioms and is examined in three of his most important flamenco-inspired works: Ritmo Jondo (1952), Sinfonietta Flamenca (1954), and Flamenco Cyclothymia (1966). This dissertation also presents new biographical details regarding Surinach’s education and conducting career in Europe, the impact of his lover Ramón Puigcerve Bel on his career, and his work in the film and television industries.

Whereas Surinach maintained a consistent style throughout his career, Balada recognized the advantages of experimenting with new techniques, which he has done with great success. This dissertation examines three of Balada’s works from his self-described second period, which began in the mid-1960s. For ten years, Balada moved away from tonality in order to explore new timbres, textures, rhythms, and avant-garde techniques that led to three of his most important works: Sinfonía en negro: Homenaje a Martin Luther King (1968), María Sabina (1969), and Steel Symphony (1972). All three pieces have been recorded and widely performed, and they mark the beginning of a decades-long career as both professor and composer.

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Kirk, Douglas Karl. "Churching the shawms in Renaissance Spain : Lerma, archivo de San Pedro ms. mus. 1." Diss., McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=77431.

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Numerous studies have shown that in the sixteenth and seventeenth centuries Spanish churches (both metropolitan and monastic) employed bands of wind instrumentalists to play frequently in liturgies and processions throughout the church year. Exactly what this music was, though, beyond colla parte participation in masses and motets has remained conjectural because not a note of it has been found. This dissertation is a study and edition of a major, newly-discovered manuscript which contained part of the repertory of the minstrels who served the Duke of Lerma, c. 1607, in the collegial church of San Pedro in Lerma. By comparing the repertory in the manuscript with sixteenth- and seventeenth-century instructions to minstrels in Le6n and Palencia, it has been possible to establish typical ecclesiastical performance responsibilities of minstrels and deduce how such a collection of instrumental music would have been used. Furthermore, after study of the surviving inventories of San Pedro, it has been possible to reconstruct the entire polyphonic musical repertory of the church. This enables us to see the sort of musical library available to the typical succentor or chapelmaster of the time, and the place that minstrel repertory occupied. Finally, a significant number of the original Lerma manuscripts and prints have been traced into modern collections, allowing us to know much more about their origins and history than heretofore.
Plusieurs etudes ont demontre qu'au seizieme et au dix-septieme siecle, les eglises espagnoles (metropolitaines et monacales) employaient des ensembles de musiciens utilisant des instruments "hauts" pour jouer dans de nombreuses liturgies et processions tout au long de l'annee. Ce que cette musique etait precisement, au-dela de la participation dans l'accompagnement des choeurs des messes et motets, ne reste que conjectures puisqu' au aucune note n'a ete trouvee. Cette dissertation est une etude et une edition d'un manusmt d'une importance majeure et nouvellement decouvert, identifie comme ayant fait partie du repertoire des menestrels servant le duc de Lerma, c. 1607, qui etaient engages pour jouer a l' eglise collegiale de San Pedro a Lerma. En comparant le repertoire dans le manuscrit avec les instructions des menestrels du seizieme et du dix-septieme siecle a Le6n et Palencia, il a ete possible d' etablir les responsabilites musicales liturgique des menestrels et de deduire comment toute cette collection de musique instrumentale avait pu ~e utilisee. De plus, apres l' etude des inventaires subsistants de San Pedro, on a pu reconstruire le repertoire musical polyphonique dans son entier. Ceci nous permet de voir la collection musicale disponible du chantre ou maitre de chapelle typique du temps, ainsi que la place qu' occupait le repertoire des menestrels. Finalement un nombre significatif de manuscrits et imprimes a ete retrace dans les collections modemes, nous permettant d' en connaitre. fr

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Reinhoudt, Molly C. "Diego Pisador’s Libro de musica (1552): Amateur Music-Making, Printing, and Handwritten Corrections in Sixteenth-Century Spain." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574821222633725.

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Hyde, Alex J. "Nationalism in Salvador Bacarisse's Tres movimientos concertantes." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1493029389634293.

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Cohen, Richard Scott. "The musical society community bands of Valencia, Spain a global study of their administration, instrumentation, repertoire, and performance activities /." Tutzing : Schneider, 2002. http://catalog.hathitrust.org/api/volumes/oclc/49229037.html.

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McLaren, Malena Rachel. "Miguel Yuste his works for clarinet and his influence on the Spanish clarinet school of playing in the twentieth century, a lecture recital, together with three recitals of selected works by Bax, Mason, Khachaturian, Chausson, Bozza, Beethoven, and others /." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/May2005/Open/mclaren%5Fmalena%5Frachel/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 5, 2001, Nov. 20, 2001, Nov. 25, 2002, and Mar. 28, 2005. Includes bibliographical references (p. 53-55).

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Farrugia, Rebekah L. "Spin-sters women, new media technologies and electronic/dance music /." Diss., University of Iowa, 2004. http://ir.uiowa.edu/etd/112.

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Hardy, Jim. "The 1976 Commissions of Homenaje a Pablo Casals: Stylistic Influences and the Evolution of Spanish Musical Modernism." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1320173069.

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Johnson, Sarah Louise. "The melodies of the Cantigas de Santa Maria in the Códice de Toledo." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708621.

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Gonzalez, Roger Oriol. "iLatin jazz! : a syncretic journey from Spain, Cuba, the United States and back." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29931/.

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The creative work, ¡Latin Jazz! is a 50 minute radio documentary to be broadcast on ABC Classic FM. It looks at the evolution of Latin jazz from Spain, Cuba and the United States. It examines the social effects on the style and specifically on the syncretic movement between the countries. The documentary traces my travel to Madrid, Spain and looks at Latin jazz through a deconstruction of the style, musical examples and interviews with prominent artists. Artists interviewed were Chano Domínguez, a Spanish flamenco jazz pianist, Bobby Martínez an American saxophonist, Alain Pérez a Cuban bassist and Pepe Rivero a Cuban pianist. The exegesis supports the radio documentary by examining the style in more depth, and is broken into three main sections. First it traces the historical relationship that occurred through the Ida y Vuelta (To and Fro), the similarities and influences through the habanera, the decíma and the religion of Santería. This is followed by specific musical elements within Latin jazz such as instrumentation, clave, harmony and improvisation, whilst the third section looks at the influences of the new syncretic movement back to Spain.

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Furneaux, Sophia-Louise Maria. "The role of eye movements during music reading." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360499.

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Novillo, Perez Cecilio Jose, and Perez Cecilio Jose Novillo. "La Movida Madrileña and the Rock Radical Vasco as Political and Social Agents in Post-Franco Spain: Their influence on Popular Musical Practices of 21st-Century Spain." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626715.

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In Spain, the era of political transition to democracy known as La Transición during the 1970s and 1980s led to changes in Spanish popular music (i.e., pop, rock, punk) which became the musical representation of the new democracy’s social and political changes. Two different musical movements of that period, La Movida Madrileña and Rock Radical Vasco, established boundaries between official mainstream music and its musical counterculture counterpart, underground, and subversive musical practices within Spanish democracy. This thesis examines the nature of those musical practices, their song lyrics, and their social and political interpretations, including their influence on current musical practices.

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Brown, Garrett Amzi. "Songs in U.S. Presidential Campaigns: Function, Signification, and Spin." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492708533163934.

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Bechte, Winona A. "Madrid Me Mata: Regional Identity Politics and Community Building Through the Music of La Movida Madrileña." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/399.

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Chapter 1: Formation and Early Beginnings of music in la Movida-In the first chapter I am writing about how the early development of la Movida runs very much alongside political initiatives to stimulate cultural development in Madrid. Specifically I am writing about how popular songs and musicians at the time translated these messages of regional pride and identity that was being heavily stimulated by the government into a way that the general public could understand and support. Citing specific song lyrics and early bands of la Movida, I also track the years leading up to 1975 and how music has long been used in Spain as a political tool. Chapter 2: The peak commercialization of Movida music and its slow dissolve-In the second chapter I explore the height of la Movida's popularity, namely in the form of full-blown institutional support surrounding concerts, radio stations, publications and music marketing. I then explore the question of authenticity surrounding la Movida and whether or not its development was ever really "authentic" because of the long period of political involvement. I also shift the idea that la Movida musicians and music just suddenly stopped being produced to one that favors a more gradual expansion of the music into the world that changed its form over time. This chapter focuses heavily on how outside influences and increased dialogue with the rest of the world led to a perspective that heavily favored a classic Spanish capital over a highly regional one. Chapter 3: Traces and reception of la Movida in Madrid today-In the third chapter I will focus more pointedly on the interviews I have conducted, most of which maintain the viewpoint that "nothing of la Movida exists in Spain today." I will examine the influences music of la Movida has had on contemporary music, as well as the role of current exhibitions focusing on the music and art scene of la Movida. This chapter is primarily an exploration into where the place Movida music exists in contemporary history.

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Wilkins, Rex Richard. "El futuro ya está aquí: A Comparative Analysis of Punk in Spain and Mexico." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6997.

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This thesis examines the punk genre's evolution into commercial mainstream music in Spain and Mexico. It looks at how this evolution altered both the aesthetic and gesture of the genre. This evolution can be seen by examining four bands that followed similar musical and commercial trajectories. In Spain, Kaka de Luxe and Radio Futura; in Mexico, Size and Ritmo Peligroso. Since punk music's gesture is both visceral and political, various methods of suppressing or containing the punk gesture arise. For both Spain and Mexico, containing the punk gesture was a matter of government censorship in the early years of punk. By the late 1980s, neoliberalism, global tastes, and capitalist interests controlled the punk gesture more than governmental crackdown. The thesis concludes that while the punk gesture was contained for both political and economic reasons during the 1980s, the resurgence of the punk gesture in the 1990s is evidence of the genre's resilience in a capitalist and hegemonic environment.

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Bozelka, Kevin John. ""Getting beyond" : SPIN magazine in the late 1980s." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82688.

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The Eighties were a time in Western popular music that seemed to exist only by virtue of it coming after something else---namely, the 1960s counterculture and the punk rock of the 1970s. Inheriting both the failure of permanent cultural revolution and the intense cynicism that is punk's strongest legacy, youth cultures in the 1980s found it increasingly difficult to live in the present. This thesis labels this historical dilemma postmodern. It will show how SPIN magazine attempted to move past this dilemma in order to assert a unique identity for 1980s popular music and youth cultures. In particular, John Leland, a columnist for SPIN, appropriated a pop aesthetic as an identity marker and, in the process, questioned the supposed ineffectiveness of pop music for a political postmodernism. An analysis of Leland's writing uncovers what accounts of this era tend to ignore: the social function of postmodernism.

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Driggs, Victoria Katherine. "El Mal Querer: Merging Flamenco with a Postmodern Universe." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103618.

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This thesis examines how the postmodern fusion of flamenco and non-flamenco elements in Rosalía's sophomore album, El mal querer (2018), not only justifies the artist's place within the "Experimental Generations" of flamenco fusion artists but also distances her from the rest. The thesis builds off the work of Carlos Morales Gálvez by centering its analyses around three of the album's video chapters; "Malamente," "Pienso en tu mirá," and "De aquí no sales." Through an exploration of the aural and visual manifestations of flamenco within these three video chapters, this thesis will first reveal how Rosalía aligns with other flamenco fusion artists through her ability to find a liminal space between flamenco's "traditions" and "innovations." The thesis will demonstrate how flamenco manifests itself in the album in ways that honor past forms and figures of flamenco while also cohabitating with non-flamenco elements in ways that allow it to adapt to the postmodern context of the album and the globalized context of our world. Then, through an analysis of the nature of flamenco's fusion with non-flamenco elements in the same three video chapters, the thesis will highlight the importance of Rosalía apart from other flamenco fusion artists. Unlike others, Rosalía's aural and visual melding of flamenco and non-flamenco elements creates an intertextual "universe" that gives global viewers the agency to create their own meanings alongside Rosalía.
Master of Arts
This thesis examines the ways in which Spanish artist Rosalía's usage of flamenco in her album El mal querer (2018) establishes her within a genealogy of flamenco fusion artists while also distancing her from that same genealogy. By exploring the presence of the art form within three of the album's video chapters, this thesis will first demonstrate that Rosalía, like other flamenco fusion artists, has found ways to honor flamenco's "traditions," meaning its past notable performers and artistic styles, while also allowing flamenco to continue evolving with the globalized world around it. Yet, by also exploring the nature of flamenco's fusion with other non-flamenco elements in the same three video chapters, this thesis will subsequently reveal that the implications of Rosalía's eclectic combination of flamenco with other art forms and cultural references distances her from other flamenco fusion artists. Her aural and visual fusion of many distinct artistic and cultural elements lead it to become a "universe" of meanings which encourages viewers from around the world to contribute their own interpretations.

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Segerfelt, Anna. "Spin-Erik och hans vän : konsten att skriva musik för barn i förskoleålder." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1550.

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Hansen, Mark R. (Mark Russell). "The Pedagogical Methods of Enrique Granados and Frank Marshall: an Illumination of Relevance to Performance Practice and Interpretation in Granados' Escenas Románticas, a Lecture Recital, together with Three Recitals of Selected Works of Schubert, Pofkofieff, Chopin, Poulenc, and Rachmaninoff." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332111/.

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Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone production. Granados' book, Metodo Teorico Practico para el Uso de los Pedales del Piano (Theoretical and Practical Method for the Use of the Piano Pedals) is presently out of print and available in a photostatic version from the publisher. Marshall's works, Estudio Practico sobre los Pedales del Piano (Practical Study of the Piano Pedals) and La Sonoridad del Piano (Piano Sonority) continue to be used at the Marshall Academy and are available from Spanish publishing houses. This study brings information contained in these three method books to the forefront and demonstrates its relevance to the performance of the music of Granados, specifically the Escenas Romanticas. Alicia de Larrocha, Marshall's best known pupil, currently holds the directorship of the Marshall Academy, and as such, is perhaps the best living authority on this entire line of pianistic and pedagogical thought. An interview conducted with Madame de Larrocha in April of 1983 adds detail and provides valuable perspective about the present use and relevance of these materials and concepts.

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Dissertations / Theses on the topic 'Muslim Spain'

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