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Moschos, Petros. "Performing Classical-period music on the modern piano." Thesis, City University London, 2006. http://openaccess.city.ac.uk/8485/.
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Most performances of Classical-period keyboard music today are given on the modem piano. However, the understanding of the sound-differences between the modem piano and the instrument for which this music was composed will most probably reveal that some features of Classical music can be problematical on our present-day instrument. This study will present the main differences between early and modem pianos and will focus on certain aspects of performance practice of the music under discussion, including articulation, dynamics, pedalling and timbre relationships that can prove challenging when transferred on to the modem piano. It will analyse their role and significance, and will demonstrate how they are affected by the changes that have been applied to the piano in the last two centuries. This dissertation will also attempt to suggest possible solutions for the modem player whose aim is, as much as possible, to maintain the style and project the right spirit of the music on the present-day instrument.
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Franklin, John Curtis. "Terpander : the invention of music in the orientalizing period." Thesis, University College London (University of London), 2002. http://discovery.ucl.ac.uk/1317674/.
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The legend that Terpander rejected "four-voiced song" (τετράγηρυν ἀοιδάν) in favor of new songs on the seven-stringed lyre (ἐπτατονος φὸρμιγξ) epitomizes the Greek exposure, at the height of Assyrian power (c. 750-650 B.C.), to the Mesopotamian tradition of classical music. Terpander's `invention' answers clearly to the heptatony which was widely practiced in the ancient Near East, as known from the diatonic tuning system documented in the cuneiform musical tablets. "Four-voiced song" describes the traditional melodic practice of the Greek epic singer, and must be understood in terms of its inheritance from the Indo-European poetic art. The syncretism of these two music-streams may be deduced from the evidence of the later Greek theorists and musicographers. Though diatonic scales were also known in Greece, even the late theorists remembered that pride of place had been given in the Classical period to other forms of heptatony-the chromatic and enharmonic genera, tone-structures which cannot be established solely through the resonant intervals of the diatonic method. Nevertheless, these tunings were consistently seen as modifications of the diatonic-which Aristoxenus believed to be the `oldest and most natural' of the genera-and were required to conform to minimum conditions of diatony. Thus the Greek structures represent the overlay of native musical inflections on a borrowed diatonic substrate, and the creation of a distinctly Hellenized form of heptatonic music. More specific points of contact are found in the string nomenclatures, which in both traditions were arranged to emphasize a central string. There is extensive Greek evidence relating this `epicentric' structure to musical function, with the middle string acting as a type of tonal center of constant pitch, while the other strings could change from tuning to tuning. So too in the Mesopotamian system the central string remained constant throughout the diatonic tuning cycle. Hence the melic revolution of the Archaic period represents the fruit of an Assyrianizing, diatonicizing musical movement.
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Yie, HyounKyoung. "Harmonic syntax in Delius's late period chamber music (1905-1930)." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1206316836.
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Yie, Hyoun-Kyoung. "Harmonic Syntax in Delius's Late Period Chamber Music (1905 - 1930)." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1206316836.
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Kennedy, Barbara Cecily. "Healing music and its literary representation in the early modern period." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/46975/.
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This interdisciplinary thesis explores how music is used in the art of healing in two distinct ways in the early modern period: namely, through the use of performed music accompanying the healing process itself, and as ‘speculative music', the latter providing a philosophical model for understanding the interplay of music with body, mind and soul. Redefining an existing enquiry in a specific way, my research seeks to enhance an understanding of the construction of a therapeutic modality that revitalizes the ancient belief in the healing powers of music, manifest since antiquity through the classical legends of Orpheus and Pythagoras. The Pythagorean hypothesis – that earthly music reflected the celestial harmony of the spheres – was believed to govern the internal music of the human body, giving credence to the notion of the harmonious balancing of the four bodily humours. Tracing the tradition of healing music from antiquity, I argue that Marsilio Ficino's paradigmatic magico-musical philosophy refashions the Pythagorean and Neoplatonic explanations of music's curative potentiality, offering a new interpretat ion of music's effective power to heal the rift between body and soul. I examine how this Ficinian interpretation is discernible in the work of Robert Fludd, Michael Maier, William Shakespeare, Robert Burton and Thomas Campion. I analyse their observations of the body's physical and emotional response to music's healing power. Drawing on early modern models that appropriate the rhetoric of the music of the spheres, I argue that a cultural moment is established in which the motifs and tropes of Neoplatonic love and the healing power of music culminate in allegories of philosophical contemplation and spiritual fulfilment in the Jacobean court masques. In conclusion, my thesis's examination of music as a healing modality provides a historical framework to support the contemporary use of music as a recognized therapeutic intervention.
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Brownell, Andrew. "The English piano in the Classical period : its music, performers, and influences." Thesis, City University London, 2010. http://openaccess.city.ac.uk/12134/.
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Despite an abundance of research and literature on the Viennese piano in the Classical period, the influential role of the English instrument and its literature – in terms of keyboard idiom and compositional style – still remains something of a blind spot. This thesis attempts to address this imbalance by providing an overview of the most significant literature of the period, guided by the premise that the characteristics of the English instrument led to a style of keyboard writing that is distinct from the Viennese Classical style. The advent of the piano in England is traced, establishing the traits of the ‘English grand’ piano in the English harpsichord and other early instruments. This is followed by an overview of early piano concerti by James Hook, J.C. Bach, and Schroeter. Stylistic evolution in the early works of Clementi and Dussek is analysed, as well as that of Haydn’s London works. The thesis concludes with a chapter examining the interaction c. 1800 between the London and Viennese schools, demonstrating how contact with the more progressive London school precipitated changes in the Viennese keyboard style and the instrument itself.
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Kim, Sohee. "The Study of the Relationship between Arnold Schoenberg and Wassily Kandinsky During Schoenberg's Expressionist Period." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269203770.
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Balkilic, Ozgur. "Kemalist Views And Works On Turkish Folk Music During The Early Republican Period." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606528/index.pdf.
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The main aim of this thesis is to examine the characteristics of Kemalist views and works on Turkish folk music during Early Republican Period. Kemalism, as a modernization project, aimed to transform the Turkish social formation totally. In this respect, one of the indispensable dimension of this project was cultural reforms. The music policies, as a part of the cultural reforms, were given considerable attentions by the Kemalist cadres since the music, according to them, was one of the area to reflect the developmental level of a society. Their views and efforts on Turkish folk music were a significant part of these music policies. In this sense, Kemalist folklore acts are of crucial importance to understand the features of Kemalist ideologic paradigms. Besides, this thesis will deal with the Kemalist folklore acts in order to understand two main principles of Kemalismnationalism and populism which were the important ideological paradigms of Kemalism. In other words, one of the main ab inito of this thesis is to comprehend the nationalism and populism principles which constituted the general framework of Kemalist folklore acts. The thesis also pays attention to the inconsistencies and unmethodological works in folk music acts during the Early Republican Period.
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Ormesher, Richard. "Beethoven's instrumental fugal style : an investigation of tonal and thematic characteristics in the late-period fugues." Thesis, University of Sheffield, 1989. http://etheses.whiterose.ac.uk/1894/.
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The present thesis examines the instrumental fugues written by Beethoven during the last twelve years of his life (1815-27). It does not deal specifically with the fugati nor with the incidental fugues though these may on occasion be mentioned. The fugues to be discussed are therefore as follows: Op. 102 no.2 (III), Op. 106 (IV), Op. 110 (III), Op. 120(var. 32), Op. 133 and Op. 131 (I). The criteria by which the scope of the thesis has been restricted to these particular works are outlined during the Introduction which also includes a discussion of the style of analysis adopted and of the relevance of certain analytical methods. The aims of the thesis in dealing with these works are as follows: first and foremost it is intended that a series of detailed analyses of the late-period fugues be offered, since the fugue as a genre in Beethoven's music has suffered undue neglect. Secondly the thesis seeks to determine the means by which the fugue is integrated into the musical structure as a totality and to assess its role within that structure. Finally the thesis aims to establish whether or not the several fugues exhibit similar tendencies in respect of their tonal characteristics and thematic treatment. In order to fulfill the primary objective of the thesis, the fugues are considered individually, a chapter being devoted to each of them. These analyses form the bulk of the thesis and incorporated within them are observations relevant to the second objective of the thesis. For a number of reasons, enlarged upon during the Introduction, it has seemed fit to divide the analyses into two groups, those in Part II of the thesis being more substantial than are those in Part I. The conclusion deals with the third objective of the thesis by drawing out for further consideration and comparison the salient points from each analysis. In this manner, it is submitted, the present thesis will bridge a substantial gap in the Beethoven literature and in so doing afford fresh insights into certain of Beethoven's most exalted creations.
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Yin, Wei-Ting. "Franz Liszt's Early Weimar Period Piano Waltzes." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1512039499982505.
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Symons, Andrew Allan. "Male control and female resistance in American roots music recordings of the interwar period." Thesis, Northumbria University, 2018. http://nrl.northumbria.ac.uk/37657/.
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This thesis examines themes of male control and female resistance in commercially recorded American roots music of the interwar period, focusing primarily on recordings made in the years 1920-1940. It argues that much of the roots music recorded during this period communicated powerful messages about gendered and racial hierarchies to consumers. Rooted in close textual analysis of song lyrics and visual marketing materials for a plethora of commercially available roots music, the thesis deploys methodologies drawn from history, literary, cultural studies, and musicology. It questions why scholars have understudied themes of gendered power contestations and social control in commercially recorded roots music and the accompanying marketing materials during the interwar period. Although scholars have acknowledged intersections of race, class, gender, and the construction of segregated roots music markets during the nascent stages of a rapidly-developing fledgling industry, this thesis contends that lyrical content and marketing materials also intersected with white supremacist and eugenic ideologies, reflecting ideas about social control of women during the interwar period. It advances extant scholarship on black and white female roots music artists active during the interwar period, underscoring and illuminating themes of female resistance to male control, inside and outside of the worlds created on commercial recordings.
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Nilsson, Ulrica. "The effect of music and music in combination with therapeutic suggestions on postoperative recovery /." Linköping : Univ, 2003. http://www.bibl.liu.se/liupubl/disp/disp2003/med809s.pdf.
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Harbor, Catherine. "The birth of the music business : public commercial concerts in London 1660-1750." Thesis, Royal Holloway, University of London, 2012. http://digirep.rhul.ac.uk/items/646996db-a880-7e0c-bd3b-13dcd85b0196/1/.
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As a case study in cultural production and consumption and of the commodification of culture in late seventeenth- and eighteenth-century England, this study examines how musicians in London began to emerge from their dependence on the patronage of court, aristocracy and church into a more public sphere, moving from positions as salaried employees to a more freelance existence where they contributed to their income by putting on public commercial concerts. Taking as its starting point the almost 50,000 references to music recorded in the Register of Music in London Newspapers 1660–1750, a database has been built to record detailed information extracted from over 12,000 advertisements, puffs and news items related to commercial concert giving in London between 1660 and 1750. Concert advertisements and other material may thus be studied longitudinally in relation to each other, providing a valuable source of data for the growth of concert giving in London over a long and important period of its development. Public commercial concerts emerged in London in the period following the restoration of Charles II in 1660, developing from private music meetings dominated by amateur performers and informal public performances by professionals in taverns via John Banister's first advertised concerts in 1672. By 1750, public commercial concerts in London may not have achieved their final form or the heights of popularity that accompanied the ‘rage for music' of the 1790s, but they were promoted regularly and with a clear sense of programme planning, laying the foundations for later expansion. The possibility for musicians to make a living as freelance professionals without having to rely solely on patronage, their development of commercial skills, their emerging links with music publishers, all this is witness to the birth of music as a business in London in the period between 1660 and 1750.
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Vickers, David. "Handel's performing versions : a study of four music theatre works from the "Second Academy" period." Thesis, n.p, 2007. http://ethos.bl.uk/.
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Cheng, Chen-Ching. "Negotiating Deng Lijun : collective memories of popular music in Asia during the Cold War period." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25888.
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This study uses the pop music scene as a tool to analyse contemporary cultural history in Asia, with a focus on the cold-war and post-cold war period (1960s-1990s). The primary objective is to present how Pan-Chinese music shaped peoples’ collective memories in Asia and to investigate issues such as cultural history identification, cultural worship, colonisation, nostalgia, and how these influence each other. The secondary objective is to analyse which factors can influence peoples’ collective memories, since similar pop music and historical backgrounds in Asia can be located. A particular focus is Deng Lijun (also known as Teresa Teng) (1964-1995) who is considered the most influential popular singer able to transcend ideological barriers in Asia. Through in-depth interviews carried out in China, Taiwan, Hong Kong and Japan during 2010, audience perceptions focusing on Deng Lijun's personality, music and performances were recorded and analysed in order to create focal points regarding the collective memory of her work. The main interest of this thesis is not only her role as a singer, but also her ability to capture different cultural imaginations, to initiate processes of identification and to transcend different country’s frontiers (Taiwan, China, Hong Kong, South-East Asia and Japan), particularly since these countries champion different ideological perspectives. Her fame and commercial success had a huge cultural impact, and as a result she was the first cultural carrier to break the boundaries of the Cold-War era in Asia. Apart from examining the social, cultural and political factors that influence pop music, the industry behind it and shared audience memories, the focal point of the thesis is to draw attention to aspect of time by examining how the cold war in Asia reconstructed pop music’s cultural symbols and how these symbols were transformed through different ideological structures and facets. Using the information gathered from interviews and archives, this study explores the role of popular music in political struggles between warring ideologies and shows how those struggles both informed and were informed by the sentimental songs of a global popular music idol.
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Hall, Nerhys. "Representations of the Outsider in David Bowie’s Glam Period and its Continuation Through Punk, Goth, and Emo: Thematic, Aesthetic, and Subcultural Considerations." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32511.
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Popular music artists portray a variety of themes through the aesthetics of their music, lyrics, and music videos. One theme in particular that began with David Bowie’s glam period (1972-1974) and the creation of his Ziggy Stardust persona is the notion of the Outsider. Bowie not only portrayed an Outsider character, but also spoke to and for those who felt like Outsiders. Punk, goth, and emo bands that were influenced by Bowie took this social stance to speak to and for their own versions of the Outsider. Drawing from subcultural theory, music analysis, and music video analysis, and using Bowie as a benchmark and influence, I explore how several other bands portray the Outsider in their music, lyrics, and music videos.
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Farstad, Per Kjetil. "German galant lute music in the 18th century : a study of the period, the style, central lutenists, ornaments, idiomatic, and problems that arise when adapting lute music from this period to the modern eight-stringed classical guitar /." Göteborg : University, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121471s.
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Akademisk avhandling--Philosophie--Göteborg, 2000.Notices biogr. sur les luthistes et les compositeurs pour luth en Allemagne au 18e siècle p. 297-360. Liste des oeuvres pour luth composées en Allemagne au 18e siècle avec localisations p. 385-474. Bibliogr. p. 484-513.
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Rawbone, Trevor Mark. "The butterfly schema as a product of the tendency for congruence and hierarchical selection in the instrumental musical grammar of the classical period." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/34477/.
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Diverging explanations of local multiparametric schemata are found in music of the common practice period (c. 1600–c. 1900). Associative statistical theories describe schemata as situated structures in particular times and places, whereas generative theories present these constructions as features formed through stability in universal and general rule systems. Associative-statistical theories of schemata elucidate the culturally conditioned relationships between features (distinctive attributes commonly used in grammars and schemata), but do not show the influence of universal psychological constraints; generative theories reveal the implicit structure of music, but do not formalise particular grammatical features and contexts. A synthesis of generative and associative-statistical approaches is necessary to model the interaction between universal and particular constraints of grammars and schemata. This dissertation focuses on a novel localised schema formed in the Classical instrumental grammar, termed the butterfly schema. It is posited that the butterfly schema is generated by a tendency for congruence that is manifest in and between the particular features of this grammar. Computational musicology and psychology provide interdisciplinary insight on the formal possibilities and limitations of grammatical structure. Computational models of schemata and grammars show how the congruent features of musical structure can be represented and formalised. However, they also highlight the difficulties found in the automatic analyses of multiparametric relationships, and may be limited on account of their inductive frameworks. Psychological approaches are important for establishing universal laws of cognition, but are limited in their potential to account for the diversity of musical structuring in grammars. The synthesis of associative-statistical and generative approaches in the present dissertation permits modelling the combination of the universal and particular attributes of butterfly schemata. Butterfly schemata are dependent on the particular grammars of periods of history, but are constrained by the tendency for congruence, which is proposed to be a cognitive universal. The features of the butterfly schema and the Classical instrumental grammar are examined and compared against the features of the Baroque and Romantic grammars, showing how they are formed from diverse types of congruent structuring. The butterfly schema is a congruent grammatical category of the Classical instrumental grammar that comprises: chords that are close to the tonic in pitch space (with a chiastic tension curve starting and ending on the tonic); a textural and metrical structure that is regular and forms a regular duple hierarchy at the level of regular functional harmonic change and at two immediately higher levels; and simple harmonic-rhythm ratios (1:1 and 3:1). A survey conducted using arbitrary corpora in European instrumental music, c. 1750–c.1850, shows the distribution of butterfly schemata. Butterfly schemata are more common in the Classical-period sample (c. 1750–c. 1800) than in the Romantic-period sample (c. 1800–c.1850), suggesting that the tendency for congruence manifest in and between the features common in the Classical grammar generates butterfly schemata. A second component to the statistical analysis concerns the type of schemata observed, since the tendency for congruence is presumed to also apply to the type of features that form in butterfly schemata. Maximally congruent features are generated more commonly than minimally congruent features, indicating the influence of the tendency for congruence. This dissertation presents a formulation of the Classical instrumental grammar as a multiparametrically congruent system, and a novel explanation and integration of the concepts of grammars and schemata. A final component to the dissertation poses that the features of the Classical instrumental grammar and butterfly schema follow a distinct order of dependency, governed by the mechanism of selection in culture. Although the tendency for congruence governs all features of a grammar, features are also formed by the top-down action of culture which selects those features. Thus, a top-down hierarchical selection model is presented which describes how the butterfly schema is formed through the order of selection of features in the Classical instrumental grammar.
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Shin, Minna Re 1969. "New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36791.
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The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositional "chain reaction" occurs.Chapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types.
Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.
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Dack, John. "The relationship between electro-acoustic music and instrumental/vocal composition in Europe in the period 1948-1970." Thesis, Middlesex University, 1989. http://eprints.mdx.ac.uk/6604/.
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The study seeks to establish how theories and concepts derived from electro-acoustic practice can inform musicians about the'nature of instrumental thought. Instrumental/vocal musical languages are particular representations of a wide framework of fundamental musical laws. The most successful expression of these laws is through concepts of electro-acoustic music. As a result many points of contact between hitherto unconnected areas of music are revealed. Three principal'subJect-areas are investigated: 1) The'development of Pierre Schaeffer's musical researches: The researches under consideration are those conducted from 1948 up to-the publication of the revised edition or the “Traite des Objets Musicaux" in 1977. The importance of new musical-concepts and Schaeffer's Programme de la Recherche Musicale are discussed. There has been no-extensive examination of these in English. Consequently, neither Schaeffer's position, nor French electro-acoustic music's role in the development ofcontemporary music has been efficiently assessed. 2) The Cologne studio's development during the period 1953-70: Particular emphasis is given to a discussion'of the studio's relationship with the evolution of serial thought. This relationship is identified as the main stimulus for many of the studio's musical concepts in addition'to its preoccupation with electronic sound generation. Furthermore, the conflict between Paris and Cologne regarding musical-languages is examined and the theory or eventual convergence of views is contested. 3) The, nature of Schaefferian music theory: The concepts of valeur/caractere, permanence/variation and Schaeffer's concept of the "instrument" are discussed. It is proposed that Schaefferian concepts offer & significant methodology for the study of contemporary music. They assist, therefore our understanding not just of electro-acoustic music but contemporary music in general.
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Adams, Pauline. "Post-war developments in music education : an investigation of music education policy and practice, as implemented within three local education authorities during the period, 1944-1988." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/10018207/.
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In recent times there has been a resurgence of interest in the history of music education, which has opened up new opportunities for the re-interpretation of both established and changing philosophies, pedagogies and practices. Historical research into music services within LEAs is still a fertile area for investigation. This thesis brings new arguments and evidence to bear upon an under-researched and emerging area of study. The focus of this particular investigation emerged from the author’s earlier research into the history of the Inner London Education Authority (ILEA) music service, the findings of which revealed three interrelated factors underpinning its development: funding and commitment, strong leadership, and the ‘London’ factor. These earlier research findings prompted further questions leading to the conception of the rationale and focus for this thesis. The first was to ask if government reports, and the ensuing initiatives they fuelled, had led to other LEAs developing their approaches to state music education in similar or parallel ways and at similar rates, and the second was to examine the role that individuals played in steering the direction of music education within the different authorities. Empirical research has provided an overview of the developments in England within three separate demographically contrasting LEAs: Leicestershire, London and Manchester, which in turn represent a large rural county, the capital city, and a relatively large northern industrial city. During the period of the chosen time frame of this study the LEAs, and those appointed to lead them, were at their most powerful and influential, but, from the mid-1970s onwards, their autonomy gradually declined as education became more centralised through government intervention, resulting in loss of power and the consequent sidelining of their role, a situation which impacted significantly on state provision for music. This thesis examines the consequences of the effects of decision making, by organisations, and their individual interpretation, on music education thinking and practice.
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Duclos, Marie-France. "A MUSICAL-HISTORICAL STUDY OF ITALIAN INFLUENCES IN THREE REGINA CAELI OF THE FRENCH BAROQUE PERIOD." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/141.
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The French baroque petit motet was the most prolific genre of seventeenth-century France. In this study, three petits motets, specifically Regina caeli settings of French composers Marc-Antoine Charpentier, Nicolas Bernier and François Couperin are examined with an emphasis on the motets’ historical context in relation to the French monarchy and the Italian concepts that the composers incorporated into each work. All three Regina caeli settings display some Italian compositional techniques of the stile moderno in various degrees and were written in different contextual ecclesiastic milieux.
The intersections of, as well as distinctions between, musical ideas of traditional French style and Italian innovations was at the center of music and musical discourse during the baroque period. The French were introduced to Italian style by travelling musicians at the court of France; however, when Louis XIV gave Jean-Baptiste Lully the important position of surintendant de la musique, the idea of an authentic unaltered French sound became prevalent among musicians and critics. Lully, strongest defender of “pure” French style, created a strict environment for musicians at court, and only after his death, did composers gain in freedom. The study suggests that a closer association to Louis XIV permitted musicians to integrate more of the Italian stile moderno techniques than those who did not have this opportunity. Crucial figures of the French monarchy, Louis XIV, Philippe II d’Orléans and the duc de Bourgogne were connected to the three composers central to this project and impacted the outcome of their work. With the musical-historical study of three Regina caeli settings, this project demonstrates the importance of the petit motet genre within the repertoire and the need for additional research to increase the accessibility of this inestimable music
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Crawford, Joel M. "Performance Practice of Brass Band Music of the American Civil War: A Perspective from Saxton's Cornet Band." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/53.
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This project examines source materials, methods, and instruments required for creating an informed period performance of military brass band music from the American Civil War. The rapid development of brass bands in America combined with the volatility of the war meant that much of the development of these styles were not formally documented. To compound this problem an instrumentalist trained on modern instruments who plays on an instrument from the period will produce a sound highly colored and influenced by their sound concept on a modern instrument. Experience with the instrument and attention to their idiosyncrasies will offer the closest possible sound to bands in the Civil War era. This project examines primary musical sources as well as considerations on how to properly approach a period performance of brass band music of this era. Central to this examination is the author's training and experience as a member of the Civil War period performance ensemble Saxton's Cornet Band.
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Kato, Yuri. "The role of music in the politics and performing arts as evidenced in a crucial musical treatise of the Japanese medieval period, the Kyōkunshō 教訓抄." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31011.
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Gagaku, ancient Japanese court music and dance, known today as a traditional performing art, has over a thousand years of history since its introduction from the East Asian mainland. Despite the fact that the study of Japanese musicology, history and classical literature has attracted scholarly attention for many years, much fundamental research in the historical records and documents still remains to be done. In fact, the most important primary source used in this study, the Kyōkunshō, composed in 1233 by Koma no Chikazane (1177–1242) is known as the oldest Japanese synthetic treatise on music and one of the three major treatises that relate to Japanese court music. Although the Kyōkunshō is such a valuable resource, detailed research has commenced recently, but it has produced noteworthy achievements in the field of Japanese traditional music and its history. Nevertheless, the study of gagaku in the Insei period (from the late eleventh to the late twelfth century CE) has not yet fully succeeded in clarifying the nature of Japanese medieval music, and the lack of analysis of its role in the body politic needs to be addressed. Against this background, this study aims at answering the relations between gagaku and politics from the late Heian to the early Kamakura era. Building on existing studies, this thesis adopts a quantitative method of textual analysis combined with a close reading of the Kyōkunshō and pertinent texts. The methods used for this research entail abstracting data pertaining to historical performances that are described in the Kyōkunshō and analysing this corpus both quantitatively and in the context of contemporary textual and other sources. This reading of the Kyōkunshō reveals that gagaku had an important ritual function as shōgon 荘厳 (“adornment, embellishment, spectacle”) of the nation; that is, throughout the period in question performances of music and dance in gagaku are an integral part of the body politic, both its political activity and its understanding of itself as a metaphysical entity. The study further indicates that the significance of gagaku developed from the political sphere to the social and popular spheres. Study of the pertinent textual corpus has shown that Kyōkunshō was composed during a transitional period when two further understandings of gagaku developed. Firstly, a concept known a posteriori as ‘ongaku ōjōshisō 音楽往生思想, the concept of attaining heaven by playing music’ (Minamitani, 2001). Here, gagaku functioned as a medium for bonding the person who has mastered the music, to the Buddhist Pure Land (jōdo, understood as a kind of paradise); popular belief in the power of music played an important role. Secondly, there evolved the (similarly a posteriori) concept of ‘geidōshisō 芸道思想, the philosophy of the way of performance’ (Ogi, 1977). In this understanding, music was regarded as independent of any political or religious influence and mastered for its own sake. Certainly, a critical reading of key episodes in the Kyōkunshō furnishes evidence that it had been performed as musical amusement since the middle of the Heian period at the latest. Thus the thesis demonstrates that gagaku retained a strong connection to politics during the period in question but surely fulfilled other functions outside the political framework, and that these non-political functions also had their roots prior to the medieval period. The thesis’s critical apparatus includes a transcription of the whole text, rendering the mainly classical Chinese (kanbun) original into modern Japanese readings (kakikudashibun 書き下 し文), an exercise which requires crucial interpretations of Chinese syntax. An English translation of the first scroll of the Kyōkunshō is also provided.
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Watson, Jonathan Paul. "'Beats apart': a comparative history of youth culture and popular music in Liverpool and Newcastle upon Tyne, 1956-1965." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/3599/.
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This study explores the themes of continuity and change in twentieth-century British cultural history, particularities of place and regional identity in the North of England, and the cultural transfer of North American popular music in Britain between 1956 and 1965. By means of a comparative historical investigation of youth culture and popular music in Liverpool and Newcastle upon Tyne, the work engages with existing debate among historians surrounding the nature and extent of cultural change for the period usually referred to as 'The Sixties', and whether or not it is possible to speak of a 'Cultural Revolution'. Spanning the years between the initial impact of rock 'n' roll and the immediate aftermath of the Beat Boom of 1963-64, a phenomenon described by one commentator as representing 'perhaps the North's greatest single cultural 'putsch?', the thesis examines the role of urban and regional identity in the process of cultural production, reproduction, and consumption. Theoretical insights derived from the associated disciplines of sociology and cultural studies are employed which offer an opportunity for a novel and dynamic analysis and interpretation of the empirical historical evidence. This research is especially pertinent at a time when historians are increasingly looking to the regional and inter-regional, as opposed to the national and international, for explanations of continuity and change. There is a burgeoning interest in the history of popular culture inspired by the transition of post-modern society from one of production to consumption. Cultural and economic theorists have called for more historical investigation to inform current debates regarding the post-modern city's ability to attract a 'creative class' as a means towards urban regeneration. This study informs these debates by bringing the above themes together in a unique historical analysis of cultural continuity and change, Northern identity, and popular music.
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Bishop, David Martin. "Chromatic and diatonic pitch-class motives and their influence on closural strategies : analytical studies of three middle-period string quartets of Ludwig van Beethoven /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Morad, Moshe. "'Fiesta de Diez Pesos' : music as a space for identity, interaction, and escapism, among gay men in Special Period Havana." Thesis, SOAS, University of London, 2012. http://eprints.soas.ac.uk/15638/.
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Harris, Jones Nancy Lynne. "An Overview of the Evolution of Affect in the Music of Western Civilization from the Ancient Greek Period Through The Baroque." Thesis, University of Oregon, 1998. http://hdl.handle.net/1794/23864.
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177 pagesMusicians, philosophers, historians, and composers through the ages have attempted to understand the relationship between musical modes and musical affections. The Greeks used the modes as prescriptives for healing diseases, based on the purgative power of the affections. Greek writings transmitted through Boethius were misinterpreted by well-meaning Renaissance music theorists who believed Boethius was relating the ethos of the affections to the church modes rather than to the Greek modes. This thesis begins with Plato's and Aristotle's beliefs about musical affect and ends with a discussion of the teachings of Johann Heinichen, Johann Mattheson, and C. P. E. Bach. Stories about using musical modes to bring about healing are also included.
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Murphy, Judith A. "Folk on Tyne : Tyneside culture and the second folk revival, 1950-1975." Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/1731/.
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This thesis explores the nature of the second folk revival in the North East of England. While there have been several major studies of the various national folk revivals during the 1950s, '60s and '70s, there is a paucity of scholarly accounts viewed through a regional lens. This study therefore builds on a common perception of North Eastern regional particularity to establish the ways in which the folk revival as experienced by its members within the region was distinct from that detailed in the literature on the wider (inter-)national folk scene. Using comparative examples drawn from the regional and international folk movements, the thesis contextualizes and differentiates the general trends within the second revival as a whole and its North Eastern manifestation. There are some evident discrepancies relating, for example, to levels of political involvement in the respective folk scenes but also broad similarities in chronological developments. These trends are explored through a number of themes, beginning with the weaving of a constructed regional folk-cultural identity out of a diversity of ethnic, local and occupational strands. Secondly, the common assumption that the North East is a region with a rare continuity of traditions is interrogated, alongside an acknowledgement that this was a time of rapid social change, mobility and dislocation from older cultural practices. The basic dichotomy of 'mediator' and `mediated' is questioned and found wanting, particularly in a region where young revivalists were rarely far — temporally, geographically or socially - from the source of their tradition. The ways in which the media represented and altered folk traditions, and how these representations were used to build regional consciousness is considered, as are the 1960s developments in heritage and tourism which saw vernacular culture taking on a much greater significance in the region's economy. Further, celebratory imagery is shown to have a long history in musical representations of the region, but with a contemporary focus on stoicism in the face of decline. Finally, the reasons behind the folklorists' imperative to locate the `authentic' are sought in relative degrees of alienation from contemporary society, resulting in a dissolution of the barriers between 'genuine' and 'invented' tradition.
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Ekedahl, Joakim. "Instrumentellt i fält? : En studie om karolinska skalmejblåsare och hautboister." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-433395.
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Military music in Sweden in early modern times is an understudied area of research. Shawm and oboe playersat Swedish regiments during the reigns of Charles XI and XII have previously not been the focus of aconfined study. This study aims to highlight these musicians and their place within Sweden’s musical life ofthe period. The study comprises five sections looking at different aspects of the shawm and oboe players work andlife within the military. Theses aspects include employment, work assignments, education, instruments, andrepertoire. Information on these topics was collected from various contemporary sources, e.g. muster rollsand letters to and from the regiments. The study takes the viewpoint that military music was an integral partof noble culture and identity. The study shows that these shawm and oboe players were an important part of Swedish musical lifeand highlights these musicians’ ties to the noble officers. Likewise, it suggests that shawm and oboe playersin Europe were important for the spread and dissemination of music and musical instruments.
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Petitta, Giulio. "Soprano saxophone; from Baroque to Modern Music : Performing compositions belonging to a period of time that goes from Alessandro Marcello to Astor Piazzolla." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1621.
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Botha, Kirstyn Star. "The function of music therapy in the transformation of role identities for clients who have been in paediatric palliative care for an extended period of time." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63989.
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This qualitative research study explored the function of music therapy in the transformation of role identities for clients who had been in paediatric palliative care for an extended period of time. This study aimed to explore the value of music therapy in this transformation, as well as within the context of paediatric palliative care in South Africa.
The research took place at a paediatric oncology unit at a local Cape Town Hospital where three participants were selected to receive music therapy sessions over a period of eight weeks. The session notes were analysed and six video excerpts were selected. Through the use of thematic analysis and coding hierarchies four themes (or “role palettes”) emerged from the data: the sick role palette, the mastery role palette, the resilient role palette and the theme of mutuality. It appeared that music therapy could have been a facilitator in the process of a shifting in role palettes.Dissertation (MMus)--University of Pretoria, 2017.
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Hamilton, Elizabeth P. K. "A Study of Early Sixteenth-Century English Music Fragments from the DIAMM Database." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20241.
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While the study of complete sources is very valuable, and has contributed greatly to what is understood of music history, the perspective they contribute is limited because they cannot reveal information about how music and music sources were most often used. The study of functional sources, more probably created for use, allows for more insight into how music was performed and understood, and how such sources were created, used and valued.
This study examines twelve fragmentary early sixteenth-century English sources from the Digital Image Archive of Medieval Music (DIAMM) database, constituting a sample of functional music sources in this period. The study of this sampling reveals information about how functional manuscripts were created, used and valued in England during this time period. Some of the fragments contain works with concordances. These concordances are compared using variant comparison, where differences in the versions of the work are considered and weighed. The comparative study of concordances provides insight into the transmission of the versions, scribal and performance culture, as well as into music culture in general. Overall, the study of this sampling of early sixteenth-century functional English sources provides a clearer understanding of the use of accidentals, scribes and scribal culture, performers, performance practice and music culture in England at this time, contributing to the understanding of music history.
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Martínez, Correa María Guadalupe. "MISSA À 4 COMPUESTA A GRANDE ORQUESTA IN D MAJOR BY MANUEL ARENZANA, THE LAST CHAPEL MASTER OF THE CATHEDRAL OF PUEBLA, MEXICO IN THE COLONIAL PERIOD (1791-1821)." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/2066.
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Manuel Arenzana was the last chapel master of the Cathedral of Puebla from 1791 to 1821. Arenzana composed sacred music for the Cathedral of Mexico, as well as operas for the Coliseo Theater in Mexico City. Missa à 4 Compuesta a Grande Orquesta in D Major was composed for double choir and big orchestra, which included viola, clarinets and bassoon. This work is a scholarly edition of previously unedited manuscripts and it is collocated with two late copies located in Oaxaca. Also, the actas capitulares from the Cathedral of Puebla, during the period when Arenzana worked as chapel master (1791-1821), and the documents from the Archivo General de Indias revealed new biographic data, which is confronted with a review of the existing biography. Additionally, the music catalogue in New Spain is included with the repertoire of the archives of Cathedrals from Puebla, Morelia, and Oaxaca, two parishes, and the Basílica de Santa María de Guadalupe.
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Barclay, Robert Leslie. "A critical analysis of actions taken upon historic musical instruments through the period of the early music revival from the beginning of the 20th century to the 1990s." Thesis, n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=3.
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Mercier, Ann Mary Pierrette. "DEVELOPMENTAL CHANGES IN AUDITORY TEMPO SENSITIVITY AND PREFERRED TEMPO." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1174924917.
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Martínez, Farias María Luz. "El repertorio lírico en la República de Chile durante los siglos XIX y XX como paradigma de la influencia europea en la creación lírica latinoamericana." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/420865.
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La presente tesis doctoral se ha desarrollado a través de estrategias de investigación sobre la presencia de parámetros musicales en la música académica latinoamericana, específicamente en el caso de Chile, procedentes del Romanticismo y Postromanticismo europeos. Para ello, se ha realizado un trabajo de análisis del repertorio vocal acompañado, es decir, la canción lírica o de arte y algunos de los ejemplos más representativos de la ópera en cuanto a su evolución estilística.
En la primera parte del trabajo se ofrecen algunos datos de lo que constituyó la primera etapa musical en el Chile, los primeros promotores, los medios de comunicación utilizados, los primeros centros de enseñanza, las obras y sus intérpretes, etc. Este trabajo de carácter archivístico se completa con un estudio pormenorizado de algunas de las obras líricas que se han considerado ejemplares para el objeto de esta tesis. Tras un breve apunte sobre la historia del género lírico del Lied, se presentan las obras, analizadas de manera detallada tanto en el aspecto literario como musical, destacando por medio de indicaciones gráficas sobre la partitura los aspectos que se quieren poner de relieve. Además se adjunta un CD con una grabación profesional de las obras analizadas.
De este modo, el trabajo ofrece una panorámica integral del estudio del repertorio lírico chileno, partiendo de los fondos archivísticos, las referencias hemerográficas, los materiales musicales y literarios, su análisis y, finalmente, su interpretación.
Se concluye de este modo la relevancia del influjo de los patrones europeos en la composición vocal académica en la República de Chile durante los siglo XIX y XX y el modo cómo han sido asimilados y desarrollados.This thesis has been developed through research strategies exploring the presence of musical parameters within Latin American academic music, specifically in the case of the Republic of Chile, originating from the Romanticism and Post Romanticism European era. An analytical study of the vocal repertoire has been carried out, namely concerning the lyrical song and some of the best examples of opera in regards to its stylistic evolution. The initial part of the study covers certain details explaining what constituted the first musical stage in Chile; the first promoters, the type of media used, the first schools, the early compositions and how they were interpreted. This research, which is of an archival nature, is completed by a detailed study of some of the lyrical works that have been considered exemplary for the purpose of this thesis. After a brief note on the history of the Lied as a lyric genre the compositions are presented, analysed in detail in both their literary and musical aspect, highlighting by means of graphical indications on the score, the aspects that are emphasized. A CD with a professional recording of the analysed musical works is attached. Thus, a comprehensive overview of the study of the Chilean lyric repertoire is provided, based on musical, literary and hemerographical archival material, its analysis and interpretation. This study concludes by defining the importance of the influence of European musical standards in Chilean academic vocal composition during the nineteenth and twentieth century and the way they have been assimilated and developed
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Linder, Gunnar Jinmei. "Deconstructing Tradition in Japanese Music : A Study of Shakuhachi, Historical Authenticity and Transmission of Tradition." Doctoral thesis, Stockholms universitet, Institutionen för orientaliska språk, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-72052.
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In the present study I examine the vertical bamboo flute shakuhachi, as an example of how a tradition can be constructed. There are two main issues: the historical authenticity of the believed origins and development of the shakuhachi tradition, and how the transmission of this tradition is conducted. The first main issue is concerned with how a legendary origin, probably constructed in the late seventeenth century, was disproved in early twentieth-century studies. According to this legendary origin, the shakuhachi was connected to Chan (Zen) Buddhism in ninth-century China. It was replaced by a nowadays commonly accepted theory of an indigenous origin, found in both Japanese and English language contemporary writings. I discuss the legend, constructed by the so-called komusō monks of the Edo period (1603–1867), and suggest an alternative explanation of how they became connected to other kinds of medieval monks, so-called boro and komosō. The primary sources relating to the boro and the komosō are discussed. My analyses indicate that the twentieth-century studies created a connection to the boro and komosō as assumed devout Buddhist monks, probably for socio-political reasons. The second main issue concerns how the tradition is transmitted, and the constitutive elements of this transmission. Some Japanese studies discuss the notion of kata – fixed forms implicitly containing essential elements of the ‘tradition’ – as a special feature of Japanese arts. I investigate how transmission is conducted, and argue against the notion that the elements transmitted from teacher to student contain the essence of the tradition. I assert that the concept of fixed forms as a defining characteristic of Japanese traditional arts, should be modified to a more modest ‘character of the music’ on the level of individual transmitters. I discuss the elements that are transmitted, and investigate what it is that constitutes the ‘traditional’ aspects, if any, of this transmission.本研究は、竹でできた縦笛である尺八の歴史とその音楽の伝承の研究である。尺八に関連する研究はそのほとんどが歴史的な考察であり、そこでは尺八の 起源、楽器としての尺八、尺八音楽について議論されてきた。初期の研究は20世紀初頭に行なわれた。これらの研究においては、江戸時代（1603〜 1867）に書かれたいろいろな記述や書物によって入念に作り上げられた尺八の伝説的な起源について反証が行われている。江戸時代には、尺八は僧侶の一つ のタイプである虚無僧(こむそう)により宗教的な道具（法器）として使用されていた。虚無僧は、尺八の起源を9世紀の中国の禅僧 Pu Hua （普化）にさかのぼるものと主張していた。それに対して、1900年代に行われた尺八の歴史的な研究において、日本の研究者たちは、江戸時代以前にさかの ぼる日本固有の起源論を提示した。そして、それが暮露(ぼろ)および薦僧(こもそう)という別種の仏教僧につながるものであると述べており、それは現在広 く受け入れられている有力な説となっている。 第4章では、尺八の伝説的な起源について紹介するとともに、上記の三つのタイプの僧が江戸時代の早い時期には同様のものとして見なされるようになった経緯について考察する。 第 5章および第6章では、日本人研究者によるほとんどの研究で参照されている、暮露と薦僧に直接につながる資料の詳細な分析を行う。そこでは、これらの日本 人研究者の研究が示し、広く受け入れられている尺八の日本固有の起源論と発展の過程を分析し、それに対して反論を試みる。本論文の最も中心となる課題は、 「伝統」という概念について考察し、「伝統」が必ずしも真正の起源を基礎とするものとは限らない、ということを尺八を例として明らかにすることである。筆 者の分析において、尺八には日本固有の伝統があるという考えは、おそらく社会政治的な（socio-political）理由のもとに、1900年代に行 われた尺八の歴史に関する研究の中で作り出されたものであると論じる。 本論文中では、「伝統」の概念に関してもう一つの観点を取り上げる。それは、伝統芸能の伝承である。日本における研究では、「型」の概念、つまりその芸能 特有の特質が含まれる固定化されたフォームが日本の伝統芸能の特筆すべきものとして論じられている。筆者はその伝承がどのように行われているかを調べて考 察し、教える者から学ぶ者へ伝承される要素の中には、必ず伝統の本質が含まれるという考えに対して反論を行う。この本質主義的な観点とは対照的に、筆者が 主張するのは、伝統芸能において伝承されるのはそのような意味での「型」ではなく、それはむしろ個々の伝承者のレベルでの、より緩やかな「音楽のキャラク ター」であり、「型」はそういう意味にとらえ直されるべきだということである。本論文では、伝承される諸要素について論じ、また、この伝承における「伝統 的」な様相(アスペクト)を構成しているものが、もしあるとすれば何なのかを追究する。
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Ramos, Rafael Registro. "Discurso e conceitos no tratado de contraponto de André da Silva Gomes: um estudo de recepção." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-27012015-162939/.
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O tratado de contraponto, Arte Explicada de Contraponto, do lisboeta André da Silva Gomes, destaca-se na produção teórico-musical brasileira como uma obra que articula o ensino musical europeu, especialmente o português, com aquele praticado no Brasil durante o período colonial. Seu autor, quarto mestre-de-capela da Sé de São Paulo desde 1774, certamente apropriou-se dos principais modelos pedagógicos em voga na segunda metade do século XVIII, em Portugal. A única cópia encontrada de seu tratado recebeu estudos que contribuíram para a divulgação e explicação da maior parte dos preceitos dessa obra, demonstrando seu possível alcance, adquirido ao longo do século XIX. Apesar disso, a questão sobre sua recepção teórica manteve-se aberta, contendo problemas referentes aos modelos teóricos que pudessem ser verificados na obra. O objetivo geral deste trabalho é primeiro, realizar uma consolidação bibliográfica a respeito do ensino teórico-musical em Portugal ao longo dos séculos XVII e XVIII, por um lado, e, vasculhar o caminho teórico encontrado nos tratados musicais europeus que versassem, de modo explícito, sobre as regras de contraponto e as regras do acompanhamento, a fim de se verificar quais desses modelos poderiam ser identificados na obra de Silva Gomes. Como metodologia e, também, delineamento da amplitude do trabalho, elencamos os principais tratados portugueses que se encaixam em uma dessas duas categorias mencionadas, complementados oportunamente por autores espanhóis e italianos, em sua maioria. Através de análises comparativas entre os discursos desses tratados e a obra teórica de Silva Gomes, pudemos verificar a manutenção de certos cânones do ensino de música, provenientes da tradição do contraponto, e enxergar novas possibilidades de interpretação do conteúdo da Arte Explicada, através dos manuais de acompanhamento. Estes, por sua vez, sugerem caminhos aos estudos sobre a recepção teórica brasileira, pautados na tradição de ensino napolitana, cujos modelos possuíram livre trânsito entre os compositores e professores portugueses desde o século XVIIIThe treatise on counterpoint Arte Explicada de Contraponto, by Lisboan André da Silva Gomes, stands out in Brazilian theoretical writings as a work which articulates European music teaching, especially Portuguese, with that conducted in Brazil during colonial period. Its author, fourth chapel master of São Paulo\'s cathedral, since 1774, certainly absorbed the main pedagogic models of Portugal in the second half of the 18th century. The only copy found of his treatise has been analyzed in few studies, which contributed to the diffusion and offered explanations for most of its precepts, demonstrating its potential range, acquired along the 19th century. However, its theoretical reception was kept open, presenting some problems regarding the possible theoretical models that could be mapped within the work. The general objective of the present work is, at first, to achieve a bibliographic consolidation concerning music theory teaching in Portugal along 17th and 18th centuries, on one hand, and on the other, to scavenge the theoretical path found in European music treatises that discuss explicitly the rules of counterpoint and accompaniment, in order to verify what are the models which could be identified within the work by Silva Gomes. As methodology and also for bounding the reach of the work, we listed the central Portuguese treatises that fit in one of the above categories, further complemented, majorly, by Spanish and Italian authors. Through comparative analyses between the discourses of such treatises and the theoretical work by Silva Gomes, we were able to verify the abiding of certain canons of music teaching, originated from the tradition of counterpoint, and to look into new possibilities of interpreting the content of Arte Explicada through manuals on accompanying. Those, in turn, suggest directions to further studies about Brazilian theoretical reception, rooted in Neapolitan tradition of teaching models, which transited freely among Portuguese composers and music teachers since the 18th century.
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Wittmann, Luisa Tombini 1979. "Flautas e maracás = música nas aldeias jesuíticas da América Portuguesa (séculos XVI e XVII)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280441.
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Orientador: John Manuel MonteiroTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta pesquisa tem como objetivo o estudo das relações sonoras entre jesuítas e índios no Estado do Brasil e no Estado do Maranhão, durante os séculos XVI e XVII. A análise da documentação histórica, sobretudo jesuítica, atenta, na primeira parte, para as regras da Companhia de Jesus, no que se refere à música, e para suas adaptações e debates em missões na Ásia e na América Portuguesa. Aspectos das culturas nativas possibilitam a passagem das normas às práticas, em três espaços: costa e planalto paulista na metade do século XVI, Amazônia seiscentista e sertão nordestino nas últimas décadas do século XVII. Busca-se, assim, contar uma história de constantes negociações, na qual a música desempenha papéis plurais, onde atores colocam em jogo sonoridades que se revelam indispensáveis ao diálogo religioso entre ameríndios e missionários
Abstract: This thesis explores musical relations between Jesuit missionaries and Amerindian peoples in colonial Portuguese America (Brazil and the State of Maranhão) during the sixteenth and seventeenth centuries. Based mainly on Jesuit sources, this work focuses initially on the musical conventions adopted by the Society of Jesus and on their discussion and adaption within the missionary contexts of Portuguese Asia and America. The thesis then argues that different aspects of native cultures enabled the transition from conventions to practice, with emphasis on three spatial contexts: the sixteenth-century coast and São Paulo plateau, the seventeenth-century Amazon, and the northeastern hinterland. In sum, the thesis develops a story of constant negotiation, where music played multiple roles and where different historical agents exchanged sounds that proved to be indispensible in the religious dialogue between Amerindian peoples and European missionaries
Doutorado
Historia Social
Doutor em História
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Gutjahr, Simone. "Atuação de músicos em associações religiosas de Desterro nos períodos colonial e imperial." Universidade do Estado de Santa Catarina, 2010. http://tede.udesc.br/handle/handle/1579.
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Previous issue date: 2010-05-05Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Documents produced by religious associations are an important source about the musical practice and the activities of musicians during the 18th and 19th Century in Brazil. This dissertation investigates data obtained from documents of three religious associations based in Desterro (today Forianópolis). From these sources, the researcher traced a profile for those institutions and presents a Te Deum which represents, until the present, the sacred music from Desterro in the first half of the 19th century. Interposing information obtained from primary sources (documents from the religious associations and newspapers), the musicians are located in the social-cultural context of Desterro. It also shows the emergence of others environments that represented new possibilities for the musical practice and for musicians from the second half of the 19th century on, although the religious associations remained as a place for their musical activities until the end of the imperial period
Os documentos das associações religiosas são uma relevante fonte de informações acerca da prática musical e da atuação de músicos durante os séculos XVIII e XIX no Brasil. Neste trabalho são apresentadas informações obtidas em documentos de três associações religiosas existentes em Desterro (atual Florianópolis), a partir das quais é traçado um panorama musical dessas instituições e apresentado um Te Deum que, até o momento, representa um exemplo da produção musical sacra desterrense da primeira metade do séc. XIX. Entremeando informações recolhidas das fontes primárias (documentação das associações e jornais de época), os músicos são situados no contexto sóciocultural de Desterro; também é mostrado o surgimento de outros ambientes que representaram novas possibilidades para a prática musical e para os músicos, a partir da segunda metade do séc. XIX, embora as associações religiosas tenham se mantido como um local para a sua realização até o final do período imperial
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Scaggs, Leanne. "A Modern Performance Edition of Nina D'Aubigny Von Engelbrunner's Deutsche, Italienische und Französische Gesänge mit Begleitung des Pianoforte." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505194/.
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This dissertation examines the work of German composer and vocal pedagogue Nina d'Aubigny von Engelbrunner through her collection of songs entitled "Deutsche, Italienische und Französische Gesänge mit Begleitung des Pianoforte," published in 1797. A brief overview of the life and works of Ms. d'Aubigny is provided, followed by a discussion about the "woman question" as it relates to Ms. d'Aubigny's works. The second part of this project includes a new, modern performance edition of the collection of songs, complete with general editorial guidelines, notes and translations, and a critical report detailing all deviations from the original 1797 edition.
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Fernandes, Ana Cristina Pereira. "A música para piano de Clara Schumann: uma perspetiva analítica." Master's thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/16163.
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Este trabalho de projeto foca-se na música para piano de Clara Schumann. Contextualiza as obras da compositora na sua biografia e analisa as formas, tonalidades, texturas, temas e influências usadas na música para piano; ABSTRACT: This research project focuses on the piano music of Clara Schumann. It contextualizes her works within her biography and analyses them in terms of form, key, texture, theme and influence.
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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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Barrera, Juan David. "La musique pour orgue en France à l'âge classique : une représentation du sacré." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC003/document.
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Notre étude de la musique pour orgue en France à l’Âge classique se centre sur sa dimension signifiante, et tout particulièrement sur sa fonction représentative du sacré. Notre intérêt a pour origine un constat : à l’heure actuelle, les travaux les plus importants consacrés à ce répertoire négligent la question, alors que la genèse de cette école organistique coïncide avec l’un des moments historiques les plus remarquables de la spiritualité catholique française (en effet, le XVIIe siècle n’est pas seulement le « Grand Siècle des idées » mais aussi le « Grand Siècle des âmes »). Dans cette optique, et partant du principe que la musique religieuse peut se comprendre comme un produit esthético-théologique façonné en fonction des besoins symboliques et expressifs de la liturgie (au même titre que d’autres manifestations d’art sacré), ce travail cherche à mettre en lumière la manière dans laquelle, grâce à un ensemble de catégories esthétiques et de topiques musicaux dirigés par des principes rhétoriques, la musique des organistes français peut communiquer les notions fondamentales de la doctrine chrétienne. Pour ce faire, nous proposons un parcours en quatre parties, abordant successivement les contextes culturel et spirituel du XVIIe siècle en France, les éléments constitutifs de l’univers signifiant du répertoire, l’organisation stylistique du répertoire, et finalement, d’un point de vue herméneutique, l’œuvre de trois compositeurs majeurs de cette tradition musicale : Nicolas de Grigny, Jean-Adam Guilain et François CouperinThis study of French organ music during the “Classical period” focuses on its signifying dimension, and particularly on its representative function in the liturgy. Our interest springs from an observation: the most important works devoted to this repertoire neglect the question, whereas the genesis of this organ school coincides with one of the most remarkable historical moments of Catholic spirituality. From this point of view, and assuming that sacred music can be understood as an aesthetic-theological product shaped according to the symbolic and expressive topics of the liturgy (in the same way as other manifestations of sacred art), our research seeks to demonstrate the way in which the music of French organists can communicate the fundamental notions of Christian doctrine through a set of aesthetic categories and musical topics directed by rhetorical principles. In this way, our work is divided into four parts, successively highlighting the cultural and spiritual contexts of the seventeenth century in France, the elements of the signifying universe of these music, the stylistic organization of the repertoire, and finally, from a hermeneutic point of view, the analysis of three major composers of this musical tradition: Nicolas de Grigny, Jean-Adam Guilain and François Couperin
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Perna, Vinvenzo A. "Timba : the sound of the Cuban Crisis : black dance music in Havana during the 'Periodo Especial'." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270932.
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Nogueira, Gisela Gomes Pupo. "A viola con anima: uma construção simbólica." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-15052009-140811/.
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As pesquisas históricas sobre as violas brasileiras foram delimitadas pelas referências textuais e iconográficas ao instrumento musical e à sua utilização na produção musical, particularmente da segunda metade do século XVIII ao início do XIX, com pequena citação de César das Neves em s eu Cancioneiro de Músicas Populares, cujo primeiro volume é datado de 1893. Usualmente confundida com alaúdes, cistros e violões, a literatura histórica deixa lacunas sobre a descrição do instrumento. Fato é que, não raro, os violeiros brasileiros de hoje ignoram se tratar de uma guitarra barroca. A primeira parte desta pesquisa investiga, através de fontes primárias e secundárias, a utilização da viola no Brasil desde os tempos de Anchieta, consagrando-se como o instrumento de cordas dedilhadas mais antigo ainda em uso na produção cultural do país, bem como sua classificação como instrumento da família das guitarras; trata da construção simbólica de uma viola rural, com forte ênfase no preconceito àqueles que a tocam e da sua ascensão e declínio a partir das investidas de Cornélio Pires na indústria fonográfica. Analisada através dos códigos da escrita em Tablaturas e Alfabeto Musical, a Musicologia Histórica é utilizada como ferramenta para pesquisar a linguagem elitista do instrumento à época colonial e, ao mesmo tempo, popular no Reino de Portugal, visto que não há qualquer documentação musical brasileira que legitime sua utilização no Brasil daquele período. Com base nas publicações portuguesas da produção musical brasileira, é possível reconstituir modinhas e lundus nesse instrumento, como relatado por inúmeros viajantes, a partir de um mapeamento dos recursos idiomáticos utilizados na Europa Ocidental e, particularmente, em Portugal, expondo a riqueza de linguagem, enquanto instrumento das elites, e seu empobrecimento, a partir do vínculo com o universo rural, que marcou até mesmo sua denominação mais popular utilizada atualmente na mídia em geral viola caipira ou sertaneja.The historical researches on the Brazilian violas were limited by textual and iconographical references to the musical instrument and its musical production, particularly from the second half of the 17th century to the beginnings of the 18th, except from a small reference found in Cancioneiro de Músicas Populares by Cesar das Neves, published first in 1893. Usually confused with lutes, citterns e classical guitars, the historical Brazilian literature shows gaps on the description of the musical instrument. In fact, the violeiros (Brazilian baroque guitarists) often do not acknowledge the instrument as abaroque guitar. The first part of the present work seeks the musical production on the viola in Brazil since Pe. Anchieta arrival, through primary and secondary sources, being considered the earliest plucked string instrument brought to Brazil which remains in use until now, as well as its classification in the plucked stringed instrument families; also, treats its history from the symbolic view of a peasants instrument, emphasizing the prejudice to its performers, as well as its ascension and decline after Cornelio Pires investment son the record industry. The Historical Musicology analyzed from the specific notation in Tablatures and Alfabeto Musical, is here used as a tool to investigate the language from the artistic music written for this kind of guitar during the Portuguese colonization, and in the same time, its popular production in Portugal, since there is no musical manuscripts from Brazil to demonstrate its use here in that period. Based on Portuguese editions of Brazilian music, its possible to recreate modinhas and lundus on the violas, as told by several travelers who described details of our culture, showing the richness of the artistic language, when used as a musical instrument of the dominant classes, and its decline to a poor language, while getting the vinculum to the peasant working classes, marking its most popular denomination on the general medias - viola caipira or sertaneja.
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Gómez-Estévez, Pablo Ignacio. "Chanflín." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586358160650967.
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Haug, Benoît. ""Suzanne" sous un nouveau jour : la fabrique d'une musique à l'ancienne et de ses singularités au prisme d'une musicologie de terrain." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2022/document.
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Qu’est-ce que jouer au XXIe siècle des musiques de la Renaissance ? Prenant acte de ce que la richesse d’une expérience réside dans sa singularité, cette thèse fait le pari de répondre à cette question générale en s’intéressant à un processus particulier : la répétition et l’enregistrement d’une chanson du XVIe siècle par un ensemble spécialisé. Dès lors que l’on s’efforce de prendre les détails au sérieux, il semble que le suivi rapproché de ces musiciens-là, engagés en 2014 dans la performance réitérée de « Suzanne un jour » de Didier Lupi, présente bien un intérêt en tant que tel. Cela permet d’appréhender non seulement ce qui fait advenir et évoluer une proposition musicale, mais également les modalités de l’expérience collective et individuelle afférente. En outre, cette épistémologie singulariste rivée aux détails s’avère fructueuse à d’autres échelles, qu’il s’agisse de revenir sur cinq semaines de l’élaboration d’un projet discographique ou d’écrire cinq siècles d’histoire de « Suzanne »What does it mean to play Renaissance music in the 21st century? Taking into account that the depth of an experience derives from its singularity, the present dissertation looks at this general question by focusing on a specific process: a specialized ensemble rehearsing and recording a 16th century song. A close reading of this process makes it clear that there is inherent value in observing musicians in the year 2014 engaged in repeat performances of “Suzanne un jour” by Didier Lupi. This observation clarifies how a musical performance is created and developed and reveals the modalities of the collective and individual experiences involved. Moreover, this detail-oriented and singularist epistemology is useful in other respects, whether to comprehend a five-week recording project or to write a five-century history of “Suzanne.”
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Parker, Rebecca Anne. "Use of Music to Reduce Anxiety in Short Wait Periods for Patients Receiving Care in an Urgent Care Clinic." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/393.
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Abstract
The concept of waiting has received limited attention in the world of research. In modern society, waiting has become a commonplace event, especially in healthcare. Although the waiting experience can produce anxiety, healthcare environments can be easily manipulated in order to increase human comfort and reduce situational anxiety. One such way of accomplishing this is to introduce music to an environment. This paper will discuss the findings related to short wait periods, anxiety, and music within the literature, and the findings within this research study. This study found listener-selected music to be statistically effective in reducing anxiety for patients waiting in the exam room to be seen by a primary healthcare provider in an urgent care clinic.