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Dissertations / Theses on the topic 'Persian Music'
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Amoozegar-Fassie, Farzad. "The poetics of Persian music : the intimate correlation between prosody and Persian classical music." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27954.
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Throughout most historical narratives and descriptions of Persian arts, poetry has had a profound influence on the development and preservation of Persian classical music, in particularly after the emergence of Islam in Iran. A Persian poetic structure consists of two parts: the form (its fundamental rhythmic structure, or prosody) and the content (the message that a poem conveys to its audience, or theme). As the practice of using rhythmic cycles—once prominent in Iran— deteriorated, prosody took its place as the source of rhythmic organization and inspiration. The recognition and reliance on poetry was especially evident amongst Iranian musicians, who by the time of Islamic rule had been banished from the public sphere due to the sinful socio-religious outlook placed on music. As the musicians’ dependency on prosody steadily grew stronger, poetry became the preserver, and, to a great extent, the foundation of Persian music’s oral tradition. While poetry has always been a significant part of any performance of Iranian classical music, little attention has been paid to the vitality of Persian/Arabic prosody as its main rhythmic basis. Poetic prosody is the rhythmic foundation of the Persian repertoire the radif, and as such it makes possible the development, memorization, expansion, and creation of the complex rhythmic and melodic compositions during the art of improvisation.
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Fallahzadeh, Mehrdad. "Persian Writing on Music : A study of Persian musical literature from 1000 to 1500 AD." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Uppsala universitetsbibliotek [distributör], 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-5864.
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Nooshin, Laudan. "The processes of creation and recreation in Persian classical music." Thesis, Goldsmiths College (University of London), 1996. http://openaccess.city.ac.uk/4149/.
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This thesis presents a critical examination of the processes of creativity in the performance of Persian classical music. Using current literature, information from musicians, and detailed musical analyses, the thesis endeavours to reach an understanding of what creativity means in the Persian context, and to examine the ways in which creativity takes place and the factors which affect it. A consideration of the nature of human creativity in general is followed by a critique of the concepts and terminology of creativity used within (ethno)musicology. Several areas are subsequently explored for their potential contribution to an understanding of creative musical processes. There is a consideration of possible parallels between musical and linguistic creativity, as well as an exploration of theories about the psycho-physiological determinants of musical creativity. With specific reference to Persian classical music, various aspects of the basic canonic repertoire, the radif, are examined, and this is followed by a discussion of the processes by which the radif is learnt, this being a crucial stage in laying the foundations of musical creativity. There is also a consideration of the concepts of creativity in this musical tradition, as well as changes to such concepts in recent years. The musical analyses focus on a number of performances and versions of the radif, primarily from dastgah Segah. There is an examination of the sectional organisation of both performances and radifs, as well as of compositional procedures, typical melodic patterns, and including specific focus on the ways in which material from the radif is treated in performance. The aim is to comprehend how it is that musicians use the knowledge acquired during training to present unique expressions of the musical tradition at every performance occasion. The thesis seeks to contribute to a greater understanding of generative musical processes and ultimately, towards a better understanding of the nature of human creativity.
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Heydarian, Peyman. "Automatic recognition of Persian musical modes in audio musical signals." Thesis, London Metropolitan University, 2016. http://repository.londonmet.ac.uk/1190/.
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This research proposes new approaches for computational identification of Persian musical modes. This involves constructing a database of audio musical files and developing computer algorithms to perform a musical analysis of the samples. Essential features, the spectral average, chroma, and pitch histograms, and the use of symbolic data, are discussed and compared. A tonic detection algorithm is developed to align the feature vectors and to make the mode recognition methods independent of changes in tonality. Subsequently, a geometric distance measure, such as the Manhattan distance, which is preferred, and cross correlation, or a machine learning method (the Gaussian Mixture Models), is used to gauge similarity between a signal and a set of templates that are constructed in the training phase, in which data-driven patterns are made for each dastgàh (Persian mode). The effects of the following parameters are considered and assessed: the amount of training data; the parts of the frequency range to be used for training; down sampling; tone resolution (12-TET, 24-TET, 48-TET and 53-TET); the effect of using overlapping or nonoverlapping frames; and silence and high-energy suppression in pre-processing. The santur (hammered string instrument), which is extensively used in the musical database samples, is described and its physical properties are characterised; the pitch and harmonic deviations characteristic of it are measured; and the inharmonicity factor of the instrument is calculated for the first time. The results are applicable to Persian music and to other closely related musical traditions of the Mediterranean and the Near East. This approach enables content-based analyses of, and content-based searches of, musical archives. Potential applications of this research include: music information retrieval, audio snippet (thumbnailing), music archiving and access to archival content, audio compression and coding, associating of images with audio content, music transcription, music synthesis, music editors, music instruction, automatic music accompaniment, and setting new standards and symbols for musical notation.
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Namazi, Behzad K. "The Radif as Musical Syntax: Instrument Revival in Persian Traditional Music." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou158592049352558.
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Majeed, Alan. "Middle Eastern Violin Method : A Method for Teaching and Transcribing Middle Eastern Music." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3055.
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My project is first and foremost about developing a pedagogical method for teaching Middle Eastern folk and classical music on the violin. As a secondary goal, I want to know if my own playing could benefit from applying such a method and become more skilled in expressing myself artistically on my instrument. In order to achieve this, first, I have transcribed and notated music from different music styles of the Middle East, including Kurdish, Persian, Arabic and Turkish music and described the specific traits of these different styles. Then, I have created a method of how to represent different stylistically important elements in the music, e.g. the most popular ornaments used in this music, as well as finding new ways of representing them by new symbols. Finally, I have devised exercises for learning and perfecting these style elements, such as ornaments. There is no well-established method for teaching the Middle Eastern styles of violin playing (Eilenberg, 1993). This fact makes it challenging for students to learn and pass on the tradition. Unlike Western Classical music, Middle Eastern music involves using different modal systems, including scales with quarter tones. The modes and corresponding scales are called Maqam and there are a great many of them. (Todorov, 2018)A violinist playing this style of music, usually uses intricate ornamentations in playing on these scales when making an extemporization or improvisation on the maqam, called Taksim. Not having a method for this complicated music style, makes a new learner to rely solely on learning by ear and learn through imitation, which is today often performed by listening to recorded sources. In my personal experience, it took many years of careful listening and imitating to learn how to play Middle Eastern music on the violin. As an accomplished violinist and teacher, now I want to establish and develop my method so students can take advantage of it and learn this music more thoroughly, faster and become more accomplished in expressing themselves within the style. My hope is that this method will help preserve the Middle Eastern style of violin playing and make it easier to pass on to the next generations. Furthermore, the method will also help an interested foreigner to understand and potentially learn Middle Eastern music on the violin. Thus, my research interest is to investigate in what way I can describe, notate the pertinent stylistic elements of the music for to develop a ‘Method for oriental violin playing’, including notations, exercises, and teaching process, that can make a musician understand the Middle Eastern music styles and learn to play them. The ultimate aim is to pass the tradition easier and faster, giving aspiring violinists possibility to develop their violin playing within this field. Hopefully, from notating and transcribing these styles the tradition can be preserved. A specific question is also to investigate the usefulness of the method for groups of violins. Secondary research interest is to investigate how this work might influence the development of my own playing, in terms of technique and expressing. Summary of research questions: - How can I describe and notate the Middle Eastern violin styles with details? - What are the most important stylistic elements and techniques? - How can I teach this music? - How can I pass on the tradition faster and easier with the help of a method in a way that develops the field of Middle Eastern violin styles? - Can I develop my own playing and artistic skills by applying exercises for stylistic features?Samai Hijaz Göksel Baktagir (Turkish) Bogazici Baki Kemanci (Turkish)
Alan Kamil – Violin
Feras Sharstan – Kanun
Saman Taha – Piano
Mårten Hillbom – Raqq and Cajon
Swedish folk music meets Kurdish folk music! (Kurdish and Swedish)
Alan Kamil – Violin
Tommy Lundberg – Violin
Pirozbe Nasir Razazi’s Song (Kurdish)
Violins:
Alan Kamil
Tommy Lundberg
Anna Ekborg
Sandra Arvman
Nichelle Johansson
Saman Taha – Piano
Mårten Hillbom – Cajon
Swan Lake Mojtaba Mirzadeh (Persian) Soran Badinan Dilshad Said (Kurdish)
Alan Kamil – Violin
Saman Taha – Piano
Nassam Aleyna el Hawa Rahbani Brothers – Fairouz (Arabic)
Alan Kamil – Violin
Feras Sharstan – Kanun
Saman Taha – Piano
Mårten Hillbom – Darbuka
Eshveh Bijan Mortazavi (Persian)
Alan Kamil – Violin
Saman Taha – Piano
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Yaghoubi, Isra. "Traditional Iranian Music in Irangeles: An Ethnographic Study in Southern California." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/305864.
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This study focuses on the musical activities and views of Iranian immigrant artists who perform, teach, and support traditional Iranian music in Los Angeles and Southern California. This geographic area and its interconnected social networks, which I refer to as Irangeles, is part of a diaspora culture industry where music is central to everyday life, but where modern Iranian pop music dominates. Given Iran's historical negative stigma attached to entertainment-oriented music making, and the popularity of entertainment and dance-driven Persian pop in contemporary Irangeles, practitioners of traditional Iranian music express frustration and face challenges in promoting their art, what they feel is an authentic form of Iranian culture. The music they make expresses both personal and cultural values: it is a form of creative expression that presents itself as interwoven with their Iranian identity, reflecting personal and cultural ideals of character in Iranian culture. My findings highlight how Iranian immigrant artists avail themselves of the socio-cultural infrastructure of Irangeles to network with like-minded artists and strategically use satellite TV, online technology and social media to find recognition for, teach, and promote diverse genres of traditional Iranian music in this particular diaspora setting.
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Shafiei, Kiana. "Intertextual perspectives on interpretation : a study of three Iranian composers' piano works in the context of Persian music." Thesis, Manchester Metropolitan University, 2018. http://e-space.mmu.ac.uk/621996/.
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This research focuses on the performance and interpretation of piano solo and concertante works by three Iranian composers of the twentieth and twenty-first centuries who explore the potential of Persian music in a 'Western' paradigm. The lack of analytical and performance studies on this repertoire raised two immediate questions: what musical links with Persian music can be drawn out in this repertoire, and to what extent can this study influence its performance? The methods used to answer the questions, which can potentially inform the study of other folk-inspired compositions, examined how these composers imitated Persian vocal/instrumental characteristics and derived knowledge from performing styles, melodic or rhythmic patterns, folk tunes and improvisational principles without literally imitating specific genres or idioms of Persian music. This research also explores the reader-oriented principles of intertextuality for their conceptual relevance when informed intuition and subjective associations become part of the performer's interpretation. Although intertextuality has yet to be applied in a performance context, its application has significant potential as it enables the performer to include various ideas or associations in the decision-making processes involving misreading as a creative strategy and consider the opposing forces of imitation and originality. Part One consists of critical discussions on the limits of authenticity and the werktreue concept, the incommensurability between theoretical analysis and performance, the decentralisation of score and composer-centred perspectives, the various intertextuality principles explored in this research, the reader's role (that is, the performer) in creating meaning, and the interpretation of musical signs (for example, rhythms, melodies, textures) based on references outside the score in ways the author/composer might not have considered. In Part Two I deconstruct the process and rationale behind my artistic decision-making. In this section, various conscious and unconscious decisions in both live performances and studio recordings between 2014 and 2017 are compared and subject to tempo analyses with Sonic Visualiser to discern significant interpretational divergences. The recording analysis investigates further with a comparative study in the context of other pianists' recordings.
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Namazi, Behzad K. "Persepolis Symphony." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1429875660.
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Mohafez, Arash. "Approche comparative des systèmes musicaux classiques persan et turc : origines, devenirs et enjeux." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100080.
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La thèse présente étudie de façon exclusive quelques aspects fondamentaux des liens entre la musique classique persane et la musique classique turco-ottomane. Le premier chapitre est une esquisse des liens historiques des musiciens persans avec le milieu culturel ottoman, et l'influence qu'ils ont eue sur la musique classique de cet empire. Le second chapitre dégage des liens entre certains aspects du répertoire instrumental attribué aux compositeurs persans des XVIe et XVIIe siècles dans les manuscrits ottomans d’Ufki et de Cantemir avec ceux du répertoire classique persan le plus ancien transmis jusqu'à nos jours ; le répertoire qâjâr. Sous l’angle des convergences et divergences des écoles classiques persane et turque contemporaines, le troisième chapitre se focalise sur le concept fondamental de mode et entreprend de comparer les particularités de cinq éléments constitutifs modaux dans les pratiques turque et persane actuelles. Le quatrième chapitre, en vue d'une démonstration concrète des théories modales développées dans le chapitre précédant, analyse des affinités et des divergences de cinq maqâms turcs actuels d’une même famille modale, Ushshak, Beyati, Huseyni, Muhayyer, Arazbâr, dont la substance est comparable dans la tradition persane actuelle, soit Shur, Abu ‘atâ, Hoseyni/Bayât-e Kord/Hejâz/Dashti, Owj, et Shahnâz. Le dernier chapitre est une approche anthropologique destiné à présenter une tentative concrète de revivification du répertoire des « ‘Ajamlar » dans les milieux des musiciens iraniens contemporains, et à étudier les réactions de ces derniers faces à ce répertoire inconnu en Iran tiré des sources ottomanesThis thesis studies exclusively some fundamental aspects of the links between the Persian classical music and the Turkish-Ottoman classical music. The first chapter is an outline of historical connections of Persian musicians with the Ottoman cultural environment, and the influence which they have had on the classical music of this empire. The second chapter identifies the links between some aspects of the instrumental repertory attributed to Persians composers of 16th and 17th centuries in Ufki and Cantemir’s Ottoman manuscripts and those of the oldest Persian classical music transmitted to our days; the qâjâr repertory. From the angle of convergences and divergences between contemporary the Persian and the Turkish classical schools, the third chapter focuses on the fundamental concept of mode and undertakes to compare the particularities of five modal constituent elements in the current Turkish and Persian practices. The fourth chapter, with a view to concrete demonstration of modal theories developed in the previous chapter, analyzes the affinities and differences of five current Turkish maqâms of a same modal family, Ushshak, Beyati, Huseyni, Muhayyer, Arazbâr, whose substance is comparable in the current Persian tradition, with Shur, Abu ‘atâ, Hoseyni/Bayât-e Kord/Hejâz/Dashti, Owj, et Shahnâz. The last chapter is an anthropological approach intended to present a concrete attempt to revivification of the “‘Ajamlar” repertory in contemporary Iranian musicians’ circles, and to study the reactions of these latter facing this unknown repertory in Iran taken from the Ottoman sources
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Landström, Petra. "Ingmar Bergman och musiken : En audiovisuell analys av Såsom i en spegel, Tystnaden, Persona och Vargtimmen." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-6992.
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The research on Ingmar Bergman is comprehensive, however, there is one aspect of his artistry that has been regrettably neglected – his use of music. Music always played a huge part in Bergman’s life, and it was also a great source of inspiration. The music was a structural component in the creating process and he often referred to his films as pieces of music and his actors as musical instruments. Moreover, music frequently played a thematic part in the plot. The purpose of this essay is to examine what function music actually has in a selection of Bergman’s films. To do this I have closely analyzed sequences in which music is performed in four different films from the sixties; Through a Glass Darkly (1961), The Silence (1963), Persona (1966) and Hour of the Wolf (1968). The basis of the discussion lies in the film sound research, mainly that of Claudia Gorbman and Royal S. Brown. The conclusion of this analysis is that Bergman’s use of music is quite extraordinary, particularly in creating a certain feeling of time and space differentiated from the rest of the story. The music has an apparent intrinsic value of its own, and consequently, it is a narrative instrument in itself.
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Johansson, Andreas. "Blos på svenska : Två låtar med Peps Persson." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 1998. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-173898.
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Andreas Johansson: Blos på svenska. Två låtar med Peps Persson. Uppsala: Musikvetenskap, 1998. C-uppsats (60 p). Hur låter amerikansk Chicagoblues framförd av en svensk bluesmusiker? Denna fråga har varit utgångspunkt för uppsatsen, för vilken syftet är att beskriva och jämföra likheter och skillnader mellan dagens Chicagoblues i Sverige och den ursprungliga amerikanska Chicagobluesen från 1950-talet. I uppsatsen jämförs två låtar från Peps Perssons skiva Rotblos (1997) med de låtar Peps använt som förlagor. Jag har valt att analysera låtarnas harmonik, form, ensemblespel, sångstil och text. När en musikgenre flyttas över från en kultur till en annan är ackulturationsprocessen en viktig beståndsdel. I Peps tolkningar är det svårt att hitta spår av någon annan musikform än bluesen. Den största skillnaden mellan förlaga och tolkning finns egentligen i Peps svenska texter. I dessa svenska versioner flyttar Peps låtarnas handling från USA till Skåne, men utan att förlora den ursprungliga innebörden.
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Bondesson, Joachim, Andreas Midtbö, and Rasmus Persson. "Musik - påverkan vid demenssjukdom : En litteraturöversikt." Thesis, Hälsohögskolan, Högskolan i Jönköping, HHJ, Avd. för omvårdnad, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-30214.
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Bakgrund: Demens är en progressiv sjukdom och antalet personer som får en demensdiagnos kommer inom några årtionden öka drastiskt. Sjukvården behöver komma fram med nya icke-farmakologiska metoder för att kunna hantera den stora ökningen av personer med demenssjukdom. Syfte: Syftet var att beskriva om och på vilket sätt musiken påverkar personer med demens. Metod: Litteraturöversikt med induktiv ansats där artiklar med kvalitativ och kvantitativ metodik sammanställdes. Artikelsökning gjordes i databaserna Cinahl samt PsychInfo. De kvalitativa artiklarna analyserades med hjälp av Fribergs femstegsmodell och statistiken från de kvantitativa artiklarna sammanställdes i en tabell. Resultat: Det kvantitativa resultatet visade att musik hade en effekt med statistiskt signifikant skillnad på flera av de undersökta variablerna. Agitation och oro/ ångest minskade medan positivt engagemang/ deltagande ökade. Det kvalitativa resultatet genererade tre teman: kommunikation, sinnesstämning samt indirekt påverkan. Kommunikationen förbättrades, personer med demens upplevde glädje och personalen påverkades positivt av musiken vilket ledde till indirekt påverkan på personer med demens. Slutsats: Musik är en enkel och kostnadseffektiv intervention att använda sig av när det gäller personer med demens. Olika musikinterventioner kan användas vid olika situationer för att få den effekt som önskas. Det är även ett enkelt sätt att komma personer med demens närmare och få en större förståelse.Background: Dementia is a progressive disease and the number of people who will be diagnosed with dementia will increase drastically within a few decades. The healthcare needs to provide new non-pharmacological methods to manage the increase of persons with dementia. Aim: The aim was to describe if and in which way music has an impact on people with dementia. Method: Literature review with an inductive approach. Articles with quantitative and qualitative design was compiled. The literature search was made in Cinahl and PsychInfo. The qualitative articles was analyzed with Fribergs five step model and the statistics from the quantitative articles was compiled into a chart. Result: The quantitative results showed that the music had an effect with significant difference in many of the variables. Agitation and anxiety was reduced meanwhile positive involvement improved. The qualitative result generated in three headings: communication, mood and indirect impact. Communication was improved, persons with dementia felt joyful and the staff was effected in a positive way which led to an indirect impact on the persons with dementia. Conclusion: Music is a simple and cost effective intervention to implement on persons with dementia. Different music interventions can be used in different situations to get the effect that is acquired. It’s also a simple way to get closer to the care takers and get a greater understanding.
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Ola, Adebola Mobolaji. "Cultural interchange along the Indian Ocean during the global middle ages (700- 1500ad): the role of Arabs and Persians in Africa-China musical exchange." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33938.
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The relationship between Africa and China remains one of the most important geopolitical and economic partnerships of the 20th and 21st centuries. The Africa-China relation, although relatively recent, has its foundation in previous relations dating back over 500 years ago. It is against this backdrop of longstanding relations that this research is situated as it aims to trace and examine Africa-China musical exchange between 700-1500AD. The main goal of this research is to answer the following questions: (1) Are there any musical exchange between Africa and China between 700 -1500AD? (2) If there are, what are these musical exchanges and how did they manifest? (3) Are these musical exchanges mutual? (4) If there are no musical exchanges during this period, why? (5) Are there any musical exchanges at any other time pre-700AD or post 1500AD? (6) What are some of the impacts of such a musical exchange? This research uses a historical framework in understanding and presenting Africa-China cultural relations. My hypothesis, given that Africa and China did not officially meet or establish formal relations until the early 15th century, posits that in the absence of direct musical exchange, the Arabs and Persians may have been the music brokers, circulating music both to Africa and China as they did with trade. Having consulted some translated primary sources, several secondary sources and iconographic materials obtained from libraries and archives, the research findings suggest that my hypothesis is partly correct. The Persians and specifically, the Arabs, were circulating musical and cultural practices around the Indian Ocean, all the way to Al-Andalusia (Arab Spain). This spread of music and culture, I argue, gave the region some musical uniformity within diversity. This uniformity is visible through the circulation of musical instruments such as the short-necked lute; the Persian barbat; the Arabian ūd; the Chinese pipa and the African kwitra, as well as the migration of musical ideas and musicians such as Barbad, Ziryab and Kang, throughout Asia, Africa and Europe. The direct musical exchange between Africa and China only takes place in the 20th century.
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Glover, Maria A. "Ethos as street credibility : defining the street artist as a hero persona in the hip-hop lyrics of Nas /." Read thesis online, 2010. http://library.uco.edu/UCOthesis/GloverMA2010.pdf.
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Beckett, Judith Rosalyn. ""Things real and imagined" : the narrator-reader in Anthony Powell’s A dance to the music of time." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25344.
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Anthony Powell's A Dance to the Music of Time is a "fictional memoir" in which the narrator, Nick Jenkins, describes the events and characters he has observed throughout his life. As such, the primary focus of the novel would seem to be those characters and events, but the way in which Nick relates his story has a considerable impact on the narrative, and, therefore, on that primary focus. Powell has not only chosen to employ a first-person narrator, thereby establishing a specific, and individual, narrative voice, or point of view, but he also has that narrator consume much of novel by describing his perceptions of the world he observes, and this brings into focus the nature of that perspective. Hence, this paper examines the nature of Nick's role in the novel, both as character and narrator, and attempts to delineate the effect that that role has on the novel as a whole.
Essentially, Nick can be characterized as a "reader" who, in effect, "interprets" the characters and events he describes, thereby contributing his imagination to their "construction". Whether he reads actual texts or observes human behaviour, Nick engages in an interpretative process which is analogous to that in which a reader interprets a text: interpreting "signs", constructing "causes", translating texts into images and "meaning-bearing" ideas, and subjecting his own "reading" to scrutiny, thereby effectively "rereading" previous "interpretations". As a "reader", Nick is interested in more than mere description: he not only desires to understand the nature of the people with whom he is involved, but also to appreciate the significance of the events he witnesses, so as to form a kind of pattern which would reveal the central themes of an age. In so doing, he does not merely relate "what happens", thereby "putting up a mirror" to his past; he also describes his experience of that past, so that the narrative does not so much present "reality", as it presents Nick’s perception of reality.
Nick's characterization as a "reader" is founded on specific theories regarding the nature of the reading process, especially as they apply to the relationship between reader and text, and, therefore, the products of his "interpretations" are considered in relation to the creation of fiction. In essence, Nick's "reading" results in the construction of the characters and events he observes, so that ultimately he creates "fictions". In other words, because he does not present "reality", nor even a "reconstruction" of reality, but a "reconstruction" of his perception of that reality, Nick, in fact, "creates" his narrative, thereby constructing fiction. Hence, just as a reader creates the fiction of a novel by interpreting its text, so too does Nick produce fiction by "interpreting" the world he is portraying. Thus, in his "search for knowledge", in his efforts to understand the world around him, Nick "creates" that world, so that knowledge would seem to be the product of the observer's, or "reader's", construction - in essence; a fiction.Arts, Faculty of
English, Department of
Graduate
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Manco, Daniel. ""In our different ways we are the same" representations of disability in the music and persona of Morrissey /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245685405.
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Manco, Daniel Jeremy. "“In Our Different Ways We Are The Same”: Representations of Disability in the Music and Persona of Morrissey." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245685405.
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Blomkvist, Sven, and Marie Grønning. "Musik som verktyg inom vården av personer med demenssjukdom – en litteraturöversikt." Thesis, Högskolan Dalarna, Omvårdnad, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30505.
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Bakgrund: Globalt räknas demenssjukdom till en av de stora folksjukdomarna. Symtomen på demenssjukdom delas in i kognitiva- psykiska- beteendemässiga och kroppsliga symtom. Dessa symtom orsakar stort lidande för personen med demenssjukdom och det är också svårt för anhöriga och vårdpersonal att möta de som drabbas av demenssjukdom och dessa symtom. Vård och omsorg vid demenssjukdom ska enligt Socialstyrelsen ges från ett personcentrerat förhållningssätt. Tidigare forskning visar att personcentrerad vård förordas som metod för att ge vård av hög kvalitet. Sjuksköterskans ansvar är omvårdnad. Omvårdnadens konsensusbegrepp är människa, hälsa, omvårdnad och miljö. Tidigare forskning visar att musik kan vara en användbar del i att förbättra omvårdnaden av personer med demenssjukdomar, både ur ett patient- och personalupplevt perspektiv. Syfte: Att sammanställa forskning som beskriver hur musik används inom demensvården och påvisa dess eventuella påverkan på personer med demenssjukdom. Metod: Litteraturöversikt för att sammanställa kunskapsläget. Artiklar söktes i databaserna PubMed, CINAHL och PsycINFO med sökorden ”dementia”, ”music”, ”care” och ”nurs*”. Efter kvalitetsgranskningen inkluderades 16 artiklar. Artiklarna analyserades, tolkade och sammanställdes i en resultatmatris. Resultat: Litteraturöversiktens resultat visade att musik som en del av demensvården hade positiv effekt på symtomen tillhörande demenssjukdomarna. De påtagligaste positiva effekterna visade sig inom de fyra områdena beteendemässiga- psykologiska och kognitiva symtom samt livskvalitativa värden. Slutsats: Musik är ett bra alternativ och/eller tillägg i demensvården och behandlingen av personer med demenssjukdomBackground: Globally, dementia is considered one of the major diseases of the population. Symptoms of dementia are divided into cognitive, behavioral and physical. These cause severe suffering to the person with dementia and is a challenge for the relatives and healthcare professionals. Care and nursing for persons with dementia should, according to the National Board of Health and Welfare, be given from a person-centered approach. Previous research shows that person-centered care is recommended for providing high-quality care. The nurse's responsibility is nursing. The consensus concept of nursing is a human being, health, nursing and the environment. Previous research shows that music can be a useful in the care of people with dementia. Purpose: To present research describing how music is used in dementia care and demonstrate the possible effects on people with dementia. Method: Literature review to compile the state of knowledge. Articles were searched in the databases PubMed, CINAHL and PsycINFO with the search words "dementia", "music", "care" and "nurs *". After the quality review, 16 articles were included. The articles were analyzed, interpreted and compiled in a result matrix. Result: The result of the literature review showed that music as part of the nursing and care had a positive effect on the symptoms associated with dementia. The most significant positive effects were found in the four areas of behavioral, psychological, cognitive symptoms and quality of life. Conclusion: Music is a good alternative and/or supplement in nursing and treatment of people with dementia.
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Sullivan, Patrick James. "An examination of major works for wind band and chamber ensemble: Flight by Claude T. Smith, Baron Cimetiére’s mambo by Donald Grantham, and Suite persane by André Caplet." Kansas State University, 2013. http://hdl.handle.net/2097/15550.
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Master of MusicDepartment of School of Music, Theatre, and Dance
Frank Tracz
The following report is a comprehensive analysis of two works for wind band and one work for small chamber ensemble, prepared by Patrick Sullivan. The report was completed in addition to a Graduate Conducting Recital, taking place on Sunday, March 10, 2013 at 3:00pm. The concert featured the Kansas State University Wind Ensemble and took place on the Kansas State University Campus in McCain Auditorium, the conductors were Andrew Feyes and Patrick Sullivan. Audio and video recordings of the conducted performance can be found within the K-State Research Exchange database. The following report includes three comprehensive Unit Studies or Teacher Research Guides found in the Teaching Music Through Performance in Band book series. The report also includes three Tracz Analysis Grids, newly published in The Art of Interpretation of Band Music. The examined pieces are as follows. Full band works, Flight by Claude T. Smith and Baron Cimetiére’s Mambo by Donald Grantham. A chamber work for double woodwind quintet, Suite Persane by André Caplet.
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Eliasson, Ocean. "Musik som stöd för karaktärsskapande : En studie om att skapa karaktärer med hjälp av instrumentalmusik." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16619.
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När det kommer till allmänt skapande så anser jag att det handlar mycket om att komma på idéer. Att ta vara på sina vardagliga möten och sin omgivning runt omkring sig kan vara användbart material för att bli inspirerad och motiverad till att skapa något. Från arkitekter som ritar hus till tekniker som skapar inom medieteknik, så har många idéer inspirerats från någon grund, för att sedan fått existens. I mitt fall har jag inspirerats av Walt Disney’s Fantasia (1940) och fått idéen att testa skapa en metod om hur karaktärer kan frambringas med stöd av instrumentalmusik. Oavsett när det kommer till film, spel eller litteraturer så har karaktärer en oerhört stor betydelse i alla typer av berättelser. Det finns till visshet en mångfald olika sätt hur karaktärer kan skapas och jag har haft som mål att skapa en egen metod för de som är i behov eller har intresse av skapa karaktärer. I detta kandidatarbete kommer mitt tillvägagångssätt presenteras om hur jag har skapat tre olika karaktärer med hjälp av tre olika instrumentallåtar. I detta kandidatarbete kommer det presenteras forskning om hur vi kan uppleva musik, användbar information om karaktärsskapande och vilka metoder jag har använt mig av under min karaktärprocess. I slutet har tre stycken grundkaraktärer frambringats med hjälp från mina tre utvalda instrumentallåtar, och en gestaltning kommer introducera förslag om hur karaktärerna kan se ut.I think when it comes to overall creation, it's a lot about getting ideas. When it comes to finding ideas, I think it’s about paying attention to your everyday meetings and surroundings to find useful materials that can be inspiring and create motivation to design. From architects who draw houses, to technicians who create in media technology, so have many ideas been inspired for some kind of basic. In my case, I have been inspired by Walt Disney’s Fantasia (1940) and got the idea of trying to create a method about how characters can be produced with help from instrumental music. When it comes to movies, games or literatures, characters have a enormous importance in all kinds of stories. There are surely a variety of ways in how characters can be created, and my goal in this bachelor thesis have been to create an usable method for those who are in need or have interest in creating characters. In this bachelor thesis, my approach will be presented, about how I’ve created three different characters with help of using three different instrumental songs. In this bachelor thesis will research be presented on how we can experience music, useful information about character creation, and the methods that have been used in my character process. In the end, three different basic characters will be presented with various personalities and a design will introduce proposals on how the characters might look like.
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Chappatte, Jonsson Rebecca Rebecca, and Linnéa Gunnarsdotter. "Musik som omvårdnadsåtgärd för personer med demens : En litteraturstudie." Thesis, Högskolan i Halmstad, Akademin för hälsa och välfärd, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-39334.
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Bakgrund: Demens är en samlingsterm för sjukdomar som drabbar människors kognitiva funktioner i hjärnan. Demenssjukdomar degenererar långsamt och är en irreversibel sjukdom. När sjukdomen pågått en tid blir det svårt för personerna med demens att orientera sig i tid och rum, att minnas, sköta sin hygien och att äta blir vardagliga problem. Den kognitiva försämringen leder till kommunikationssvårigheter som ofta medför att personer med demens lätt blir agiterade och kan upplevas motsträviga av omgivningen. Syfte: Syftet med studien var att beskriva effekter av musik som omvårdnadsåtgärd för personer med demens. Metod: En allmän litteraturstudie med induktiv ansats har genomförts. Resultat: Tio vetenskapliga artiklar från databaserna CINAHL, PubMed och PsycINFO användes i litteraturstudien. Musik i olika former bidrar till emotionella effekter som goda relationer mellan personer med demens och sjuksköterskor och positiva känslor. Musik ger även kognitiva effekter som bibehållet minne och förbättrad kommunikation. Konklusion: De mest anmärkningsvärda effekterna av musik som framkommer i litteraturstudien är den ömsesidiga glädjen mellan personen med demens och sjuksköterskan. Denna ömsesidiga glädje bidrar till god relation, ökat välmående och meningsfullhet.Background:Dementia is an umbrella term for diseases that affect human cognitive functions in the brain. Dementia slowly degenerates and is an irreversible disease. When the disease has been going on for a while, it becomes difficult for the person with dementia to orient themselves in time and space, to remember, take care of their hygiene and to eat becomes everyday problems. The cognitive impairment leads to communication difficulties that often mean that person with dementia are easily agitated and can be experienced reluctantly by the environment. Aim:The aim of the study was to describe the effects of music as a nursing measure for person with dementia.Method:A general literature study with inductive approach has been carried out. Result:Ten scientific articles from the databases CINAHL, PubMed and PsycINFO were used in the literature study. Music in various forms contributes to emotional effects such as good relationships between person with dementia and nurses and positive emotions. Music also provides cognitive effects such as retained memory and improved communication. Conclusion:The most notable effects of music emerging from the literature study are the mutual joy between the person with dementia and the nurse. This mutual joy contributes to good relationship, increased well-being and meaningfulness.
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Staffan, Johanna, and Oldgren Sofia Tucan. "Effekter av att använda musik som omvårdnadsåtgärd för personer med demenssjukdom – En litteraturöversikt." Thesis, Högskolan Dalarna, Omvårdnad, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27665.
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Bakgrund: Människor blir idag allt äldre och demenssjukdomar förväntas bli ett växande problem. Inget bot finns men symtom kan hämmas genom farmakologiska behandlingar, dock ofta med flera biverkningar. Personer med demenssjukdom utvecklar ofta beteendeförändringar som kan vara svåra att bemöta för vårdgivare. I och med sjukdomens karaktär och olika förekommande symtom är en god och personcentrerad vård att föredra för att främja vårdtagarens delaktighet och integritet. Syfte: Att sammanställa och beskriva aktuell forskning om vilka effekter musik har som omvårdnadsåtgärd inom demensvård. Metod: Studien är en litteraturöversikt baserad på (n=18) artiklar från tio länder. Databaserna CINAHL, Pubmed och Web of Science användes och de artiklar som inkluderats är av kvantitativ ansats (n=12), kvalitativ ansats (n=5) samt Mixed method (n=1). Efter analys har skillnader och likheter i artiklarnas resultat skapat teman och subteman. Resultat: Musikinterventioner hade positiva effekter, bland annat gällande BPSD, kognitiva funktioner och psykofarmakologisk behandling. Musik kunde även bidra till en ökad samhörighet mellan vårdgivare och personer med demenssjukdom. Anhörigas och vårdgivares uppfattningar om musikens effekter var blandade, åsikterna var dock samstämmiga om att musik bör användas som omvårdnadsåtgärd. Slutsats: Musik har en positiv påverkan på personer med demenssjukdom och BPSD genom att fungera som en personcentrerad åtgärd inom omvårdnaden och bör implementeras mer.Background: People are growing older and dementia is expected to become an increasing problem. There is no available cure, but symptoms can be inhibited by pharmacological treatments, often with side effects. People with dementia often develop behavioral changes that are difficult to respond to for caregivers. With the nature of the disease and the different symptoms occuring, a person-centered care is preferable to promote participation and integrity. Aim: To conclude current research on the effects of music in the nursing care of people with dementia. Method: A literature review based on (n=18) articles from ten countries. Quantitative (n=12), qualitative (n=5) and mixed method (n=1) articles were used from CINAHL, Pubmed and Web of Science. After the analysis, differences and similarities in the articles created themes and subthemes. Results: Music interventions proved to have positive effects, regarding BPSD, cognitive functions and psychopharmacological treatment. Music could contribute to increased association between caregivers and people with dementia. The caregivers and family members' perceptions of the effects of music were mixed, however, the views were consistent that music should be used as a nursing measure. Conclusion: Music has a positive impact on people with dementia and BPSD by acting as a person-centered nursing measure and should be implemented more.
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Gaudin, Yves. "Musicothérapie et autisme : du chaos à l'organisé." Thesis, Nice, 2015. http://www.theses.fr/2015NICE2029/document.
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La musicothérapie n’est pas une thérapeutique nouvelle, et les évidences quant à ses bienfaits ne sont plus à démontrer. Cependant, si plusieurs auteurs en font mention, très peu d’entre eux expliquent « pourquoi » et « comment » la musicothérapie permet à la personne autiste, le passage d’une parole que nous qualifions d’a signifiante à un discours nouveau et chargé de sens. C’est ce que tente d’expliquer cette thèse de doctorat, et ce, grâce à de nombreux aller-retour entre clinique et concepts psychanalytiques (lacaniens en particulier)Music therapy is not a new therapy, and there is no need to reiterate the evidence of its benefits. However, while several authors mention these benefits, few of them explain « why » and « how » music therapy allows autistic persons the path from a discourse, which we qualify as no significant, into a new and fully meaningful speech. This thesis attempts to explain this mechanism, based on the cross-interlocking of clinical observations and psychoanalytical concepts (lacanian in particular)
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McLaren, Laura. "The Lyric Video as Genre: Definition, History, and Katy Perry's Contribution." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38124.
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Since YouTube was founded in 2005, prosumers have been uploading karaoke-style “lyric videos” of their favourite songs in order to creatively and visually accompany the song, while making it available online to other listeners. In the last few years, more and more artists have adopted this trend and are releasing official lyric videos that follow and expand on this tradition, thus commanding immediate visual attention to new singles. Additionally, these videos control the images and sounds associated with the song and artist, while profiting from advertising revenue tied to online video content. Though scholarship on music video is increasing, there is no evidence of scholarly research on lyric videos. Seemingly simple, these videos create meanings that impact artistic personae, song and album reception, and genre identity formation. They are not merely promotional devices, or placeholders for “official” music videos.
Grounding my analysis in genre theory (Frow 2015, Brackett 2015 & 2016, Fabbri, 1982, Holt, 2007), I claim that lyric videos comprise a new visual genre of music video, following their own parameters, connections, and histories, while simultaneously participating in the ideologies and tropes of their musical genre. In order to illustrate the framework, I offer a history of the genre by focusing my analysis on the lyric videos released by Katy Perry over the course of seven years, from 2010 to 2017, from the promotion for four of her most recent albums. By offering a historical analysis, I show how the lyric video has emerged, evolved and become established as a distinct visual genre. I include brief interludes in my analysis to highlight other important moments in the development of the genre, and to discuss how the lyrics, sound, and images are diversely represented in lyric videos depending upon musical genre. Drawing from feminist theory (Gledhill 2000), as well as persona theory (Auslander 2004, Moore 2005), I conclude that lyric videos offer unique possibilities for artists to amplify the meaning of their song and the spectator’s understanding of the lyrics, while portraying information about the artist’s subjectivities, and as such, deserves more scholarly attention as a distinct visual genre.
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Röthig, Sabine. "Windowlicker." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17491.
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In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation im Musikvideo durch EDM herzuleiten. In Teil IV werden die Erkenntnisse anhand der Fallstudie, dem Musikvideo „Windowlicker“ von Aphex Twin (Musik) und Chris Cunningham (Regie) aus dem Jahr 1999 ausgewertet und angewendet. Die Arbeit möchte die Dimension der ästhetischen Studien um das Musikvideo erweitern und verdeutlichen, wie sich das Musikvideo auch unter veränderten klanglichen Bedingungen als unentbehrlicher Bestandteil der Aufführung von Popmusik in der Monitorkultur erweist und als künstlerisches Genre unbedingt ernst zu nehmen ist, da sich in ihm zeitgenössische Avantgarden abbilden können.This thesis explores the relationship between Electronic Dance Music (EDM) which originated in clubs, and the mass media consolidated music video. Focussing on how EDM influences the music video, an aesthetic paradigm shift on the latter is discussed. This change stemmed mainly from the structure of the instrumental, modular EDM track, which is significantly different from the structure of the song. Originally, the music video was intended as way of visualising the performance of the artist on the monitor; however, the advent of instrumental EDM tracks posed critical problems for this approach, and arguably renders it obsolete. New strategies of illustrations are required. Parts I and II of this thesis analyse music video and EDM through scientific discourses in an attempt to define their respective aesthetic attributes. In part III the relationship between tracks and images in club visuals is discussed in order to illustrate the singularity of this dialogue. In part IV, conclusions from the foregoing sections are evaluated and applied to a study of “Windowlicker” by British artist Aphex Twin, the video to which was directed by Chris Cunningham in 1999. The purpose of this thesis is to extend the aesthetic studies of the music video to clarify its status as an essential part of popular music in monitor culture. As an artistic genre it has to be taken seriously because it can display contemporary avant-gardes.
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De, Villiers Jacobi. "Kabaret as moontlike teatervorm vir sangers met 'n klassieke sangorientasie." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/21737.
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Thesis (MA)--Stellenbosch University, 2008.ENGLISH ABSTRACT: This study was initiated to gain insight into cabaret as a form of theatre for the migration of singers with a classical singing orientation. It researches a form of music theatre known as entertainment cabaret, which is individual by nature, as it is not bound by convention. The study entails a discussion of the nature of cabaret as a diverse form of theatre. It illustrates the role of the artist and the genre’s music style in researching structure, to determine differences and similarities in the frameworks of cabaret and opera, with specific reference to classical singing. Currently there is an abundance of musical theatre genres, and cabaret is not differentiated as an individual genre. This leads to problems in the definitive classifying of cabaret, as well as the bridging of a singer with a classical singing orientation migrating to cabaret. The study researches the concept of, and reasons for, this migration in South Africa. The qualitative research method, which makes use of in-depth interviews to gain insight, generated a wealth of information about the realities in South Africa. This method introduces a new method of acquiring information, where the changes of the last few years had a tremendous impact on the careers of performing artists in South Africa. For this reason, artists with a classical singing orientation must have a choice to take action; to generate their own opportunities. The main findings and the need for multi-talented artists to adapt to the different styles of genres were analysed in the theoretical section, followed by a discussion of the respondents’ feedback selected to contribute to this study. The gap in skills between the cabaret artist and the classical singer is identified to showcase and define the possibility of cabaret as a form of theatre for classical singers. New categories are generated in which ideas of how development can be adapted are laid out.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om insig te verkry in kabaret as moontlike teatervorm vir die migrasie van sangers met ’n klassieke sangoriëntasie. Dit ondersoek die vermaaklikheidsvorm kabaret, ’n eiesoortige vorm van musiekteater deurdat dit nie deur konvensies begrens word nie. Die studie behels ’n bespreking van die aard van kabaret as diverse teatervorm, en illustreer die rol en vaardighede van die kabarettis asook die genre se musiekstyl om die ooreenkomste en verskille in die raamwerk van kabaret en opera, met betrekking tot klassieke sangoriëntasie, te ondersoek. Tans oorvloei die musiekteatergenres, en word kabaret nie as eiesoortige genre onderskei nie. Dit maak die onderskeid van kabaret, asook die oorbrugging van ’n klassieke sanger wat na kabaret migreer, uiters problematies. Die studie stel ondersoek in na die konsep van en redes vir die migrasie van sangers met ’n klassieke sangoriëntasie na kabaret in Suid-Afrika. Die kwalitatiewe metode, wat met behulp van diepte-onderhoude insig verkry, het ’n magdom inligting oor die werklikhede in Suid-Afrika opgelewer. Hierdie metodologie is ’n nuwe manier om inligting in te samel, veral in die lig van veranderinge in die laaste paar jaar in die land, wat ’n geweldige impak op die loopbaan van Suid-Afrikaanse uitvoerende kunstenaars gehad het. Kunstenaars met ‘n klassieke sangoriëntasie moet kan kies om tot aksie oor te gaan; om hulle eie geleenthede te genereer. Die hoofbevindinge en die behoefte dat veelsydige kunstenaars by verskillende genrestyle moet kan aanpas word in die teoretiese afdeling ondersoek, gevolg deur ’n bespreking van die respondentterugvoering wat vir die doel van die studie geselekteer is. Die gaping tussen die vaardighede van die kabarettis en klassieke sanger word geïdentifiseer om sodoende die moontlikheid van kabaret as teatervorm vir klassieke sangers te definieer. Nuwe kategorieë word geskep waarin idees vir die moontlike aanpassing van ontwikkeling neergelê word.
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Fitz-Gerald, Timothy A. "Cabaret Story-Telling: Building Your Act." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4808.
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This thesis adduces the benefits in teaching undergraduate theatre majors the competency to create a cabaret. It expostulates that doing so during college gives students an advantage in marketing themselves professionally. It substantiates the general lack of cohesive undergraduate training in this area. The results of a survey of casting directors, assessing the worth of implementing the study of cabaret into theatre curricula, are incorporated.
Those that responded agreed that performing cabarets can play a role in a performer’s career, even if the opinions varied as to what that specific role is. There was general agreement that the study of cabaret could benefit students in ways which potentially go beyond securing immediate employment.
I have included a sample syllabus for a course focusing on the construction, and performance of a cabaret. It is anticipated this would serve for a performance class taught during a student’s fourth year of undergraduate study.
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Vargo, Sydney. "Approaching Alzheimer's Disease through Non-Pharmacological Interventions." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1494245264098204.
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Dahlberg-Dodd, Hannah Elizabeth. "Social Meaning in Virtual Space: Sentence-final expressions in the Japanese popular mediascape." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1573476174708106.
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Amylon, Gustav, and Helena Zetterberg. "Musikens påverkan på BPSD : en litteraturstudie." Thesis, Sophiahemmet Högskola, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:shh:diva-4027.
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Kognitiv sjukdom eller demenssjukdom är ett samlingsbegrepp som innefattar flera olika kroniska sjukdomar. Gemensamt är att de påverkar hjärnan på olika sätt och leder till att personen som drabbas sviktar i olika kognitiva domäner. Nio av tio personer med kognitiv sjukdom drabbas av beteendemässiga och psykiska symtom vid demenssjukdom. Beteendemässiga och psykiska symtom vid demenssjukdom kan leda till stort lidande och kan vara svårt att hantera även för närstående och personal. Icke-farmakologiska åtgärder har högst prioritet i behandlingen av beteendemässiga och psykiska symtom vid demenssjukdom. Musikbaserade terapeutiska interventioner är en av dessa åtgärder som fått ökad uppmärksamhet. Metoden har även stöd i beprövad erfarenhet. För att kunna erbjuda en personcentrerad omvårdnad och använda sig av ett brett utbud av omvårdnadsåtgärder behöver vårdpersonal ha kännedom om dessa metoder och hur de fungerar. Syftet med studien var att undersöka effekter av musikbaserade terapeutiska interventioner på de beteendemässiga och psykiska symtom som kan uppstå vid kognitiv sjukdom. Metod var litteraturstudie med systematisk struktur. Sökningarna genomfördes i databaserna PubMed och CINAHL. Sammanlagt inkluderades 15 vetenskapliga kvantitativa artiklar som först kvalitetsgranskades för att sedan analyseras med integrerad analys. Resultatet kategoriserades i två huvudkategorier ”Effekt på beteendemässiga symtom” och ”Effekt på psykiska symtom”. Artiklarna visade störst effekt på de psykiska symtomen och då främst på depression och ångest. Resultatet visade även att musikbaserade terapeutiska interventioner kunde minska vanföreställningar, hallucinationer och apati. Viss effekt sågs också på beteendemässiga symtom som aggression och agitation. Resultatet visade att effekten i de allra flesta fall avtog efter tre till fyra veckor. Slutsats från studien var att musikbaserade terapeutiska interventioner kan ha effekt på beteendemässiga och psykiska symtom vid demenssjukdom. Effekt sågs framförallt på de psykiska symtomen vilket överensstämmer med tidigare forskning. I syfte att på bästa sätt undvika potentiellt farliga läkemedel för personer med beteendemässiga och psykiska symtom vid demenssjukdom är icke-farmakologiska metoder prioriterat enligt de svenska nationella riktlinjerna vid demenssjukdom. Genom att praktisera en personcentrerad omvårdnad och använda sig av musik i terapeutiskt syfte kan vårdpersonal påverka negativa symtom och på så sätt höja livskvaliteten för personer som upplever beteendemässiga och psykiska symtom vid demenssjukdom.Neurocognitive disorder or dementia are collective terms for several chronic diseases. What they have in common is that they affect the brain in different ways and the person being affected fails in different cognitive domains. Nine out of ten persons with dementia suffer from behavioural and psychological symptoms of dementia. Behavioural and psychologicalsymptoms of dementia can lead to great suffering and can be difficult to manage for relativesand staff. Non-pharmacological interventions have the highest priority in the treatment of behavioural and psychological symptoms of dementia. Music-based therapeutic interventions are one of these interventions that have received increased attention. The method is also supported by proven experience. To be able to offer person-centred nursing and make use of a wide range of nursing measures, care staff need to be aware of these methods and how they work. The aim of this study was to investigate the effects of music-based therapeutic interventions on the behavioural and psychological symptoms that can occur in cognitive disorder. The method was a literature review with systematic structure. The searches were performed in the databases PubMed and CINAHL. A total of 15 scientific quantitative articles were included, which were firs quality reviewed and then analysed with integrated analysis. The results were categorized into two main categories. “Effect on behavioural symptoms” and “Effect on psychological symptoms”. The articles showed greatest effect on psychological symptoms and then mainly on depression and anxiety. The results also showed that music-based therapeutic interventions could reduce delusions, hallucinations and apathy. Some effect was also seen on behavioural symptoms such as aggression and agitation. The results showed that in most cases the effect diminished after three to four weeks. The study concluded that music-based therapeutic interventions may have an effect on behavioural and psychological symptoms of dementia. The effect was seen mainly on the psychological symptoms, which is consistent with previous research. In order to best avoid potentially dangerous drugs for people with behavioural and psychological symptoms of dementia, non-pharmacological methods are prioritized according to the Swedish national guidelines for care of dementia. By practicing person-centred nursing and using music for therapeutic purposes, healthcare professionals can influence negative symptoms and thus increase the quality of life for people who experience behavioural and psychological symptoms of dementia.
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Skogsbäck, Marie, and Wickberg Sanne Messelt. "Effekten av vårdarsång hos personer med vaskulär demens och Alzheimers sjukdom : en jämförande interventionsstudie." Thesis, Högskolan Dalarna, Omvårdnad, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-34551.
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Bakgrund: Varje år insjuknar ca 24 000 personer i någon form av demenssjukdom och med det kan många besvärliga situationer uppstå pga. kommunikationsproblem relaterat till den kognitiva svikten. Med personcentrerad vård kan dessa situationer möjligen underlättas för personen med demens, de blir behandlade som en individ utifrån dennes behov. Varje individs behov är olika så därav måste varje möte utgå från personen, dennes livsberättelse. Musik är något som finns i varje människas liv och kan ha stor påverkan på bland annat humör och känsla av trygghet. I en värld där det sällan finns något sammanhang kan en sång från barndomen inge en tillfällig känsla av trygghet, sammanhang och ett mänskligt värde. Syfte: Syftet är att jämföra om vårdarsång har effekt på uttryck av motsträvighet och känslor samt om dessa effekter skiljer sig åt mellan personer som är diagnostiserade med Alzheimers sjukdom och personer med vaskulär demens under morgonrutin. Metod: Denna studie är en kvantitativ interventionsstudie och utfördes genom erhållna data från en tidigare studie av Hammar et al. (2010) där videoupptagningar utfördes under morgonrutin av tio personer med demensdiagnos, fem med Alzheimers sjukdom och fem med vaskulär demens. Deltagarna filmades under fyra morgonrutiner utan vårdarsång och fyra med vårdarasång. Videoupptagningarna bedömdes utifrån skalorna RTCS (Resistiveness to Care Scale) och OERS (Observed Emotion Rating Scale). Resultat: Resultaten visar att sång under morgonrutin höll personerna med demens lugnare och blev mer positivt inställda till omvårdnadssituationen. Hos personerna med vaskulär demens sjönk omvårdnadssituationerna där beteendet scream/yell uppvisades med 87 % under tillfällen med vårdarsång och hos personerna med Alzheimers sjukdom ökade känslan pleasure med 397 % under morgonrutinerna med vårdarsång. Slutsats: Oavsett om personen med demens hade fått diagnosen Alzheimers sjukdom eller vaskulär demens hade vårdarsång positiv effekt på motsträvighet och känslor under morgonrutinen. Effekten var dock något olika. Personer med Alzheimers sjukdom uppvisade mer positiva känslor när omvårdnadspersonalen sjöng för dem, medan personerna med vaskulär sjukdom uppvisade mindre motsträvigt beteende under morgonrutiner som inkluderar sång. Vårdarsång kan vara ett redskap för omvårdnadspersonalen att underlätta och förbättra omvårdnaden vid personer med demens.Background: Each year, about 24,000 people fall ill with some form of dementia and with that many difficult situations can arise due to communication problems related to cognitive failure. With person-centered care, these situations can possibly be easier for the person with dementia as they are treated as an individual based on their needs. Each individual's needs are different, so every care meeting must be based on the person and his or her life story. Music is something that is found in every person's life and can have a great influence on mood and sense of security, among other things. In a world where there is limited context, a childhood song can instill a temporary sense of security, connection and human value. Aim: The purpose is to compare whether music therapeutic caregiving has an effect on expressions of reluctance and feelings and whether these effects differ between people diagnosed with Alzheimer's disease and people with vascular dementia during the morning routine. Method: This study is a quantitative intervention study and was conducted by obtained data from a previous study by Hammar et al. (2010) where video recordings were performed during the morning routine of ten people with dementia diagnosis, five with Alzheimer's disease and five with vascular dementia. The participants were filmed during four morning routines without music therapeutic caregiving and four with music therapeutic caregiving. The video recordings were assessed on the basis of the RTCS (Resistiveness to Care Scale) and OERS (Observed Emotion Rating Scale) scales. Results: The results show that singing during the morning routine kept people with dementia calmer and became more positively attuned to the nursing situation. In people with vascular dementia, nursing situations decreased, with behavioral scream/yell showing 87 % during those occasions with music therapeutic caregiving and in people with Alzheimer's disease, the feeling of pleasure increased by 397 % during the morning routines with singing. Conclusion: Regardless of whether the person with dementia had been diagnosed with Alzheimer's disease or vascular dementia, music therapeutic caregiving had a positive effect on reluctance and emotions during the morning routine. However, the effect was slightly different. People with Alzheimer's disease showed more positive feelings when the nursing staff sang for them, while those with vascular disease exhibited less repugnant behavior during morning routines that included singing. Music therapeutic caregiving can be a tool for nursing staff to facilitate and improve the care of people with dementia
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Sarasúa, Berodia Álvaro. "Musical interaction based on the conductor metaphor." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/404675.
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Interface metaphors are often used in Human Computer Interaction (HCI) to exploit knowledge that users already have from other domains. A commonly used one in Digital Musical Instruments (DMIs) is the conductor metaphor. We theorize that part of the knowledge that users have from the domain that the interface metaphor replicates is user-specific. In this context, we argue that systems using an interface metaphor can see their usability improved by adapting to this user-specific knowledge. We propose strategies to design motion-sound mappings for DMIs that draw upon the conductor metaphor by adapting to personal nuances that can be automatically computed from spontaneous conducting movements. In addition to the above, we study the potential of the conductor metaphor in a gaming context as a mean to raise interest for classical music. These contributions are complemented by the data collected in all observational studies, which is made publicly available to the communityLas metáforas de interfaz se utilizan habitualmente en la interacción persona-ordenador para explotar el conocimiento que los usuarios tienen de otros dominios. Una comúnmente utilizada en instrumentos musicales digitales (DMIs) es la metáfora del director. Argumentamos que parte del conocimiento que los usuarios tienen del dominio que la metáfora replica es específico de cada usuario. En este contexto, proponemos que sistemas que hacen uso de metáforas de interfaz pueden mejorar su usabilidad adaptándose a este conocimiento específico. Implementamos estrategias para diseñar mapeos entre movimiento y sonido para DMIs basados en la metáfora del director, mediante la adaptación a matices personales que pueden ser automaticamente extraídos analizando movimientos de dirección espontáneos. Además, estudiamos el potencial de la metáfora del director en un contexto de juego, como medio para incrementar el interés por la música clásica. Estas contribuciones se complementan con los datos recopilados en los estudios observacionales, que se ponen a disposicion pública para la comunidad.
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Muriithi, Paul Mutuanyingi. "A case for memory enhancement : ethical, social, legal, and policy implications for enhancing the memory." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/a-case-for-memory-enhancement-ethical-social-legal-and-policy-implications-for-enhancing-the-memory(bf11d09d-6326-49d2-8ef3-a40340471acf).html.
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The desire to enhance and make ourselves better is not a new one and it has continued to intrigue throughout the ages. Individuals have continued to seek ways to improve and enhance their well-being for example through nutrition, physical exercise, education and so on. Crucial to this improvement of their well-being is improving their ability to remember. Hence, people interested in improving their well-being, are often interested in memory as well. The rationale being that memory is crucial to our well-being. The desire to improve one’s memory then is almost certainly as old as the desire to improve one’s well-being. Traditionally, people have used different means in an attempt to enhance their memories: for example in learning through storytelling, studying, and apprenticeship. In remembering through practices like mnemonics, repetition, singing, and drumming. In retaining, storing and consolidating memories through nutrition and stimulants like coffee to help keep awake; and by external aids like notepads and computers. In forgetting through rituals and rites. Recent scientific advances in biotechnology, nanotechnology, molecular biology, neuroscience, and information technologies, present a wide variety of technologies to enhance many different aspects of human functioning. Thus, some commentators have identified human enhancement as central and one of the most fascinating subject in bioethics in the last two decades. Within, this period, most of the commentators have addressed the Ethical, Social, Legal and Policy (ESLP) issues in human enhancements as a whole as opposed to specific enhancements. However, this is problematic and recently various commentators have found this to be deficient and called for a contextualized case-by-case analysis to human enhancements for example genetic enhancement, moral enhancement, and in my case memory enhancement (ME). The rationale being that the reasons for accepting/rejecting a particular enhancement vary depending on the enhancement itself. Given this enormous variation, moral and legal generalizations about all enhancement processes and technologies are unwise and they should instead be evaluated individually. Taking this as a point of departure, this research will focus specifically on making a case for ME and in doing so assessing the ESLP implications arising from ME. My analysis will draw on the already existing literature for and against enhancement, especially in part two of this thesis; but it will be novel in providing a much more in-depth analysis of ME. From this perspective, I will contribute to the ME debate through two reviews that address the question how we enhance the memory, and through four original papers discussed in part three of this thesis, where I examine and evaluate critically specific ESLP issues that arise with the use of ME. In the conclusion, I will amalgamate all my contribution to the ME debate and suggest the future direction for the ME debate.
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Bahrami, Sylvia Ava. "Exploring the mystical depths of Persian music: a case study." Thesis, 2012. http://hdl.handle.net/1828/4430.
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The need for multicultural counselling is on the rise while developing multicultural tools in counselling are lagging behind. This is especially apparent in the use of music for counselling purposes. There is a dearth of knowledge regarding the music repertoires of different cultures and how they might be implemented in counselling practices. The research presented here explores the depths of improvisatory Persian music from the lens of two masters of this music. Master Douglas Hensley is an American born musician who has mastered playing Persian music on various instruments. The second participant, Master Kayhan Kalhor, is a renowned Iranian musician who is best known for his improvisatory work on an authentic instrument called the Kamancheh.
Based on my interview with the participants, I have deduced that Persian music is indeed intertwined with Persian mysticism and as such it provokes self-awareness and self-control. Based on these findings I propose a conceptual framework, which provides the foundation for future lines of research regarding the use of Persian music in counselling settings.Graduate
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"Microtonal Violin Pedagogy: Mastering the Neutral Second through Persian Dastgāhhā." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57297.
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abstract: Most violinists of the Western classical tradition are untrained in the aural skills and left-hand techniques of microtonal intervals. This document surveys the nature of the problem and presents a manual for self-teaching the three-quarter tone step—the equal tempered ‘neutral second’ (N2) a quarter tone between the major and minor second intervals—through the melodic syntax of specific Persian classical music (PCM) modes. While the paper does not teach PCM performance, it does offer a method of melodic functional hearing through a new solmization system designed specifically for PCM. Additionally, the paper guides readers through the PCM repertoire by grouping modes with a shared functional usage of the N2. Combined with the pedagogical research of learning modalities and Edwin Gordon’s Music Learning Theory, these tools provide violinists with a method for achieving the aural accessibility and performance mastery of the N2. This process serves as a future model for learning unfamiliar intervals both within and without the Western classical tradition.Dissertation/Thesis
Doctoral Dissertation Music 2020
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Farshadfar, Maryam. "The practice of persian piano in Iran from 1879 to 1979." Thèse, 2017. http://hdl.handle.net/1866/19273.
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Le piano, instrument de musique occidental, détient une position historique unique dans la musique persane. La musique d’Iran est constituée à partir d’un repértoire canonique classique qui fait état de caractéristiques transmises de génération en génération, avec quelques innovations apportées au fil du temps. Lorsque des échelles musicales ont été portées sur un piano à Téhéran dans les années 1870, les membres de la cour impériale étaient le seul public témoin de l’évènement. À l’époque, Sorourolmolk, musician du palais Qajar sous le règne de Nāsseredin Shah Qajar (1848-1896), a tenté de changer l’accordage du piano et de jouer les airs traditionnels persans, inspirés par les techniques du santur et du tār. Ainsi, la pratique du piano en Iran a immédiatement été associée à la musique qui existait déjà depuis des générations. On parlera alors de “piano persan.” Plus tard, l’élite instruite de la société et les étudiants de la première école de musique militaire à Téhéran (Sho’beh-ye Music-e Dārolfonoun) ont été parmi les premiers “praticiens” du piano Persan.
Cette thèse étudie l’art du piano persan à Téhéran depuis son introduction dans les années 1880 jusqu’à la revolution de 1979.
Durant cette période, la pratique du piano persan a progressivement mûri, culminant dans les compositions et interprétations de Moshir Homāyoun-e Shahrdār (1886-1969), Mortezā Mahjoubi (1900-1965), et Javād Ma’roufi (1915-1993). Mahjoubi est considéré comme le plus eminent compositeur et interprète qui a instauré le piano traditionnel persan (Piano-ye Sonnati) comme une forme d’art distinctive. Les éléments les plus remarquables du piano persan traditionnel, les techniques de jeu, et les systèmes de réglage en microtones, de même que les innovations apportées à la pratique canonique par Ma’roufi, constituent les axes principaux de cette recherche.
En outre, avec l’essor de la musique classique occidentale, la pratique du piano persan qui était presque entièrement fondée sur des techniques instrumentales ainsi que sur des formules et mélodies persanes autochtones n’a pas été maintenue au sein du Téhéran du XXe siècle. Le piano classique occidental coexista alors avec le style persan.
Ce mémoire s’attache donc à étudier la place du piano classique occidental dans la société persane en présentant les contributeurs majeures en ce demaine, ce qui comprend aussi le style de Emanuel Melik-Aslāniān (1915- 2003). Cette recherche met aussi un accent particulier sur les claviéristes femmes, leur enseignement, leur style de jeu et leur performances publiques de la période de Qajar à celle de Pahlavi.
Aujourd’hui, on constate de plus en plus de tentatives prometteuses pour revitalizer l’art du piano persan. Cela est particulièrement vrai pour le style de Mahjoubi dont l’héritage remarquable marque l’histoire d’évolution de la pratique du piano persan. Actuellement, la meilleure élève de Mahjoubi, Madame Fakhri Malekpour, enseigne le style traditionnel du piano persan en cours privés à Téhéran. L’effort fait pour éveiller l’interêt et former une nouvelle génération de pianistes pourrait faire en sorte qu’à l’avenir, cette forme unique d’art de piano sera plus connue et advantage pratiquée aux côtés des autres styles pianistiques.Piano, a western musical instrument has a unique historical position in Persian music. Iran has its own music as part of its culture, a classical canon with an enduring repertoire and characteristic techniques handed down from generation to generation with some improvements made along the way. When the first keys were played on a piano in Tehran in the 1870s, the members of the imperial court were the exclusive audience. At the time, Sorourolmolk, the master musician of the Qajar palace during the reign of Nāsseredin Shah Qajar (1848-1896), attempted to change the tuning of piano and play traditional Persian tunes in a way inspired by santur and tār techniques. Thus, the practice of piano in Iran was immediately associated with the music that had already existed for generations. This would eventually become known as “Persian piano.” Later, the educated elite of the society, and students of the first military music school in Tehran (Sho’beh-ye Music-e Dārolfonoun) were among the first practitioners of Persian piano. This dissertation studies the art of Persian piano in Tehran from its introduction in 1880s until the Revolution of 1979. During this period, Persian piano practice gradually matured, culminating in the compositions and performances of Moshir Homāyoun-e Shahrdār (1886-1969), Mortezā Mahjoubi (1900-1965), and Javād Ma’roufi (1915-1993). Of this group, Mahjoubi is considered the most prominent composer and performer, and is the one credited with establishing Persian piano as a distinctive art form. This study looks at his work, and also focuses a spotlight on Ma’roufi’s style and contributions to Persian piano. With regard to the most notable elements in traditional Persian piano, the dissertation offers a thorough analysis of the techniques and tuning systems linked to the Persian microtone, and explores innovations in the canonic practice of traditional Persian piano. With the rapid expansion of western classical music in Iran in the twentieth century, the practice of Persian piano based almost entirely on indigenous Persian instrumental techniques, forms, and melodies, no longer held an exclusive place in piano performance. Accordingly the dissertation moves on to the practice of piano in Iran in the twentieth century and finds that Western classical piano co-existed with the Persian style. The study delves into the establishment of the western classical piano in Persian society and presents the major contributors in this field including Emanuel Melik-Aslāniān (1915- 2003). The dissertation places particular emphasis on female keyboard players, their musical education, style of play, and public performances from the Qajar period through the Pahlavi era. Today, promising attempts to revitalize the art of Persian piano are on the rise. This is especially true for Mahjoubi’s style whose outstanding legacy marks a milestone in the evolution of Persian piano practice. Presently, Mahjoubi’s best student, Fakhri Malekpour, is teaching the traditional style of Persian piano in private lessons in Tehran. The effort to awaken interest, and to train a new generation of practitioners just might mean that this unique form of piano art will become more well known and practiced alongside other pianistic trends on into the future.
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Tavakol, Showan. "Exploration, en composition musicale, des rencontres entre musiques de l’Occident et du Moyen-Orient, particulièrement d’Iran." Thèse, 2017. http://hdl.handle.net/1866/20807.
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Chen, Yu-Wen, and 陳鈺雯. "Interactive music instrument design based on persona." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/69169784137274759615.
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碩士國立成功大學
工業設計學系碩博士班
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Children are the future of nations. Every parent wants their kids to have the best education possible, especially during the initiative stage of their pre-school children. In this initiative stage, kids will develop their creativity and confidence through sufficient education. Through observation on existing music instruments, it is discovered that there are no music instruments specialized for young kids and most of them would cause danger and injuries for the kids. Playing instruments require accurate techniques and long-time training of musical theory. According to this, kids would psychologically suffer from lacking of creativity and confidence when learning to play instruments. From reasons above, a kind of rudimentary instruments kids is necessary for young kids when they begin to learn to play music. Persona lifecycle method was conducted in this research. Observation of the body movement, preference, and emotion of kids was applied. Interviews with teachers in kindergarten and parents with kids were also conducted. Data collected through these observations and interviews were implemented to design a rudimentary instrument. The objective of this new instrument is to attract kids by intuitive operation and develop the ability for kids to try music by themselves. The result is a playing instrument with multi-modality responses and interactions. The playing instrument combines toys and musical instruments and eliminates the shape of musical instruments. Kids can use their limbs rather than fingers to play the instrument. With this new instrument, kids would enjoy more variety and richer responses than ordinary instruments. Therefore, more visual and auditory stimuli enhance the creativity and imagination of the kids. The new instrument was applying in a field test in the research. Through observation, directions of refinement are figured out. For examples, the future designers of the rudimentary instrument need to consider the desire of possession the attractiveness of the new instrument, and the mistake-averseness of kids. Also, tutors in the kindergarten will also affect the willing of exploration of kids.
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Rider, Lori Seitz Seaton Douglass Debussy Claude Debussy Claude. ""Lyrical movements of the soul" Poetry and persona in the Cinq poemes de Baudelaire and Ariettes oubliees of Claude Debussy /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-10092003-183424/.
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Thesis (Ph. D.)--Florida State University, 2003.Advisor: Douglass Seaton, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-21-03) Document formatted into pages; contains 381 pages. Includes biographical sketch. Includes bibliographic references.
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Smith, Hope Munro 1963. "Gender misbehaving : women in Trinidadian popular music." Thesis, 2001. http://hdl.handle.net/2152/29848.
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This study examines how gender influences the performance practice of calypso, soca, steel band music, and other related musical genres in contemporary Trinidad. I address the history of these musical genres in this nation, and how they developed into their present form. My study of women in contemporary Trinidadian music examines how popular musicians bring together personal opinion, public persona, and musical structure, to create commentaries upon the contemporary moment (instrumental political agency) as well as emotional bonds with their intended audiences and show that an alternate way of organizing gender representations and inter-gender relations is possible (constitutive political agency). I use a performance based approach to studying various aspects of musical practice within Trinidad, and how this enhances women's agency within the public sphere of popular music, creating new kinds of cultural capital for previously underrepresented members of the population. Many different aspects of Trinidad’s expressive culture are discussed and related to the musical genres discussed therein. Trinidad Carnival, its history and aesthetics, receives particular attention. Performance practice within the musical genres of calypso and soca and the music of the steel orchestra are discussed in detail. Within Trinidad, expressive culture, including popular music, is a strong forum for communicating possible inter-personal and inter-gender relations. Thus, music in the Trinidadian context takes an important place alongside larger political projects and concerns.text
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Brunelle, Carolyn E. "“A Girl Called Dusty With the Sound of Motown:” Dusty Springfield, Mimesis, and the Genealogy of a Persona." 2013. http://hdl.handle.net/10222/36296.
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Though British singer Dusty Springfield had a very prominent and successful career, she is often left out of the history books. Her North American legacy has been reduced to her album Dusty in Memphis, an inaccurate and incomplete representation of Dusty Springfield’s career. Many aspects of her career are largely ignored, for scholars put her sexuality, her ability to “sound black,” and the influence of black musicians at the forefront of Dusty Springfield scholarship. The purpose of this project is to highlight influential musicians, experiences, and talents which have been left out of Dusty Springfield studies. This thesis focuses on Dusty Springfield’s performance experiences, her songwriting abilities, her audience/performer dichotomy, and various people and styles that have influenced her persona. By examining the artists and experiences that influenced her career, this thesis explores the ways in which persona is constructed and how it functions in the pop music industry.
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Makovská, Jitka. "Hudební historie a současnost Bystřice nad Pernštejnem." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-352942.
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Diploma thesis named The Music History of Bystřice nad Pernštejnem deals with the music history of the town up to the present. Diploma work is focused on famous persons of music of the town (Josef Kšica, Josef Vašica, Miloslav Ištvan) and activities of instrumental and vocal music ensembles. A practical part examines a relantionschip of present- day children with music and knowledge of contemporary the music ensembles of town. A practical part is solved by questionnaire. KEYWORDS history present a music ensembles a person of music culture Bystřice nad Pernštejnem
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Recly, Mathilde. "La technique vocale de Michael Jackson : polyvocalité, théâtralité et virtuosité." Thèse, 2018. http://hdl.handle.net/1866/21875.
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