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Kirk, Ned Charles. "Grażyna Bacewicz and social realism /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11372.
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Viñao, Alejandro. "Magic realism in music : four electroacoustic compositions." Thesis, City University London, 1987. http://openaccess.city.ac.uk/8344/.
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The subject of this thesis is not the text contained in this book, but the four electroacoustic compositions presented: Go, Hendrix Haze, Triple Concerto and Toccata del Mago. The purpose of this writing is to put forward a context in which these four compositions may be assessed. In chapter 1, I choose to present my work taking a lateral approach. Rather than discuss my background as a composer and the reasons or 'necessity' for using the electroacoustic medium to express my musical thinking, I have instead introduced a new idea to provide a wider context: Magic Realism in music. I have developed the notion that there is a musical equivalent to Magic Realism in literature, and that my work, as well as the work of other Latin American composers, may be seen in this light. Also in this chapter, I put forward the idea that the electroacoustic medium may be the natural environment or 'habitat', as it were, for the Magic Realist composer to develop. Chapters 2 to 5 present a specific framework, that is, the aesthetic point of VIew and the technical means involved in the creation of each piece. In these chapters, the compositional process is presented, from the first, often abstract ideas that trigger the imagination of a composer, to the decision taken during the final production stage in the studio. It is hoped that this specific framework will convey the necessary Information required for a preliminary assessment of the music presented, in terms of the composer's aims and the results obtained. Yet, a piece of music can be a far more complex and richer phenomenon than the composer's aims and intentions, and it must be ultimately assessed in its own terms.
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Borgatti, Sarah. "Composing madness| Realism in "Peter Grimes"." Thesis, Tufts University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558521.
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The premiere of Benjamin Britten's opera Peter Grimes on June 7, 1945, at Sadler's Wells Theatre, reverberated throughout London and quickly spread beyond the city to permanently impact postwar audiences. The success of the opera was chiefly due to Britten's ability to fine–tune a specific kind of realism in portraying Grimes's descent into madness. This thesis examines the way in which Britten tackles the difficult task of composing an opera centered on a “sadistic fisherman.” After a reading of the Act III mad scene, it describes how the character of Peter Grimes was shaped both dramaturgically and visually through a highly collaborative process. Finally, a short review of the opera's early reception confirms that its impact on contemporary audiences cannot be reduced to mere empathy for the eponymous anti–hero and his psychic demise. The complex dialectics of realistic premises and operatic conventions endowed the work with the potential to create a safe space in which to consider the recent horrors and utter devastation of World War II. More generally, this thesis proposes that by offering these distinct spaces for introspection, opera has the significant potential not only to teach us about our own past, but also to shape our ability to act in the future.
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Titus, Joan Marie. "Modernism, socialist realism, and identity in the early film music of Dmitry Shostakovich, 1929-1932." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164752307.
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Johnson, D. M. "Towards weird realism in music : an investigation into composing with improvisation and found objects." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37040/.
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This dissertation considers the implications of using recordings of free improvisations on world music instruments and other instruments as source material for fixed media musical compositions. Generating material in this way demanded the formulation of new working methods which inevitably impacted on the character and style of the work produced. A methodology was evolved based on aspects of the performance practice of free-jazz improvisation. The individual style of free-jazz improvisation was a major part of the syntax of the created music. This further enabled novelty in that an improvised based -style replaces the conventional Western reliance on notation and its associated compositional techniques. Rather, sound is generated spontaneously and guided only by aural monitoring of it. A fascination with the sounds of world instruments led to an exploration of the sounds of those instruments in new contexts. Instruments, both world and western classical, became treated as found objects or utilised in ‘studies in ignorance’ in the manner of Sun Ra.1 The improvised material was then manipulated using computer software and structured into fixed-media works. Gesture, texture and timbre dominate these structures rather than preconceived themes or harmonic schemes. Most of the music presented with the thesis is text based or inspired by text; this provides further structural underpinning. I wished to explore the relationship between the Weird Realist aesthetic as posited by Graham Harman in the works of H.P. Lovecraft and an analogous musical response. The separation of quality from object in Lovecraft chimed with experiences of sensory distortion when under shamanic trance and this resulted in Shamanic Incantation No. 5, the only non-text based work. A fascination with fantasy in general led to the composition of an opera in Klingon in which the text and music combine to present a series of tableaux that hint at aspects of sacred violence and the breakdown of shared values in times of war. As if to underline this point, Grodek No.4 presents a collage of disturbing materials drawn from stride jazz piano, free improvisation and expressionist sprechgesang; all of which combine in a new context to illuminate Georg Trakl’s poem on the horrors of violence. As a result of these compositional procedures a cogent sound world using improvisation and electronics was created. The influence of Weird Realism and the use of world instruments stimulated ideas about how musical material can be distorted and re-contextualised. The combination of improvisatory and ‘composed’ elements was fruitful and shows a way of working with two different types of intuition, one in real time, the other not. This suggests possibilities for further exploring the combining of different experiential modes in creative work. 1 A key recording in this respect is Sun Ra, Strange Strings, El Saturn 502, 1966, explored later in the thesis.
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Haldey, Olga. "Savva mamontov and the Moscow private opera : from realism to modernism on the Russian operatic stage /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486457871783319.
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Benbalit, Tatiana I. "The shaping of Modest Moussorgsky's musical language : an assimilation of social, artistic and folk influences /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11252.
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Walls, Jacob. "Is There a Way to Invoke the Music Itself Without Embarrassing Ourselves?" Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18384.
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The interpretation of analytical claims about music presents a dilemma between positivism and fictionalism: is it that the structures imputed by the analysis are part of the reality of "the music itself" or are the structures merely a shorthand? Although there is growing agreement that we lack direct epistemological access to the music itself, the dilemma does not disappear, in large part because we feel an ethical obligation to respect the music. We intend to "get it right" by hearing how we believe the music itself demands to be heard. This thesis adapts Simon Blackburn's quasi-realist program in meta-ethics to the ontological interpretation of music analysis. Quasi-realism allows scholars to hold that although analytical choices boil down to values, this does not prevent the expression of realist-sounding ontological claims implied by their work. The analogy with quasi-realism provides an additional motivation for further work in the ethics of music analysis.2016-09-29
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Guthridge, Lauren Alescandra. "The Symphonies of Dmitri Shostakovich: A Discussion on How Socialist Realism Impacted the Composer and His Music." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/243961.
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In the following discussion, the First and Fourth Symphonies of Dmitri Shostakovich will be analyzed with special focus on musical traits as they relate to Socialist Realism. Based respectively on the political climate in Soviet Russia during the 1920s and 1930s, the First and Fourth Symphonies have very different musical styles. Shostakovich’s compositional progression was impacted by the policies of Socialist Realism at the time he wrote his Fourth Symphony. In order to protect his integrity as a composer, Shostakovich’s Fourth Symphony was premiered 25 years after its completion, proving the immense influence of Stalin and the Communist ideals of Socialist Realism on his musical style.
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Utter, Hans Fredrick. "Networks of Music and History: Vilayat Khan and the Emerging Sitar." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308392450.
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Camargo, Luciano de Freitas. "O discurso sinfônico de Chostakovitch - estudo analítico das sinfonias n. 4 e 5." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-06032013-162237/.
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Este trabalho apresenta um estudo comparativo das Sinfonias n° 4 e 5 de Dmitri Chostakovitch, analisando as características das duas obras à luz dos acontecimentos que separam a composição das duas sinfonias, em especial o banimento da obra do compositor a partir da publicação do artigo Caos em vez de música em caráter oficial no jornal Pravda em 1936, motivado pelo comparecimento de Stálin à uma apresentação da ópera Lady Macbeth do Distrito de Mtsensk. Este trabalho propõe-se a realizar uma análise que possa evidenciar os diferentes aspectos do impacto da perseguição governamental no discurso musical de Chostakovitch e sua significação para a música do século XX.This work presents a comparative study of the Symphonies No. 4 and 5 of Dmitri Shostakovich, analyzing the characteristics of the two works in connection with the events that separated the composition of the two symphonies, especially the ban of his works after the publication of the article Chaos instead music in the official media Pravda in 1936, motivated by the presence of Stalin to a performance of the opera Lady Macbeth of the Mtsensk District. This work intends to show the various aspects of the impact of government persecution in the musical discourse of Shostakovich and its significance to the music of the twentieth century.
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Kvarnhall, Victor. "Pojkars musik, reproduktionens tystnad : en explanatorisk studie av pojkars reproducerande förhållningssätt till populärmusik och populärmusicerande." Doctoral thesis, Örebro universitet, Musikhögskolan, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-44687.
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Popular music life is permeated by both male dominance and gender segregation – the latter most notably concerns musical instrument choice. The pervasiveness of these phenomena is suggested by both music research on gender and statistics. In this study, the overarching ambition is to explain boys' reproductive approaches to popular music/making. In order to successfully carry out a study with such an explanatory ambition, a theory of causality in social life is necessary. In this thesis the notion of causality is taken from a critical realist tradition. However, explanation and causal analysis is most often rejected among music researchers who deal with questions of gender. Nonetheless, I would argue that explanatory ambitions are tacit starting points in this kind of research, and the field would stand to gain from making them explicit. Therefore I have formulated two aims, which my study addresses. The first one is to explain boys' reproductive approaches to popular music/making, in regard to male dominance and gender segregation. The second one is more theoretically oriented: to apply critical realism within music research on gender. The aims has been fulfilled by, first, identifying the boys' adoption of and distancing from different approaches to popular music/musicians and musical instruments. Second, the boys' approaches are explained by reconstructing the social, cultural and psychological conditions that has enabled them. Altogether, this demonstrates why and how the boys' reproductive approaches arise, which (potentially) lead to a reproduction of the male dominance and gender segregation within the popular music field.
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Kneppe, Julia. "Das kompositorische Schaffen von Manfred Weiss im Spannungsfeld von Tradition und Avantgarde, von Sozialistischem Realismus und christlicher Identität." Master's thesis, Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-159599.
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Christlich orientierte Künstler sahen sich in der DDR angesichts eines staatlich propagierten Atheismus vor einen konfliktreichen Balanceakt gestellt. Bekennende Christen und Mitglieder einer Kirchengemeinde galten bereits durch ihre weltanschauliche Haltung wie natürlich zur Opposition. Trotz Repressalien und Zugeständnissen zum Staat blieben die Kirchen jedoch weiterhin eigenständige gesellschaftliche Akteure. Sie stellten mithin eine relativ geschützte Nische im System dar.
Wie wirkte sich dieses Spannungsverhältnis auf das musikalische Schaffen von Komponisten mit christlicher Identität aus? Inwieweit war es diesen Komponisten im Rahmen avantgardistischer Musik möglich sich weltanschaulich positionierend bemerkbar zu machen, ohne Aufführungs-, Druckverbote und gravierende berufliche Benachteiligungen auf sich zu ziehen? Lässt sich ein bekenntnishafter Ausdruck heutzutage überhaupt noch als „absolutes“, musikalisches Bezugssystem nachweisen? Oder gründete sich das Verständnis dieser Musik vielmehr ausschließlich auf einem damaligen Konsens zwischen Komponist und Publikum?
Diesen Fragen möchte die folgende Darstellung auf den Grund gehen. In ihrem Mittelpunkt steht das Schaffen des Komponisten Manfred Weiss (*1935), der seit 1959 als Lehrer für Tonsatz und Gehörbildung, später als Dozent und Professor für Komposition und Tonsatz an der Hochschule für Musik „Carl Maria von Weber“ in Dresden wirkte. Nach der Wende gestaltete er die Neuausrichtung dieser Institution als Prorektor entscheidend mit.
Weiss komponierte bis zum Mauerfall vorwiegend Instrumentalwerke. Als bekennender Christ und Mitglied der Herrnhuter Brüdergemeine wollte er nicht für die Schublade komponieren. Ihm war es ein Anliegen Musik für große Säle zu schreiben, um möglichst viele Menschen mit seiner Musik zu erreichen.
Ziel der Betrachtung ist es, anhand drei seiner Werke exemplarisch das daraus resultierende Spannungsfeld nachzuzeichnen. Bei den in dieser Arbeit thematisierten Stücken handelt es sich um die Musik für zwölf Blechbläser und Pauken, die Sinfonische Fantasie und das Konzert für Orgel, Streichorchester und Schlagzeug, welche zwischen 1972 und 1976 komponiert worden sind: in einer politischen Phase also, die selbst ein Spannungsfeld aus Liberalisierungstendenzen und Restaurationsbestrebungen darstellt. Die drei Werke sind unmittelbar bezogen aufeinander entstanden. Darüber hinaus ist vor allem das Orgelkonzert ein Schlüsselwerk des Komponisten, für welches er 1977 den Hanns-Eisler-Preis des Rundfunks der DDR und den Martin-Andersen-Nexö-Kunstpreis der Stadt Dresden erhielt.
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Camargo, Luciano de Freitas. "Chostakóvitch - discurso e ação. Análise e interpretação da sinfonia nº10 Op. 93." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-31052017-105300/.
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Este trabalho apresenta uma reflexão sobre a música do compositor soviético Dmítri Chostakóvitch baseada na análise da Sinfonia nº 10 op. 93. Concluída logo após a morte de Jôsef Stálin, a obra carrega notáveis marcas de seu tempo e sua leitura demanda um cuidadoso estudo das questões relativas à significação musical, em especial uma discussão do conceito de ironia aplicado à música em suas mais diversas manifestações, desde a construção de estruturas musicais expressivas até a disposição de elementos singulares, que requerem uma leitura semiótica. Esta abordagem alinha-se com a perspectiva discursiva que relaciona ironia, intertextualidade e interdiscursividade: o cruzamento de vozes e a confluência de discursos, que constituem elementos fundamentais do conceito de polifonia proposto por Mikhaíl Bakhtín, são identificados aqui como uma chave de leitura capaz de evidenciar, também na música, a ironia como elemento estruturante. A análise da Sinfonia nº 10 a partir dessa perspectiva dá fundamento a novas hipóteses interpretativas e estéticas sobre a obra de Chostakóvitch, evidenciando no texto musical as contradições que surgem no desdobramento analítico do discurso sinfônico e confrontando a crítica histórica da música de Chostakóvitch com uma interpretação semiótica baseada na teoria dos tópicos musicais, desenvolvida a partir das propostas de Leonard Ratner.The purpose of this work is to present a reflection about the music of the Soviet composer Dmitri Shostakovich based on an analysis of the Symphony no. 10 op. 93. Written immediately after Joseph Stalin\'s death, the symphony carries remarkable traces of its time, and the unfolding of its singularities demands a careful study of musical signification\'s issues, specially a discussion about the concept of irony applied to music in its various manifestations, from the expressive construction of musical structures to the disposition of singular elements. This kind of analysis requires a wide theoretical perspective, which includes a semiotic approach. This analysis is thus aligned with the discursive perspective that relates irony, intertextuality and interdiscursivity: the voice-crossing and discourse confluence, which constitute fundamental elements of Mikhail Bakhtin\'s concept of polyphony, are taken as keys to identify irony as a structural element in music as well. The analysis of the Symphony no. 10 from this perspective grounds new interpretative and aesthetic hypotheses about Shostakovich\'s music, by revealing on the musical text the contradictions which emerge at the level of symphonic discourse, and by confronting the historical criticism of Shostakovich\'s music with a semiotic interpretation based on topic theory proposed after Leonard Ratner.
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Bruce, Amanda P. "Constructed and Manifest Truths in Music for Andrzej Wajda's Man of... Film Trilogy." Youngstown State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ysu15280135787607.
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Quinque, Christian. "Musik für eine humanistischere Gesellschaft." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-134999.
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Günter Kochan (1930-2009) war einer der erfolgreichsten und bekanntesten Komponisten der DDR. Er hinterließ über 200 Werke, darunter zahlreiche bedeutende sinfonische Arbeiten, die jedoch nach der Wende größtenteils in Vergessenheit gerieten. Kochan galt als staatsnaher Komponist und wurde dementsprechend nach 1990 an den Rand gedrängt, seine Musik wurde nun vor allem nach ihrem politischen Inhalt hinterfragt und geriet aufgrund ausbleibender Aufführungen und Neuveröffentlichungen alsbald in Vergessenheit.
Die Arbeit behandelt das Spannungsfeld zwischen auferlegten kulturpolitischen Regeln und individuellem künstlerischen Entfaltungsstreben vor dem Hintergrund der offiziellen Leitlinie des "sozialistischen Realismus" in der DDR. Sie beleuchtet dieses exemplarisch anhand der Biographie und des Schaffens von Günter Kochan. Nach einer allgemeinen Darstellung der DDR-Kulturpolitik von 1949-1990, einer Kurzbiographie und einem Überblick über Kochans Gesamtschaffen konzentriert sich die Arbeit auf die Analyse und den Vergleich der 2. und 6. Sinfonie (entstanden 1969 und 2006), die als Beispiele für Kochans musikalische Hauptdomäne herangezogen werden und an denen typische Merkmale seiner Musik im mittleren und im greiften Stil vergleichend herausgearbeitet werden.
Die Arbeit baut auf mehreren Interviews mit Vertrauten Kochans auf und nutzt zudem bisher wenig bis gar nicht beachtete Quellen sowie bisher unveröffentlichte Werke Kochans. Sie ist die erste Gesamtdarstellung zu Leben und Werk des Komponisten und enthält zudem das erste vollständige, systematisch und chronologisch geordnete Werkverzeichnis der Kompositionen Günter Kochans sowie eine Übersicht der derzeit verfügbaren Tondokumente.
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Kumamoto, Yuki. "Soviet Music as Bricolage: The Case of the Piano Works of Nikolai Rakov (1908-1990)." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703341/.
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Much socialist realism art from Soviet-era Russia has been misunderstood by scholars. It has been considered "synthetic art," which ordinary citizens were forced to admire under the Soviet regime. It also has been interpreted as peasant kitsch art because of its seemingly unacademic and unchallenging theoretical language utilized in order to meet the expectations of Soviet communism. This ideology conditioned artists to make art accessible and nationalistic to serve the perceived needs of the Russian proletariat. Nikolai Rakov (1908-1990), a Soviet-era composer, is also all too often received as a second-class socialist realistic composer. There are, however, other approaches to understanding art created in Soviet Union. Within music scholarship, alternative perspectives on Soviet art remain largely unexplored. It is in that spirit that I turn to Rakov, whose works carry his artistic idea of irresistible beauty, elegance, irony and charm. They evoke colorful images and feelings that draw the audience into Rakov's own compositional world despite his reputation of technical simplicity and uninventive language at a glance. In this dissertation, I therefore turn my attention to the aesthetic side of Rakov's music in order to reevaluate his works. In order to achieve this, I develop and utilize a hermeneutical approach grounded in Claude Lévi-Strauss's The Savage Mind to examine and gauge Rakov's musical aesthetics. I closely evaluate two characteristics of Rakov's music through Lévi-Strauss' ideology of bricolage: 1) miniature structure and 2) contingent chords. This dissertation examines three of Rakov's piano works: Variations in B minor, Concert Etudes, and Four Preludes.
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Richards, James. "Sugar Skulls." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/english_diss/8.
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This dissertation is a collection of four long short stories about contemporary Americans written in the mode of psychological realism. “Bare Knuckles” depicts the struggles of a young man trying to “make it” in the world of illegal boxing. “ZOSO” focuses on the breakdown of an upper-middleclass family forced to move from the rustbelt to the “New South.” In “Dusted,” a man ill-equipped to navigate through the adult world turns to substance abuse and violence as a “way out.” “Sugar Skulls” explores the fascination with death in the punk rock world.
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Ljungdahl, Petter. "Taktilitet i Virtual Reality, vän eller fiende? : En kvalitativ studie om sambandet mellan visuella stimuli och taktila stimuli i Virtual Reality." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29776.
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I denna studie undersöks sambandet mellan visuella och taktila stimuli i Virtual Reality med avstamp i frågeställningarna: Hur stor roll spelar sambandet mellan visuella stimuli och taktila stimuli i en Virtual Reality-installation? Hur förändras deltagarens inlevelsekänsla när detta samband ändras? Hur förändras deltagarens rumsuppfattning när detta samband ändras? För att besvara frågeställningarna skapades två olika versioner av en interaktiv VR-installation utefter metoden forskning genom design. En av versionerna hade korrekt samband mellan visuella stimuli och taktila stimuli, det vill säga att deltagaren fysiskt kunde röra vid det denne såg med hjälp av fysiska objekt som var placerade i samma rum som installationen upplevdes i. Den andra versionen hade felaktigt samband mellan visuella stimuli och taktila stimuli, vilket innebar att de fysiska objekten hade flyttats en aning i Virtual Reality-installationen så att de ej speglade objekten i verkligheten. Det vill säga att informationen deltagaren avläste vid beröring ej stämde överens med informationen deltagaren avläste med synen. Därefter fick fyra deltagare testa dessa installationer och svara på frågor i en öppen intervjuform. Resultatet kopplades tydligt till Csíkszentmihályis flow-teori; när sambandet mellan dessa stimuli ej var korrekt så förändrades deltagarnas rumsuppfattning vilket bidrog till att de kände en lägre inlevelsekänsla. Möjligheten att kunna vidröra de fysiska objekten i sig ansågs dock som mer inlevelserikt än ifall möjligheten ej funnits där. Det ses även som styrkan med denna studie; att resultatet tydligt speglade de valda teorierna. Svagheten med studien var att resultatet enbart grundas på data från intervjuer med fyra deltagare, då flera ej hanns med inom tidsramen för studien.
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Capleton, Brian. "Music in reality : the relation of music, emotion and pre-Socratic myth." Thesis, University of Plymouth, 2001. http://hdl.handle.net/10026.1/2241.
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This thesis is in two sections. The first critically examines the tradition of harmonia mundi. The earliest complete and developed account of musica mundana appears in Plato, but numerous fragmented references appear in the pre-Socratic sources. The notion that harmonia mundi originated as an idea of quantitative speeds and distances of the celestial bodies, is discredited. Rather, it is shown that it more probably originates as an expression of an 'esoteric spiritual' teaching in which self-knowledge, death, the concept of harmonia, and consequently music, are related. The idea that the greatest importance of music rests on the relationship of music and emotion, is undermined in this context, and the relationship of music, emotion and experience is examined in a way that supports much of what was asserted by Hanslick in the nineteenth century. The interpretation of ancient sources is critically assessed in terms of common 'hermeneutic filters' which are shown to be inconsistent with the content and hence context of some of the sources. It is also argued that Plato should be approached not merely through the assessment of the arguments that appear in his discourses, but in the light of his portrayal of the life and death of Socrates. The discourses are treated as inexact, exoteric expressions of esoteric meaning, much of which can be gleaned from the 'symbol' and example of Socrates' own life and death. The second section presents an original music philosophy that is an entirely contemporary exposition of the essential meaning of the harmony of the spheres tradition, as interpreted in the first section. In this contemporary exposition, some of the ideas that appear in Plato concerning the relationship of soul, world and harmonia, are re-expressed in terms of self, world, and an original contemporary 'parable' for harmonia. The background to the ancient tradition, of the macrocosm-microcosm relationship, is brought into contemporary terms, drawing critically on some ideas of the quantum physicist David Bohm, and questions raised by quantum theory in general. Finally, the nature of the macrocosm-microcosm is related to parts of Wittgenstein 's Tractatus logico-philosophicus.
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Rajatanavin, Tanaporn. "The Emergence of the Subconscious in Erik Satie's "Parade": The Search for Surrealism in Sound." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707230/.
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This thesis investigates possible connections between the music of Erik Satie (1866-1925) and the later surrealist movement, turning to Parade (1917) in a case study that seeks to understand surrealism in music through the idea of self-exploration, a well-established interpretive approach in studies of surrealism in the visual arts. This thesis seeks to redefine surrealism in music not as a set of concrete musical characteristics, but as a collection of techniques meant to evoke subconscious turbulence by blurring the boundary between the "outside" and "inside," between conscious and subconscious, leading to a new discovery of higher or deeper truth. Satie's music aligns with the psychoanalytic elements of the discourse on surrealism. Psychoanalysis, pioneered by Sigmund Freud (1856-1939) and his followers in the 1890s in Vienna, permeated France around the time of the creation of the work. It inspired early surrealist techniques like automatism, illusory formal structures, collage, and stylistic allusion. This thesis demonstrates that such techniques can be discerned throughout Parade, not only in Satie's music, but also in its scenario, staging, costumes, and choreography. As such, Parade was a foundational work for the surrealist movement, with Satie's music contributing with the other media equally to the emotional and psychological impact of the ballet.
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Rhoades, Michael Jewell. "Composing Holochoric Visual Music: Interdisciplinary Matrices." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/102159.
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With a lineage originating in the days of silent films, visual music, in its current incarnation, is a relatively recent phenomenon when compared to an historically broad field of creative expression. Today it is a time-based audio/visual territory explored and mined by a handful of visual and musical artists. However, an extensive examination of the literature indicates that few of these composers have delved into the associable areas of merging virtual holography and holophony toward visual music composition. It is posited here that such an approach is extremely rich with novel expressive potential and simultaneously with numerous novel challenges. The goal of this study is, through praxis, to instantiate and document an initial exploration into the implementation of holochory toward the creation of visual music compositions.
Obviously, engaging holochoric visual music as a means of artistic expression requires an interdisciplinary pipeline. Certainly, this is demonstrated in merging music and visual art into a cohesive form, which is the basis of visual music composition. However, in this study is revealed another form of interdisciplinarity. A major challenge resides with the development of the means to efficiently render the high-resolution stereoscopic images intrinsic to the animation of virtual holograms. Though rendering is a challenge consistent with creating digital animations in general, here the challenge is further exacerbated by the extensive use of multiple reflections and refractions to create complexity from relatively simple geometric objects. This reveals that, with the level of computational technology currently available, the implementation of high-performance computing is the optimal approach.
Unifying such diverse areas as music, visual art, and computer science toward a common artistic medium necessitates a methodological approach in which the interdependency between each facet is recognized and engaged. Ultimately, a quadrilateral reciprocative feedback loop, involving the composer's sensibilities in addition to each of the other facets of the compositional process, must be realized in order to facilitate a cohesive methodology leading toward viability.
This dissertation provides documentation of methodologies and ideologies undertaken in an initial foray into creating holochoric visual music compositions. Interlaced matrices of contextualization are intended to disseminate the processes involved in deference to composers who will inevitably follow in the wake of this research. Accomplishing such a goal is a quintessential aspect of practice-based research, through which new knowledge is gained during the act of creating. Rather than formulating theoretical perspectives, it is through the praxis of composing holochoric visual music that the constantly arising challenges are recognized, analyzed, and subsequently addressed and resolved in order to ensure progression in the compositional process. Though measuring the success of the resultant compositions is indeed a subjective endeavor, as is the case with all art, the means by which they are achieved is not. The development of such pipelines and processes, and their implementation in practice, are the basic building blocks of further exploration, discovery, and artistic expression. This is the impetus for this document and for my constantly evolving and progressing trajectory as a scholar, artist, composer, and computer scientist.Doctor of Philosophy
In this paper the author explores the idea that, owing to their shared three-dimensional nature, holophons and holograms are well suited as mediums for visual music composition. This union is ripe with creative opportunity and fraught with challenges in the areas of aesthetics and technical implementation. Squarely situated upon the bleeding edge of phenomenological research and creative practice, this novel medium is nonetheless within reach. Here, one methodological pipeline is delineated that employs the convergence of holography, holophony, and super-computing toward the creation of visual music compositions intended for head mounted displays or large scale 3D/360 projection screens and high-density loudspeaker arrays.
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Martinez, Isabel. "The cognitive reality of prolongational structures in tonal music." Thesis, University of Roehampton, 2007. https://pure.roehampton.ac.uk/portal/en/studentthesis/the-cognitive-reality-of-prolongational-structures-in-tonal-music(f2243f60-a91a-4a18-9839-3d46c20b0267).html.
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This thesis investigates the psychological implications of prolongation, a structural phenomenon of tonal music, which is described in the musicological literature as an elaborative process in which some pitch events - such as chords and notes - remain as if they were sounding even though they are not physically present.
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Underriner, Chaz 1987. "The Sound-Poetry of the Instability of Reality: Mimesis and the Reality Effect in Music, Literature, and Visual Art." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849623/.
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This paper uses the concept of mimesis to clarify the debate concerning the representation of reality in music. Specifically, this study defines the audio reality effect and the three main practices of realism as a way of understanding mimetic practices in multiple artistic media, in particular regarding the multimedia works of the "Landscape series." After addressing the historical debates concerning mimesis, this study develops a framework for the understanding of mimesis in sound by addressing the writings of Weiss, Baudrillard, Barthes, Deleuze, and Prendergast and by examining mimetic practices in 19th-century European painting and multimedia performance works. The audio reality effect is proposed as a meaningful translation of Roland Barthes' literary reality effect to the sonic realm. The main trends of realist practice are applied to electroacoustic music and soundscape composition using the works and writings of Emmerson, Truax, Wishart, Risset, Riddell, Smalley, Murray Schafer, Fischman, Young, and Field. Lastly, this study mimetically analyzes "2 seconds / b minor / wave" by Michael Pisaro and Taku Sugimoto and the works of the "Landscape series" in order to demonstrate the relevance of mimesis for understanding current musical practice.
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Deriss, Saman. "Audiovisuell Perception och immersion : En kvalitativ undersökning av en multimodal installation i förhållande till rummet." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29790.
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Syftet med denna forskning genom design och kvalitativa undersökning är att skapa en audiovisuell installation vilket mäts av en fokusgrupp för att se om fenomenet Immersion uppnås hos informanterna. Det är informanternas kollektiva och subjektiva upplevelse av installationen som ligger till grund för studiens resultat och berör frågor inom det audiovisuella området. Installationen undersöks i förhållande till rummet den tar plats i som en viktigt påverkande aspekt. Studien ska ses på som ett förslag för hur fenomenet Immersion kan uppnås genom audiovisuella verktyg. Alltså är detta en studie som inte försöker nå en absolut sanning genom undersökningen utan olika resultat kan nås även om genomförandet av installationen skulle försökas återskapas. Resultaten tyder på att Installationen kändes Immersiv och nåddes genom projektionskonstformen och spatialt 3D ljud. Samt att andra aspekter och egenskaper som att installationens fysiska form, vilket bestod av genomskinligt tyg som omringade informanterna, påverkade deras Immersion positivt genom att avskärma deras perception. Det presenteras även andra aspekter och egenskaper som påverkade informanternas upplevelse av Immersion positivt men även resultat som påverkade upplevelsen negativt, vilket är lika viktigt för vidare forskning och som bidrag till det kunskapsområdet. Styrkan i undersökningen är presentationen av installationens genomförande men framförallt resultatet som bidrar med förståelse och perspektiv till ett svårformulerat intresseområde. Svagheten ligger i och med att fokusgruppdiskussioner och kvalitativa underökningar inte går att generaliseras, samt så är validiteten svår att styrka. Ytterligare en svaghet är att bara en fokusgrupp användes för studiens undersökning vilket gör det svårt att säkerställa resultatets giltighet.
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Nichols, Jason Anthony. "The realest nigga constructions of Black masculinity within rap music /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3921.
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Thesis (M.A.) -- University of Maryland, College Park, 2006.Thesis research directed by: Dept. of American Studies. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Rogers, Katja [Verfasser]. "Realism in player experience : exploring game interaction, narrative, and audio / Katja Rogers." Ulm : Universität Ulm, 2021. http://d-nb.info/1227450702/34.
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Hu, Emily(Emily D. ). "Dance2Music : an exploration of music creation through dance in virtual reality." Thesis, Massachusetts Institute of Technology, 2021. https://hdl.handle.net/1721.1/130690.
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Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, February, 2021Cataloged from the official PDF of thesis.
Includes bibliographical references (pages 77-80).
We present Dance2Music, a virtual reality dance experience where the music changes based on the way that the dancer moves. The user is immersed in an environment where they are free to express themselves, and the user's hand and head positions are tracked in real time. We develop a set of mappings from movement to musical responses that translates the user's movement expression to musical expression. We then evaluate the system through a series of user testing. Through the creation and evaluation of this system, we examine the connection between music and dance from a new perspective. We explore ways to map from movement to music. We further discuss the features that contribute to a natural, intuitive user experience, such as enabling the music to vary over a wide expressive range and constructing a compelling visual environment
by Emily Hu.
M. Eng.
M.Eng. Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science
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John, Michael. "Die Anfänge des sozialistischen Realismus in der sowjetischen Musik der 20er und 30er Jahre historische Hintergründe, ästhetische Diskurse und musikalische Genres." Bochum Freiburg, Br. Projektverl, 2009. http://d-nb.info/993873227/04.
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Tersigni, Andrea. "The American School of violin playing : a reality /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11248.
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Smith, Michael Sterling. "Strategies for the Creation of Spatial Audio in Electroacoustic Music." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404593/.
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This paper discusses technical and conceptual approaches to incorporate 3D spatial movement in electroacoustic music. The Ambisonic spatial audio format attempts to recreate a full sound field (with height information) and is currently a popular choice for 3D spatialization. While tools for Ambisonics are typically designed for the 2D computer screen and keyboard/mouse, virtual reality offers new opportunities to work with spatial audio in a 3D computer generated environment. An overview of my custom virtual reality software, VRSoMa, demonstrates new possibilities for the design of 3D audio. Created in the Unity video game engine for use with the HTC Vive virtual reality system, VRSoMa utilizes the Google Resonance SDK for spatialization. The software gives users the ability to control the spatial movement of sound objects by manual positioning, a waypoint system, animation triggering, or through gravity simulations. Performances can be rendered into an Ambisonic file for use in digital audio workstations. My work Discords (2018) for 3D audio facilitates discussion of the conceptual and technical aspects of spatial audio for use in musical composition. This includes consideration of human spatial hearing, technical tools, spatial allusion/illusion, and blending virtual/real spaces. The concept of spatial gestures has been used to categorize the various uses of spatial motion within a musical composition.
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Erken, Emily Alane. "Constructing the Russian Moral Project through the Classics: Reflections of Pushkin’s Eugene Onegin, 1833-2014." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449191980.
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Lundén, Niklas. "Comparison of sound field microphone techniques for classical music recordings in virtual reality." Thesis, Luleå tekniska universitet, Medier ljudteknik och upplevelseproduktion och teater, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-69059.
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Virtual reality (VR) as a field is currently seeing big technological advancement and an increase in both interest and content. At the same time, the production workflows for creating content for VR are still in their infancy and there are few commonly accepted conventions within the field. This study aims to compare different sound field microphone techniques for classical music recording in virtual reality. A Sennheiser AMBEO microphone, a double MSZ array and an INA-5 array as well as a 360° camera were used to record a rehearsal of The Royal Swedish Orchestra. These recordings were then used to conduct a listening test in VR where subjects scored the different microphones techniques on “localisation” and “naturalness”. A t-test between the results of the different techniques showed that the AMBEO microphone was significantly better than the INA-5 array for localisation and that the double MSZ array was significantly better in terms of naturalness compared to the INA-5 array. However, these results should be interpreted with caution as many variables during the process might be unique to this particular study.
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Bishop, Jeffrey Scott. "When the rehearsals stop: the reality of music making after high school orchestra." Diss., Kansas State University, 2015. http://hdl.handle.net/2097/18965.
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Doctor of PhilosophyCurriculum and Instruction Programs
Frederick Burrack
The purpose of this study was to discover the reasons that led high-achieving high school orchestra musicians to discontinue formal participation in collegiate orchestra class. Using narrative analysis, the researcher examined the intrinsic and extrinsic factors that influenced the student’s decision to not participate in orchestra. The researcher also sought to understand if and how these former high school musicians continued to make music on their own. Three current university students and their high school orchestra teachers were purposefully selected for the study. Data were collected through email queries, surveys, and personal interviews. Upon completion of the interview, the researcher summarized each interview into a narrative and shared it with the participant via email for member checking. Each participant was asked to provide feedback for the narrative and return it to the researcher. The researcher used Riessman’s (2008) adaptation of William Labov’s structural coding to analyze the data. Using Robichaux’s (2003) expansion of Labov’s coding, the researcher was able to establish a structural analysis of the narrative that reinforced the thematic analysis. The researcher coded each participant’s narrative along with that of his or her high school orchestra teacher. Coding was supported by NVivo software. Fact-checking of responses from the initial survey along with answers from the participants’ narrative and that of their high school director’s narrative allowed for a more robust and reliable narrative analysis. Definitive answers were not be sought or expected, but rather the collection of data led to a greater understanding and illustration of why the research participants chose to end their participation in orchestra rehearsals on the collegiate level. The participants offered diverse reasons for why they chose not to continue participating in college on the university level. Their reasons are described within six categories of intrinsic and extrinsic factors: (a) persistence; (b) self-concept of musical ability; (c) motivation for music; (d) parental musicianship and support; (e) director influence; and (f) socioeconomic status. Each participant could not name a single, defining factor that led him or her to discontinue participation in orchestra as each of the identified factors weighed differently for each person.
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Lucas, Stephen 1985. "Virtual Stage: Merging Virtual Reality Technologies and Interactive Audio/Video." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984124/.
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Virtual Stage is a project to use Virtual Reality (VR) technology as an audiovisual performance interface. The depth of control, modularity of design, and user immersion aim to solve some of the representational problems in interactive audiovisual art and the control problems in digital musical instruments. Creating feedback between interaction and perception, the VR environment references the viewer's behavioral intuition developed in the real world, facilitating clarity in the understanding of artistic representation. The critical essay discusses of interactive behavior, game mechanics, interface implementations, and technical developments to express the structures and performance possibilities. This discussion uses Virtual Stage as an example with specific aesthetic and technical solutions, but addresses archetypal concerns in interactive audiovisual art. The creative documentation lists the interactive functions present in Virtual Stage as well as code reproductions of selected technical solutions. The included code excerpts document novel approaches to virtual reality implementation and acoustic physical modeling of musical instruments.
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Fletcher, Andrew. "A realist evaluation of participatory music interventions for wellbeing : what works, for whom and in what circumstances." Thesis, Northumbria University, 2017. http://nrl.northumbria.ac.uk/36253/.
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Background: The connections between music and wellbeing are well recognised. In the current climate of economic austerity, there is a growing demand for more robust evidence of the benefits of music-based interventions to make the best use of limited arts and health resources. Aims: To explore the connections between participatory music activity and self-defined wellbeing concepts. In particular, this study seeks to identify mechanisms that connect specific types of group music activity with specific wellbeing outcomes for people with mental health issues and/or learning disabilities. Research question: What are the mechanisms that connect music and wellbeing for people in challenging circumstances? What works, for whom and in what circumstances? Design: A Realist Evaluation approach was used to identify and explore generative mechanisms in social music programmes that give rise to specific wellbeing outcomes. Two music programmes were investigated and a focus group was carried out with a third programme for validation purposes. Participant-observation and semi-structured interviews were used to identify programme theories (theories that explain outcomes), which were further developed and refined through iterative data accrual. Findings: Six programme theories were identified. Song writing and recording projects that involved both technical and artistic choices had an engaging effect, leading to outcomes of praise, hope and self-advocacy (with a corresponding sense of empowerment). Forms of musical improvisation tended to affect energy levels and consequently mood and perception, yielding both immediate effects (expressed as a sense of ‘balance’) and subsequent effects (described here as resilience). Activities involving pre-existing songs or styles (e.g. cover versions) engaged notions of identity and memory, which affected mood and increased wellbeing. Conclusion: The programme theories identified here have the potential to inform and improve music for health programmes in other contexts. Useful similarities and significant differences between service user groups were identified, enabling more specific questions to be asked of music programmes and indicating directions for future inquiry. These findings may enable similar interventions to be better tailored to their client base, making them more effective and more cost-effective.
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Santini, Giovanni. "Explorations in augmented reality for interactive gesture-based musical notation." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/734.
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With its capability of merging virtual and real worlds, Augmented Reality (AR) provides a new framework for professional practices in numerous disciplines: it can deliver interactive pieces of information in real-time and in space. In music, such capabilities can have an important role in music notation and interfaces for electronic music performance. Numerous experimental musical applications have been developed since the early 2000s both for education and performance. However, in most circumstances, AR has been seen more as an aide towards the understanding and/or realization of traditional repertoire rather than a game-changing technology able to foster new artistic practices. There are still many uses yet to be explored, especially concerning compositional practice This dissertation also paves the way to a new repertoire in which the unprecedented possibilities offered by AR might be fully adopted and developed. This is an explorative work, structured mainly by a series of articles written solely by the author and published during his PhD studies (or accepted for publication at the time of writing). In these papers, a set of differentiated applications and compositions in the AR field are realized. The main thread that links all of the studies lies in the investigation of the relationship between AR and gesture-based musical practices (such as gesture-based control of spatialization and AR augmented instruments). A central role played by gesture-based music notation is the capability to notate a gesture in the space, with its exact coordinates and its exact velocity. Such a novel form of notation, enabled by AR technology and impossible in other domains, can also be enriched with interactive capabilities. As discussed in some studies included in this dissertation, virtual objects assigned to notational functions can also be assigned, simultaneously, to interface functions, thus creating interface-notation hybrids. Other studies of this dissertation address the capability of a virtual object changing its functions over time: AR notation can also be transformed into a virtual performer or into a visual augmentation of gesture. Another hopeful contribution of this dissertation to the musical use of AR lies in providing technical explanations of implementation procedures that could serve as a background for the creation of best practices
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Linder, Åsa. "Key Factors for Feeling Present During a Music Experience in Virtual Reality Using 360° Video." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-205969.
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This is a study on what factors are important for a user to feel present when watching a 360° video of a musical experience. This is of interest because experiences in VR are still under exploration. Some artists are trying to live stream their concerts in VR showing that music in VR is something that is of interest. The video used in this study was recorded in Adolf Fredriks Kyrka, a church in Stockholm. I used a GoPro Omni Rig that records 360 degrees simultaneously to shoot the video in the church. The video was then shown in a user study with 23 participants divided into two groups, one VR-group that watched the video with an Oculus Rift and one control group that watched the video on a regular computer screen. The participants got to answer questions regarding their experience both before and after having watched the video. The result shows that there are few differences in the experience between the two groups. For example the VR-group felt more present in the virtual world than the control group. The thing that most participants commented on was the image quality of the video. It was not high enough according to some and it was also a bit blurry. Even though the image quality was a bit poor, the VR-group did not feel that it was too distracting for them to feel present. Overall the participants felt that it was a good and fun experience to watch. The most important factor for the feeling of presence is the level of immersion in the system. A fully immersive system will most likely give a higher feeling of presence than a non-immersive system. Two other factors that are important are the image quality and the audio. These three factors combined with interesting content will most likely lead to an experience where the user feels present in the virtual world and forgets the real world for a while.Det här arbetet fokuserar på de faktorer som är viktiga för att en användare ska känna sig närvarande när han eller hon tittar på en 360° video av en musikupplevelse. Detta är intressant då upplevelser i VR är något som fortfarande utforskas. Artister har börjat livesända sina konserter i VR vilket visar på att just musik i VR är av intresse. Videon som användes i denna studie spelades in i Adolf Fredriks kyrka i Stockholm. För att spela in videon använde jag mig av en GoPro Omni Rig som spelar in i 360 grader samtidigt. Videon visades sedan i en användarstudie med 23 deltagare fördelat på två grupper, den ena gruppen var en VR-grupp som tittade på videon i en Oculus Rift och den andra gruppen var en kontrollgrupp som fick titta på videon på en vanlig datorskärm. Användarna fick svara på frågor gällande deras upplevelse både före och efter dem hade tittat på videon. Resultatet visar att det finns skillnader i upplevelsen mellan de två grupperna. Till exempel så kände sig VR-gruppen mer närvarande i den virtuella miljön än vad kontrollgruppen gjorde. Det som de flesta av användarna kommenterade på var kvaliteten på bilden. Upplösningen var inte tillräckligt hög och bilden var också lite suddig. Även om bildkvaliteten var låg så kände inte VR-gruppen att det distraherade dem för mycket från att känna sig närvarande. Överlag så tyckte användarna att det var en rolig och bra upplevelse att titta på. Den viktigaste faktorn för känslan av närvaro är nivån av immersion i systemet. Ett fullt immersivt system kommer troligtvis generera en högre känsla av närvaro än ett icke-immersivt system. Två andra viktiga faktorer är bildkvaliteten och ljudet. Dessa tre faktorer kombinerat med intressant innehåll, kommer med största sannolikhet leda till en upplevelse där användaren känner sig närvarande i den virtuella miljön och glömmer bort den riktiga världen för en stund.
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Bailie, J. E. C. "Transcribing reality : how the nature of audio and visual media have affected culture, perception, and the role of the artist." Thesis, City, University of London, 2017. http://openaccess.city.ac.uk/20257/.
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The research presented in this thesis was motivated by my own need as a composer to position my work within the broadening of artistic practice that has become a significant aspect of the contemporary music scene. Roughly speaking, this research consists of two interconnected topics: the nature of the complex relationship between reality and the means we have to record it, and a rethinking of the audio visual correlations that might arise as a result of such an investigation into the workings of media. Through the study of these two topics, further important issues will be brought to light such as the distinction between discrete and continuous recording methods, ideas of medial loss, intermedia, and the role that we ourselves play in the development and consumption of media, and as makers and spectators of artworks that use media. I will investigate these questions through my own artistic work. This work, as befits the research topic, employs a variety of formats including some, such as film and audio-visual installation which I have never used before. As a counterpoint to my portfolio I have chosen to examine a carefully selected set of pieces by other artists, also in a variety of media, that taken as a whole help to outline the artistic and theoretical territory to be studied. The investigations of my own work as well as of these case studies are knitted together with theory drawn from a wide range of sources including psychology, science, art, media and music theory, in addition to ideas gleaned from fiction, in order to form the basis of the written part of my thesis. The text is divided into an introductory chapter, three main chapters and a concluding chapter, and has a quasi-historical trajectory starting with the long-exposure that characterized early photography, moving through the single short sample, to the stringing of these samples together into film and digital audio. The fourth chapter concerns sound film, synchronisation and the FT domain, and explores what happens when we put sound and image together, or try to imagine one through the lens of the other. The concluding chapter deals with recent developments in media technology such as high film frame rates and the domination of the digital world, and examines the problematics associated with these developments.
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Khaleram, Paulsson Nelly. "A musical escape into a virtual world - A qualitative experimental study of how music fans perceive music concerts and other musical performances in virtual reality." Thesis, Malmö högskola, Fakulteten för teknik och samhälle (TS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20258.
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We live in a time when technology is digitalizing the world. Technology is a medium that brings people closer to each other and enables more experiences to take place; at home. The increase of music concert attendance boomed the music industry in 2016 and set record sales already halfway into the year. However, there are still people that cannot attend music concerts or performances due to other factors. It was not only the music industry that boomed in 2016; artists started producing music concerts in Virtual Reality (VR) enabling them to reach out to a wider audience. This study shows how music fans in the age between 20-30 perceive music concerts and performances in virtual worlds. The study conducted qualitative experiments and focus group discussions with a total of nine participants. The conclusion is that music fans perceive virtual reality as a media technology that needs more product development and focus on the possibilities of becoming a more social experience. Virtual reality is a technology that isolates the user; the music fans demanded an experience that enables co-presence. That is, achieving immersion and experiencing being present in a virtual world with another person.
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Juul, Lisa. "Examining 360° storytelling in immersive music videos." Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20828.
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Music videos invite the viewer to an enhanced experience of a song, and by combining it with360°, a new dimension of immersion emerges. However, a new wave of complex narrativeand user interface unfolds when intertwining 360° and the contemporary way of telling storiesin music videos.This thesis used an experimental mixed method research design, focusing on collecting,analyzing, and mixing both quantitative and qualitative data in a series of studies. A surveywas first conducted to get an overview of consensus with respect to music videos, VR, and360°. The majority of the respondents had tried VR and 40% of stated that they felt immersedwhile trying it. Around 18% argued it was experience-dependent and 42% did not feelimmersed at all. The survey was followed by experiments showing two 360° music videoswith different storytelling techniques. After the participants had seen the videos, theydiscussed the experience in focus groups in a semi-structured interview. The results were thencoded and benchmarked with theory, which led to the rise of six key 360° storytellingguidelines.All three focus groups concluded 360° music videos enable a deeper level of immersion.However, when combining novelty and a sometimes overwhelming visual experience, 360°music videos can distract the audience if not told right. The guidelines discuss the purpose ofa music video, how the technology affects the experience, if the medium is passive or active,and how different types of interaction can be used as a storytelling mean. They also discussways to pedagogically intertwine audio and visuals. Additionally, the guidelines includediscussions of how different cues and POV’s can be utilized to ensure that the filmmakers andviewers experiences are somewhat aligned, they also tackle the fear of missing out, andfinally compare 360° and traditional music videos.Conclusively, the research shows that storytelling in a 360° sphere will entail a journey oftrial and error, and that the audience have scattered preferences of what different narrativestyles they find work and do not.
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Mehner, Klaus, and Siegfried Matthus. "Sozialistischer Realismus – Widerspiegelungstheorie.: Ein Gespräch." Gudrun Schröder Verlag, 2019. https://ul.qucosa.de/id/qucosa%3A70720.
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Hartmut Krones: Guten Tag und einen guten Nachmittag. Ich habe hier die Ehre, das folgende Gespräch und die mögliche Diskussion zu leiten.
Ansonsten aber werde ich mich eher im Hintergrund halten. Wir haben jetzt, nachdem wir über die Institutionen gesprochen haben am Vormittag und auch über persönliche Schicksale und persönliche Befindlichkeiten, einen Gegenstand der Musikästhetik vor uns, und zwar insbesondere jene musikästhetische Position, die die offizielle Position der sozialistischen Länder und nicht nur der DDR war. Sie sehen es am Thema – Sozialistischer Realismus und Widerspiegelungstheorie. Das heißt, wir gehen jetzt in die musikalische Praxis, die, wie Sie gleich hören werden, sehr wohl politisch indoktriniert wurde.
Ich glaube, ich brauche die beiden Redner hier nicht weiter vorzustellen:
Klaus Mehner, Professor für Systematische Musikwissenschaft an der Universität Leipzig, zeitweise auch Direktor des Instituts und durch zahlreiche Publikationen hervorgetreten, und Siegfried Matthus, erfolgreicher Komponist, auch im Westen, und jeder wird auf seine Art zu diesem Thema etwas sagen, und dann werden wir sehen, wie groß und wie weit die Diskussion eröffnet werden muss.
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Rådelius, Elias. "“Shout to the people the reality, and they dance it!” : A case study on the synergies and challenges between music, youth empowerment, sustainable development and social change in the Gambia." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-36820.
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This case study examines the role of music and music-making for the youth in Brikama, the Gambia in terms of freedom of expression, sustainable development and social change. The study is situated within a project where young musicians with different backgrounds wrote and recorded their own songs during workshops with established musicians. The data was collected via interviews with the participants and instructors, observations and song analysis. The study uses Small’s (1998) theory of musicking to analyze the meaning of the musical events in the social context. Furthermore, it uses theories on the relationship between music and sustainability to analyze the role of music for the youth on an individual-, group- and societal level, but also on an organizational level. The study finds that on all four levels music and music-making holds many of the characteristics required for sustainable development and that it can foster resilience through creativity. However, it also shows that this requires the creation of inclusive spaces with an awareness of the cultural narrative and forces (such as limiting traditional values and gender issues) that might limit the capabilities of individuals, and the society, to reap these benefits. The study also shows how music, with its artistic characteristics, can offer pockets of freedom of expression to a certain but limited extent. Finally, the study shows how music can and should be incorporated more extensively by organizations working for sustainable development and social change, both as a tool to achieve other sustainability agendas, but also for the inherent characteristics of resilience and creativity that is found in music-making itself.Denna fallstudie undersöker musik och musikskapandets roll för ungdomar i Brikama, Gambia, och dess relation till yttrandefrihet, hållbar utveckling och social förändring. Studien är genomförd inom ramen för ett projekt där unga musiker med olika bakgrund komponerade och spelade in sina egna låtar under workshops tillsammans med etablerade musiker. Materialet samlades in genom intervjuer med deltagarna och instruktörer, observationer och textanalys av låtarna. Studien använder sig av Smalls (1998) koncept musicking för att analysera den musikaliska situationens mening i sin sociala kontext. Dessutom används teorier om relationen mellan musik och hållbarhet för att analysera musikens roll för ungdomarna på en individuell-, grupp- och samhällsnivå, men även på en organisationsnivå. Studien visar på alla fyra nivåer att musik och musikskapande innehar många av de karaktärsdrag som krävs för hållbar utveckling och att det kan främja resiliens genom kreativitet. Dock visar studien att inkluderande sammanhang behöver skapas med medvetenhet om den kulturella kontexten. Detta för att kunna navigera de krafter (såsom negativa traditionella värderingar kring genus) som kan begränsa individers deltagande och i slutändan samhällets möjlighet att ta del av fördelarna. Studien visar också hur musik, med sina konstärliga karaktärsdrag, kan erbjuda ett visst utrymme för yttrandefrihet. Slutligen visar studien hur musik kan och bör inkorporeras till större grad av organisationer som arbetar för hållbar utveckling och social förändring, både som ett verktyg för att uppnå hållbarhetsagendor, men även för de inneboende karaktärsdragen resiliens och kreativitet som finns att hitta i själva musikskapandet.
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Persson, Roland S. "The Subjectivity of Musical Performance : An Exploratory Music-Psychological Real World EnquiryInto the Determinants and Education of Musical Reality." Doctoral thesis, Huddersfield University, 1993. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-10934.
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As is tradition in the UK, monograph theses are as a rule unpublished, but all material published as based on the doctoral research must be included in the thesis. The current thesis contains two published empirical articles in peer-reviewed journals and one conference paper.Thesis submitted for the doctoral degree
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Jiang, Xinxin. "Whose Voice?: A Critical Analysis of Identity, Media, and Popular Music in The Voice of China." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1530233479992508.
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Persson, Roland S. "The subjectivity of musical performance : an exploratory music-psychological real world enquiry into the determinants and education of musical reality." Thesis, University of Huddersfield, 1993. http://eprints.hud.ac.uk/id/eprint/4846/.
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Fassbender, Eric. "VirSchool the effect of music on memory for facts learned in a virtual environment /." Phd thesis, Australia : Macquarie University, 2009. http://hdl.handle.net/1959.14/76852.
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Thesis (PhD)--Macquarie University, Faculty of Science, Dept. of Computing, 2009.Bibliography: p. [265]-280.
Introduction -- Literature review -- Method -- Experiments -- Conclusion.
Video games are becoming increasingly popular and their level of sophistication comes close to that of professional movie productions. Educational institutions and corporations are beginning to use video games for teaching purposes, however, not much is known about the use and effectiveness of video games for such purposes. One even less explored factor in video games is the music that is played throughout the course of the games. Little is known about the role that this music plays in cognitive processes and what effect background music has on players' memory. It is this question that the present thesis explores by asking which effect background music has on participants' memory for facts that are learned from a virtual environment. -- To answer the research question, a computer-animated history lesson, called VirSchool, was created which used the history of the Macquarie Lighthouse in Sydney as a basis for two experiments. Different musical stimuli accompanied the audio-visual presentation of the history topic. These stimuli were tested for their effectiveness to support participants' memory. The VirSchool history lesson was first presented in a Reality Center (a highly immersive, semi-cylindrical 3 projector display system) and one soundtrack was identified which showed a statistically significant improvement in the number of facts that participants remembered correctly from the VirSchool history lesson. Furthermore, Experiment 1 investigated how variations of tempo and pitch of the musical stimuli affected memory performance. It was found that slow tempo and low pitch were beneficial for remembrance of facts from the VirSchool history lesson. -- The beneficial soundtrack that was identified in Experiment 1 was reduced in tempo and lowered in pitch and was subsequently used as the sole musical stimulus in Experiment 2. Furthermore, because of equipment failure, Experiment 2 offered the opportunity to compare memory performance of participants in the Reality Center and a 3-monitor display system, which was used as a replacement for the defect Reality Center. Results showed that, against expectation, the memory for facts from the VirSchool history lesson was significantly better in the less immersive 3-monitor display system. Moreover, manipulated background music played in the second five and a half minutes of the VirSchool history lesson in the Reality Center resulted in a statistically significant improvement of participants' remembrance of facts from the second five and a half minutes of the VirSchool history lesson. The opposite effect was observed in the 3-monitor display system where participants remembered less information from the second five and a half minutes of the VirSchool history lesson if music was played in the second five and a half minutes of the VirSchool history lesson. -- The results from the present study reveal that in some circumstances music has a significant influence on memory in a virtual environment and in others it does not. These findings contribute towards and encourage further investigation of our understanding of the role that music plays in virtual learning environments so that they may be utilised to advance learning of future generations of students.
Mode of access: World Wide Web.
280 p. ill. (some col.)
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Sjöberg, Erik. "Realia i textböcker : En undersökning av realia i textböcker i spanska för årskurs 7–9." Thesis, Karlstads universitet, Institutionen för pedagogiska studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-74285.
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The purpose of this study is to find out to what extent and what frequency realia is highlighted in Spanish textbooks for year 7–9. As realia is a wide concept this study has focused on geography, history and music. For this study, a content analysis of both texts and images in teaching materials for year 7-9 has been conducted in order to detect what types of realia are being highlighted and how. The results showed that both teaching materials give a large amount of realia hence a comparison has also been made. In conclusion, all the books in both series do highlight realia, however, they do so in different ways. This means that it matters for the realia education which teaching material is used on an everyday basis, but also that, regardless of what series is used for teaching, the other can serve as a complement.Syftet med den här studien är att få reda på i vilken bredd och med vilken frekvens man tar upp realia i textböcker i spanska för årskurs 7–9. Då realia är ett vitt begrepp har studien fokuserat på geografi, historia och musik. För undersökningen har en innehållsanalys av både texter och bilder i läromedel i spanska för årskurs 7–9 genomförts för att ta reda på vilken typ av realia som tas upp och hur. Resultatet visade att båda läromedelsserierna ger en stor mängd realia och en jämförelse mellan läromedlen har också gjorts. Som slutsats kan man se att alla böcker i serierna tar upp realia men att det görs på olika sätt. Detta bidrar till att valet av läromedel för den vardagliga undervisningen spelar roll för undervisningen av realia men även att oberoende av vilken av dessa serier man använder kan den andra fungera som komplement till undervisningen.
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Bias, Rebecca H. "From golden age to silver screen French music-hall cinema from 1930-1950 /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117225437.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center
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Patel, Parag. "We live this shit rap as a reflection of reality for inner city youth." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4818.
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Rap is an extremely popular form of modern music that is notorious for incorporating themes of guns and violence into the lyrics. Early rap was mainly party or dance music until the mid-80s when structural shifts in social conditions brought feelings of hopelessness and frustration into black inner city communities and youth culture. These feelings now find expression in rap lyrics. This thesis uses rap lyrics as qualitative data to understand the plight of urban black youth. Rap music can be seen as a form of resistance for young African Americans who have historically never had such a medium to express their lived experiences and frustrations with society. The rap performance becomes a stage where the powerless become powerful by using the microphone as a symbolic AK-47 and words as weapons in the form of symbolic hollow point cartridges. This Thesis examines the contemporary African American experience, its reflection in the lyrics of rap music, and its fascination with guns, violence and death. A key theme is while rap lyrics sometimes seem radical and frightening to the mainstream, they often express lines of analysis and understanding that have been widely discussed in conventional sociological literature.ID: 030646183; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 59-66).
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Applied Sociology