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Cobb, Brian A. "Campfire songs /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11271.
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Thesis (D. Mus. Arts)--University of Washington, 2006.For mezzo, baritone, flute, clarinet, bass clarinet, guitar, banjo, violin, cello and 2 percussionists. Texts by Walt Whitman, Hamlin Garland, David Wagoner, Mary Austin, and John Haines. Vita. Includes bibliographical references (leaf 156).
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Hubbard, Colton M. "Tea Songs." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116378208.
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Wiens, Carl K. (Carl Kristian). "Structural organization in selected songs from Charles Ives's 114 songs." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61136.
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Charles Edward Ives was the first twentieth-century North American composer to write from a purely American perspective. His music also anticipated many of the stylistic features which characterize later twentieth-century music. This study begins with an examination of secondary literature to show how other scholars have interpreted Ives's music. Few projects have dealt with the question of coherence in Ives's music, in large part due to the seemingly disjunct nature of the music. Unity and coherence were overriding concerns to Ives, as is evident in his writings which are strongly steeped in transcendental philosophy. The second part of the thesis presents analyses of four songs from the 114 Songs: "The Cage," "Ann Street," "Like a Sick Eagle," and "At the River." Linear techniques in concert with the labelling system of pitch-class set theory are the principal analytical tools used to investigate the songs. The analyses begin from the premise that each song contains an underlying compositional plan and is a coherent whole.
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Benningfield, Brittany C. "THE NILES-MERTON SONGS: A PERFORMANCE GUIDE OF SELECTED SONGS." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/110.
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The Niles-Merton Songs is a two-opus collection of twenty-two songs by John Jacob Niles setting the poetry of Thomas Merton. The songs are beautiful but contrast from his more popular works in poetry and composition. This project explores reasons why these songs are rarely performed, and gives an overview and analysis of ten selected pieces. The document includes a brief introduction, biographies of Niles and Merton, information detailing Niles’s compositional process, and the technical and artistic requirements for performing the songs, including appropriate age and voice type.
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Nelson, Michael. "Songs for cripples." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002952.
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Hung, Justin. "Songs about Words." Digital Commons @ Butler University, 2020. https://digitalcommons.butler.edu/grtheses/523.
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A song cycle for baritone and mixed chamber ensemble, "Songs about Words" consists of five songs for everyday concepts and subjects, and explores deeper themes of communication and identity. The ensemble consists of piano, accordion, tenor saxophone, percussion and double bass. The text was inspired by Pablo Neruda and written by the composer.
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Jama, Sophie. "Les songes de Descartes, lecture ethnologique." Nice, 1993. http://www.theses.fr/1993NICE2012.
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En quartier d hiver dans la region d ulm la nuyit du 10 au 11 novembre 1619, le jeune rene descartes eut trois songes qui revetirent la plus grande importance pour sa vie de philosophe. Ces songes n ont jamais ete envisages que d un point de vue philosophique, historique ou psychologique. Un regard ethnologique permet de replacer leurs elements essentiels dans le contexte social, culturel et religieux de l epoque. On observe alors comment tout le savoir, acquis par descartes de sa naissance jusqu a ce 10 novembre, se cristallise dans le texte qu il redigea a son reveil et qu il intitula olympica. Descartes estima qu une mission divine lui etait confiee. L experience fut vecue comme un rite initiatique, un voyage dans l au-dela sur le modele de ceux des heros de l antiquite, et conformement aux conceptions traditionnelles de l oniromancie. Descartes, qui passa une partie de son enfance a la campagne aupres d une nourrice, fut aussi tres influence par l education religieuse qu il recut chez les peres jesuites de la fleche et par la societe secrete des rose-croix qui emergeait en allemagne. En filigrane des songes apparait un symbole issu de l antiquite, symbole majeur dans cette post-renaissance : la lettre y attribuee a pythagore, image du choix de vie du philosophieDuring the winter season in the region of ulm on the night of november 10th to lith, 1619, the young rene descartes had three visions that revealed to be of most importance for the philosopher's life. These visions have been examined from a philosophical, historical and psychological point of view. An ethnologist's eye enables putting their essential elements in the era's social, cultural and religious context. We observe, then, how all knowledge, acquired by descartes from birth to this november 10th, is crystallized in the text he composed upon wakening and entitled olympica. Descartes deemed that he was entrusted with a divine mission. He experienced this as a passage rite, a voyage to the beyond like that of an antiquity hero, and in accordance with traditional vision interpretation conceptions. Descartesn who spent part of his infancy with a childminder was also very influenced by the religious education he received from the jesuits of la fleche and the rosicrucian's secret society that emerged in germany. In filigree with the visions appears an antiquity symbol, leading symbol in the post-renaissance : the letter y attributed to pythagoras, image of the philosophers life choice
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Fowler, Heather. "Father and Mother Songs." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2048.
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Lanci, Michael P. "Songs for Joe Hill." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin149580760300849.
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Foust, E. J., and E. J. Foust. "Songs out of Sorrow." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/622987.
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Songs out of Sorrow is a seven-movement work for wind ensemble and soprano. The text and title come from the second chapter of American poet Sara Teasdale’s collection Love Songs. The methodical use of trichord combinations provides the primary harmonic and melodic language of the work, creating rising tension through the first four movements and subsequent resolution through the final three. Movement one, Spirit’s House, utilizes non-functional triadic harmonies with the addition of fourths and seconds. The second movement, Mastery, contains whole tone language. An instrumental interlude precedes the vocal music of the third movement, Lessons. When the soprano enters, the harmonic material of the interlude intermingles with the octatonic nature of the vocal line to create a folk music quality. Another instrumental interlude follows, utilizing a truncated and re-orchestrated version of the musical material featured in the first interlude. This leads directly into the climatic fourth movement, Wisdom, which is characterized by chromatic lines and tritones. A subdued fifth movement, In a Burying Ground, follows, undulating with a percussion ostinato, which is also a feature of the first movement. Wood Song, the sixth movement, begins with a stylized birdcall based loosely on Messiaen's transcription of the call of the wood thrush, which is referenced in opening line of the text. The harmonies of this movement contain augmented triads. The final movement, Refuge, features a return to the triadic harmonic material of the first movement, providing a sense of large-scale resolution.
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Chang, Debra Wei Kwen. "Songs of the wind." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332464/.
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Songs of the Wind is a five-movement composition for reader, chamber choir, and chamber orchestra. The work is approximately twenty-five minutes in duration. The title describes the programmatic nature of the piece, which depicts an animistic ritual invoking the wind as a deity. The texts are drawn from translations of American Indian poetry as well as original poems by the American Indian scholar Hartley Alexander.
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Junkermann, Penelope Robin. "The relationship between Targum Song of Songs and Midrash Rabbah Song of Songs." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-relationship-between-targum-song-of-songs-and-midrash-rabbah-song-of-songs(d9749f55-93cb-4b58-b235-36d5a0f9a697).html.
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This dissertation investigates the relationship between Targum Song of Songs and Song of Songs Rabbah, and challenges the view that the Targum is dependent on the Midrash. In chapter one I set out the problem to be investigated and consider some of the reasons why scholars in the past have assumed that the Targum drew on the Midrash. Having rejected these reasons as inadequate and established the need for a fresh review of the evidence, I describe the approach I will adopt in the present thesis. In chapters two and three I introduce the two key texts individually, discussing such background information as their manuscripts, provenance, date, genre, coherence and theology. In chapter four I analyse textual parallelism and its implications, reviewing first some seminal studies of the subject, and then introducing and defending a distinction between one-to-one parallelism and multiple parallelism. In chapters five and six I examine in depth a number of indicative cases of both one-to-one and multiple parallelism between Targum Song and Song Rabbah, demonstrating that direct literary dependency between the one work and the other simply cannot be proved. In chapter seven I set this conclusion in the context of a wider comparison between Targum Song and Song Rabbah, arguing that the hypothesis of literary dependency rests on a model of text-creation and text-transmission that is inappropriate to Rabbinic literature in late antiquity. In a series of appendices, printed for convenience as a separate volume, I provide the texts discussed in the case studies in chapters five and six.
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Jones, Reba Pestun. "An examination of coal mining song repertoire in the Virginia elementary music curriculum with the creation and incorporation of a suggested coal mining musical unit of study /." < Digital Thesis and Dissertation Collection > Username and password required for access, SU only, 2003. http://www.su.edu/library/digitalthesis/jonesreba.pdf.
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Kim, Young-Youn. "Traditional Korean children's songs : collection, analysis, and application /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11288.
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Webb, Adam Michael. "Art songs for tenor : a pedagogical analysis of art songs for the tenor voice." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3401.
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The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice.
This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process.
The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.
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Baur, Dominikus. "The Songs of Our Past." Diss., lmu, 2011. http://nbn-resolving.de/urn:nbn:de:bvb:19-137993.
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Vazquez, Ricardo Marcelo. "Songs from the boca kitchen /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1203579641&sid=3&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Ommen, Ann Elizabeth. "Songs of the Ziegfeld Follies." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1179334149.
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Modrow, Lena [Verfasser]. "Wie Songs erzählen / Lena Modrow." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1090772785/34.
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Moore, James K. "The songs of Seymour Barab /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11213.
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Woodward, Mark E. McNeil Ryan Woodward Mark E. Aubuchon Rachel McKenney W. Thomas. "Three songs for unaccompanied choir." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6259.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010 Thesis advisor: Dr. W. Thomas McKenney. Includes bibliographical references.
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Baron, Michael David. "The songs of Franz Liszt." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234717504.
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Roman-Rivera, William J. "Silence and screams "Nueva Canción" and its impact on political movements in Chile, Argentina and Uruguay /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/383.
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Bach, Valérie. "Les clefs des songes medievales (xiiie-xve siecles)." Strasbourg 2, 2000. http://www.theses.fr/2000STR20034.
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Dans les clefs des songes medievales tout questionnement quant au sens des songes vient se heurter au mur de presages stereotypes. Les interpretations refletent et imposent l'ideologie de la classe dominante, celle de la monarchie et de la noblesse. La doctrine chretienne est utilisee a travers la thematique du salut et de la vie etemelle. Gouverner est assimile a mener la lutte du bien contre lemal, et le pouvoir royal est ainsi sacralise. A la lecon de l'au-dela est jointe celle de l'ici-bas, ordre celeste et social sont declares conjoints. La hierarchie sociale entretient l'harmonie du monde et la moindre atteinte a sa structure declenche des consequences catastrophiques. Le sujet est invite a se complaire dans le rayonnement des grands et a se laisser eblouir par eux. Il lui est assure qu'oeuvrer au profit du pouvoir equivaut a defendre ses propres interets. Le symbolisme des elements, des vegetaux et des animaux est recupere pour tisser un filet destine a pieger tout desir personnel. La representation de soi et des autres est induite dans le sens voulu par le pouvoir. L'image du corps devient metaphore de l'image d'une elite masculine parfaite. Enfin enfants et femmes sont destines a soutenir l'image masculine. Le fils doit reproduire l'image du pere, la fille est devalorisee. La femme est mere et epouse ou mauvaise femme. L'ennemi est omnipresent et focalise peurs et revoltes. Sous les traits du rival, du sauvage, de l'etranger et du diable. L'exterminer permet aussi de lui derober une richesse symbole du pouvoir. L'interprete des songes joue de la realite quotidienne, des motivations conscientes et inconscientes pour mener a bien une entreprise de persuasion. L'opacite de son discours est moins apparente qu'il sait jouer de toutes les resonances.
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Hood, Errik M. "Teaching the Songs of Ivor Gurney:An Applied Studio Guide to the Utilization of Fourteen Songs." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1448468099.
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Davidson, Jill D. "Prayer-songs to our elder brother : Native American Church songs of the Otoe-Missouria and Ioway /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841275.
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Lin, Pei-Ying. "Development of curriculum materials to teach American children about the culture of Taiwan through Taiwanese children's songs." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4315.
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Thesis (M.A.)--University of Missouri-Columbia, 2005.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Includes bibliographical references.
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Friedman, Susana. "The festive song repertory of the Barbacoas, Columbia, and it's implications for Ballad Transmission." Thesis, King's College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265780.
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Rostig, Grace. "Ambiguity in the Song of Songs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ47791.pdf.
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Mussard, Timothy S. "Embellishing Schubert's Songs : a performance practice /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11217.
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Fitzgerald, Colleen M. "The Meter of Tohono O'odham Songs." University of Arizona Linguistics Circle, 1995. http://hdl.handle.net/10150/311762.
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Reiman, Minna, and Philippa Örnell. "Predicting Hit Songs with Machine Learning." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-229705.
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Exploring the possibility of predicting hit songs is both interesting from a scientific point of view and something that could be beneficial to the music industry. In this research we raise the question if it is possible to classify a music track as a hit or a non-hit based on its audio features. We investigated which machine learning algorithms could be suited for a task like this. Four different models were built using various algorithms such as Support Vector Machine and Gaussian Naive Bayes. The obtained results do not indicate that it is possible to predict hit songs on our particular dataset. This stands in contrast to some previous research within this field. We discuss the potential problem in using only audio features, and how this seems not to be sufficient information for predicting a hit.Att förutsäga om en låt når topplistan skulle vara gynnsamt för musikindustrin samtidigt som det är intressant ur ett vetenskapligt perspektiv. I vår undersökning lyfter vi frågan om det är möjligt att klassificera en låt som hit eller icke-hit baserat på låtens ljudegenskaper. Vi utreder vilka algoritmer för maskininlärning som kan vara lämpliga för denna uppgift. Fyra olika modeller byggs utifrån algoritmer såsom Support Vector Machine och Gaussian Naive Bayes. De uppmätta resultaten indikerar att det inte är möjligt att förutsäga en hit på den utvalda datamängden. Dessa resultat motsäger en del av den tidigare forskningen gjord inom detta ämne. Vi diskuterar det potentiella problemet i att bara att analysera ljudegenskaper och hur detta inte tycks vara tillräcklig information för att identifiera en hit.
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Darke, Felix, and Blomkvist Linus Below. "Categorization of songs using spectral clustering." Thesis, KTH, Skolan för teknikvetenskap (SCI), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-297763.
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A direct consequence of the world becoming more digital is that the amount of available data grows, which presents great opportunities for organizations, researchers and institutions alike.However, this places a huge demand on efficient and understandable algorithms for analyzing vast datasets. This project is centered around using one of these algorithms for identifying groups of songs in a public dataset released by Spotify in 2018. This problem is part of a larger problem class, where one wish to assign data into groups, without the preexisting knowledge of what makes the different groups special, or how many different groups there are. This is typically solved using unsupervised machine learning. The overall goal of this project was to use spectral clustering (a specific algorithm in the unsupervised machine learning family) to assign 50 704 songs from the dataset into different categories, where each category would be made up of similar songs. The algorithm rests upon graph theory, and a large emphasis was placed upon actuallyunderstanding the mathematical foundation and motivation behind the method before the actual implementation, which is reflected in the report. The results achieved through applying spectral clustering were one large group consisting of 40 718 songs in combination with 22 smaller groups, all larger than 100 songs, with an average size of 430 songs. The groups found were not examined in depth, but the analysis done hints that certain groups were clearly different from the data as a whole in terms of the musical features. For instance, one groupwere deemed to be 54% more likely to be acoustic than the dataset as a whole. As a conclusion, the largest cluster was deemed to be an artefact of the fact that when a sample of songs listened to on Spotify is taken, the likelihood of these songs mainly being popular songs would be high. This would explain the homogeneity that resulted in the fact that most songs were assigned into the same group, which also resulted in the limited success of spectral clustering for this specific project.
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Atha, Tammy Jolene. "Songs of Amy & Other Poems." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1511979906462235.
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Morcom, Anne Frances. "Hindi film songs and the cinema." Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268674.
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This thesis explores the relationship of Hindi film songs with Hindi cinema from the 1950s, especially emphasizing the present day. It is based on fieldwork completed in Bombay from 1998-2000 and the analysis of film songs and their picturizations. The main question addressed is: 'How far can film songs be seen as an independent tradition of popular music and how far are they a part of their parent films and Indian cinema?' Chapter 1 surveys previous scholarship on film songs and introduces their cinematic study. Chapter 2 deals with the production process of film songs, identifying the role of various personnel in their creation including the music director (composer), lyricist and singer(s). Chapter 3 addresses the musical style of film songs and its development in the light of both their cinematic and popular music roles. Chapter 4 turns to the use of Western music in film song from the perspective of meaning. Is Western music used in the same way in Hindi films as in Hollywood films, and if so, how, if music is not a universal language? Is the presence of Western music in film songs just due to hegemony? Song and background score material is analysed in its dramatic context, and Indian and Western music theory and interview material drawn on to answer these questions. Chapter 5 looks at the commercial life of film songs, addressing the question of whether songs sell films or films sell songs through an examination of the marketing and profitability of film songs in various eras. Chapter 6 discusses the reception of film songs, their popularity, how audiences come into contact with them, and their appropriation by audiences. Adorno's profile of mass music as alienating is revisited with reference to film song.
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Page, James A. (James Allen) 1946. ""These Whigs are Singing Songs Again!" Whig Songs as Campaign Literature Prior to the 1844 Presidential Race." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277889/.
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Whig campaign strategists in the presidential election of 1840 developed new campaign tactics that included widespread use of campaign songs. They used these songs to sing the praises of their own candidate and policies while at the same time attacking the opposing party's candidate and policies.
As early as 1842 these songwriters began writing songs in anticipation of the campaign in 1844. Prior to the nomination of candidates in May, 1844, the Whigs had published several songbooks including hundreds of song titles. In addition to supporting the candidacy of Henry Clay as the Whig candidate, the songs ridiculed several potential Democratic candidates including Martin Van Buren, John C. Calhoun, James Buchanan, and others. Whigs also used imagery to support their candidate and attack the foe.
Despite extensive efforts to influence the election with campaign songs, no hard evidence exists that documents the effect of campaign songs, either positively or negatively.
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Van, Rhyn Chris. "Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.
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Mowery, Samantha. "Stephen Foster and American song a guide for singers /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234810817.
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Johnson, Gayle, and n/a. "Vocalizations in the Grey Butcherbird Cracticus Torquatus with Emphasis on Structure in Male Breeding Song: Implications for the Function and Evolution of Song from a Study of a Southern Hemisphere Species." Griffith University. Australian School of Environmental Studies, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20051103.111004.
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An undue focus on Temperate Zone oscines (songbirds or passerines) has led to a geographical bias in interpretation of song frmnction and evolution. This bias led initially to relatively simplistic theories of the ftmnction of bird song with vocalizations divided into 'songs' and 'calls'. Songs were complex, learned vocalizations, given by males in the breeding season, thnctioning in territory defence and mate attraction and stimulation. Calls, on the other hand, were simple innate vocalizations serving more immediate needs such as begging for food and raising an alarm. Female song, where it occurred, was considered an aberration. Further studies suggested that complex songs were associated with mate attraction functions while simpler songs were associated with territory defence. However it became apparent that the distinction between songs and calls was not nearly so clear-cut and the supposed connection between complexity and function in song was questioned. Moreover it was realised that female song could not be dismissed as a mere aberration. Another problem was the ftmnction of the dawn chorus, where research had failed to find a consistent, all-encompassing explanation. Since most studies had been done on Northern Hemisphere songbirds, it was becoming clear that the geographical focus needed to be broadened. The life histories of Northern Hemisphere TemperateZone songbirds are very different from those in many other regions. In contrast to the situation in this zone, maintenance of year-round territory, territory defence by both male and female, life-long social monogamy and extensive female vocalization are widespread in tropical, subtropical and Southern Hemisphere regions. Recently it has been suggested that more intensive studies of vocalizations in these regions might help clariQi some of these issues and consequently an endemic Australian passerine was chosen for the current study. The study focused on the vocalizationsof the grey butcherbird Cracticus torquatus Artamidae, which displays the life history features described above. The main study population was located in the Brisbane suburbs of Rainworth and Bardon. Additional data were gathered from other Brisbane suburbs and bushland sites within the city and at Lake Broadwater near Dalby, Queensland. Vocalizations were initially recorded electronically and analysed using Canary sound editing program. Vocalization data were supplemented using an aural recording method, which was independently checked for reliability. Behavioural data including posture during vocalizations and interactions with other birds were also gathered. Initial investigationsrevealed the existence of two main categories of vocalizations - those given by the family group during the day, all year round and those given at dawn by males during the breeding season. For the focal study populations, group vocalizations were studied throughout the year over several years, however the song given at dawn by males during the breeding season proved to be quite complex and three birds from three territories in the main study area were chosen as case studies. Recordings were made of the vocalizations of the three case study birds over three breeding seasons. Starting and fmishing times (with respect to civil twilight) were recorded in order to determine both changes in song bout duration and starting time throughout the breeding season. Additional birds from the same area, from the other Brisbane suburbs and from the bushland sites were studied to check the validity of conclusions drawn from the case studies. The results of the investigations revealed a vocalization structure that contrasted strongly with the simple picture of bird song drawn from study ofNorthernHemisphere Temperate Zone passerines. The vocalizations given during the day, often referred to as the 'song' of this species, were very different from the early dawn song given by the male during the breeding season. This latter appeared to be song sensu stricto according to the paradigms developed for Northern Hemisphere birds. The thytime vocalizations, however, fitted neither the classic definition of 'song' nor the classic definition of 'call'. This relatively long-term study revealed different starting time patterns and periodicity for thy vocalizations and male breeding season song. Day vocalizations commenced at a fairly constant time with respect to civil twilight throughoutthe year but breeding season song started progressively earlier from the beginning through to the middle of the season then progressively later till the end of the season. Relative finishing time of breeding song however remained constant so that the duration of breeding season song gradually increased then decreased paralleling the change in starting times. A consequence of the two distinct classes of vocalizations was that there were essentially two distinct 'dawn choruses'. One, consisting of group vocals, was sung all year round; the other was given by males singing 'breeding season' song. Since there was no reason the expect that a single function would necessarily be ascribed to both choruses, this raised the possibility that some of the confusion surrounding the ftinction and nature of the 'dawn chorus' originated from a failure to recognize the existence of two such choruses. Variation in time and space showed ifirther differences between the two vocalization classes. The breeding song of each male was distinctly different from that of his neighbours and there was a marked change in the repertoire of any individual from one year to the next. In marked contrast, daytime vocalization repertoires of neighbouring groups were virtually indistinguishable and changed little from year to year. These findings, together with information from recent literature, suggested that the two song classes had a different ontogeny, function and possibly evolution. It was proposed that territory declaration was the function of dawn singing by grey butcherbird family groups but that the function most consistent with adult male dawn song was attraction of females for extra-pair copulations. It was suggested that chorusing itself was to some extent an accidental by-product of the advantage to the individual or group of singing at dawn although a recently proposed function, the social dynamics function, could not be ruled out. Further differences from the Northern Hemisphere situation were detected in subsong. First, subsong was given by birds in their first year and also by adult males. The finding of subsong in adult males was not without precedent as it has been documented previously for a small number of passerines, especially those that change repertoire from year to year. Subsong in young (first year) birds, however, was unusual in that birds practised in small groups rather than in the complete isolation usually associated with subsong. Moreover they did not practise adult male song but instead practised group daytime vocalizations. It was suggested that it was important for birds to learn to sing in company for the important task of group territory defence. Further investigation of the literature and observations during the present study revealed similar vocalization classes and behaviours in other members of the Artamidae and other endemic Australasian taxa. These literature investigations also revealed that the possession two song vocalization classes was quite widespread although they tended to be restricted (but not exclusive) to males rather than found in males and females. These findings led to furtherresearch into the significanceofAustraliain the evolution of songbirds, the role of co-operative breeding in Australianpasserines, and finally to an hypothesis for a possible origin of male bird song. It is suggested that male song arose in a social environment where the male and female were in frequent vocal communication. If the tendency to seek extra-pair copulations (EPCs) and female choice had already been incorporated into the suite of passerine behaviours, it would be necessary to avoid the mate during such activities and the male would need to advertise with a signal distinct from group vocalizations. Early dawn, with poor light conditions, could be a favourable time for these activities. Thus it is proposed that the ancestral condition was with all group members singing most vocalisations, the intermediate situation was similar to that in the grey butcherbird and the 'advanced' condition was where female and other group member vocalizations (other than calls) have dropped out and only male song remains.
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Ward, Marilyn. "The extent to which American children's folk songs are taught by general music teachers throughout the United States." [Gainesville, Fla.]: University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000820.
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Boychuk, Volodymyr. "Vivady : wedding songs of Ukrainians from Bosnia /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22518.pdf.
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Lee, Cheuk-ying Esther. "A study of Chao Zhou children songs." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36942935.
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Lau, Man-chun. "A study of Hong Kong popular music industry (1930-2000) 1930 zhi 2000 nian jian Xianggang liu xing yin yue gong ye de bian qian /." Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B4389608X.
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Nolan, Tess. "A phonetic investigation of vowel variation in Lekwungen." Thesis, 2017. http://hdl.handle.net/1828/8062.
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This thesis conducted the first acoustic analysis on Lekwungen (aka Songhees, Songish) (Central Salish). It studied the acoustic correlates of stress on vowels and the effects of consonantal coarticulatory effects on vowel quality. The goals of the thesis were to provide useful and usable materials and information to Lekwungen language revitalisation efforts and to provide an acoustic study of Lekwungen vowels to expand knowledge of Salishan languages and linguistics.
Duration, mean pitch, and mean amplitude were measured on vowels in various stress environments. Findings showed that there is a three-way contrast between vowels in terms of duration and only a two-way contrast in terms of pitch and amplitude.
F1, F2, and F3 were measured at vowel onset (5%), midpoint (50%), and offset (95%), as well as a mean (5%-95%), in CVC sequences for four vowels: /i/, /e/, /a/, and /ə/. Out of five places of articulation of consonants in Lekwungen (alveolar, palatal, labio-velar, uvular, glottal), uvular and glottal had the most persistent effects on F1, F2, and F3 of all vowels. Of the vowels, unstressed /ə/ was the most persistently affected by all consonants. Several effects on perception were also preliminarily documented, but future work is needed to see how persistence in acoustic effects is correlated with perception.
This thesis provides information and useful tips to help learners and teachers in writing and perceiving Lekwungen and for learners learning Lekwungen pronunciation, as a part of language revitalisation efforts. It also contributes to the growing body of acoustic phonetic work on Salishan languages, especially on vowels.Graduate
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Mendisi, Martha Dolly. "Political songs." Thesis, 2015. http://hdl.handle.net/10210/14481.
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Chen, Hsi-Ching, and 陳錫慶. "Those Songs." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/92479341203805693733.
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Wen, Chia-Lin, and 溫佳霖. "Four songs from Richard Strauss op. 68 《Brentano Songs》." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/38a7b5.
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碩士國立臺北藝術大學
音樂學系碩士班
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Richard Strauss(1864~1949), the composer who lived in the end of the 19 century and the beginning of 20 century of Late-romantic Period. The 85 years of his life, he had personally seen the great change of policy, society and culture of Europe. He was living between 19 and 20 century and had experienced World War I and II, and also survived over the time of Hitler. And his works of arts songs fallow the beginning of Classical style. Step by step, as Wagner he developed his own special idea of music. His work became more and more with his own style then established his typical “Strauss” melody, complicated chords, arrangement of harmonic, and the good using of motivation in his arts songs. This thesis emphasizes a target to lie in a research and inquires into a history the characteristic and style of Strauss works especially, and make from the literature beauty and style of Brentano’s poems. Starting from the process of Strauss songs, more deeply research and make these works in orders. With the time of history, life, and conclusion to introduce Strauss, and then discuss about Strauss songs from the idea of creating, the time of creating, style and the type of song. Set out from the German romance parties’ literature backgrounds on the other hand, take in to introduce Brentano’s life, work, and the real examples of poem that using for the music. Take into again to analyze 4 songs which were chosen from Brentano songs. The last one chapter is a conclusion.
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Brubacher, Jonathan Scott. "Two Orchestral Songs." 2012. http://hdl.handle.net/1807/32672.
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The song cycle, Two Orchestral Songs, is a setting of two texts by Canadian poet Gwendolyn MacEwen (1941–1987) from her 1969 collection, The Shadow-Maker. The texts are symbolic in nature and discuss the question of personal sacrifice. In “The Sacrifice,” the narrator observes leaves falling in autumn and compares this “necessary death” against the “unnecessary” sacrifices that we make when we lay down our most beautiful aspects, our “golden selves,” at the “altars of the world” in order to please some external arbiter (the “shapeless ghost”). However, much like a man raking leaves in autumn, these dropped aspects get gathered up by “the Gardener” (a metaphor for Time), and we are left questioning whether our deliberate sacrifices enabled us to achieve the divine end to which we were intended. “How Weeps the Hangman,” employs similar imagery of leaves representing the “season’s sacrifice” of “pain, love, glory, blood.” The titular metaphor of the Hangman, however, draws on tarot imagery, specifically the twelfth Major Arcana card known as The Hanged Man, which depicts a man hanging upside-down by one foot from a cross or living tree; the man’s facial expression is usually neutral, not an expression of suffering. The card is interpreted in various ways as meaning sacrifice, letting go, surrender, and acceptance. In MacEwen’s poem, the narrator places herself (and us) on the way to the scaffold to offer up our seasonal sacrifices, but the lingering question focuses not on the object (us, The Hanged Man), but on the agent of change, the hooded Hangman who “does his duty to you and me.” She wonders what pain our own whimpering in the sacrificial process causes to him, whether he and the “embarrassed tree” weep at our losses.
The musical language of this composition employs extended tonal key areas based on synthetic scales, in particular the four transpositionally related enneatonic scales. The harmonies are largely tertian in structure, with added tones and superimposed sonorities creating an effect of bitonality. The imagery of dropping leaves is recreated musically by the prominent use of descending seconds and descending thirds in the melodic and accompanying parts.
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Brodsky, Lisa Marie. "Romantic circus songs." 2005. http://catalog.hathitrust.org/api/volumes/oclc/61190586.html.
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luciano and 陳君豪. "Gustave. Mahler「Youth age songs second volume」 songs analysis and annotation." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/44279854154965437375.
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