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1
Lin, Shen-An. "The Lieder of Beethoven: A Stylistic Analysis." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc500227/.
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Beethoven is generally acknowledged to be the most important composer of the 19th century. However, many critics and musicologists dismiss Beethoven's Lieder as being of less musical value and sophistication than his more instrumentally conceived late vocal writings. The true musical sophistication of Beethoven's Lieder can be discovered by a careful study of the harmonic structure and the relationship between the vocal and the piano part in Beethoven's Lieder. In discussing Beethoven's Lieder style based on analysis, a number of aspects shall be examined: (1) the harmonic idiom and key relationships; (2) the role of the piano; and (3) other stylistic features.
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Park, Jinha. "Piano music of Elisenda Fabregas| A stylistic analysis." Thesis, University of South Carolina, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3561836.
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The purpose of this study is to present a stylistic analysis of the piano music by American-Spanish composer and pianist Elisenda Fábregas (b.1955). Fábregas' compositional output includes more than forty works for solo, chamber ensemble, vocal, chorus and orchestra; her large-scale piano works consist of Mirage (1997), Portraits I (2000), Homenatge a Mompou (2006), and Hommage à Mozart (2006). Chapter I consists of an introduction, including the purpose of the investigation and a literature review. Chapter II covers brief biographical information, compositional genre and style, and compositional output of piano, vocal and chamber music. Chapter III provides a stylistic analysis of the four concert piano works of Fábregas: Mirage (1997), Portraits I (2000), Homenatge a Mompou (2006) and Hommage à Mozart (2006). Chapter IV consists of a summary, conclusion, and recommendations for further research.
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Goverts, Desirée Elise. "A linguistic and stylistic analysis of the Bórama." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707968.
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Lister, W. "A stylistic analysis of 'Jacob's Well' (chapters 1-50)." Thesis, University of Southampton, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372483.
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Williams, Laura M. "Libby Larsen's Seven Ghosts: A Stylistic and Gestural Analysis." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1335442135.
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Keene, Nadene Ann McMahan Elizabeth. "Male/female language a stylistic analysis of freshman compositions /." Normal, Ill. Illinois State University, 1985. http://wwwlib.umi.com/cr/ilstu/fullcit?p8608951.
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Thesis (D.A.)--Illinois State University, 1985.Title from title page screen, viewed July 1, 2005. Dissertation Committee: Elizabeth McMahan (chair), Janice Neuleib, Maurice Scharton, Ronald Halinski. Includes bibliographical references (leaves 73-75) and abstract. Also available in print.
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Srinivasan, Sharada. "Archaeometallurgical and stylistic re-analysis of South Indian statuary bronzes." Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619148.
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Broad, Lynne English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Chris Marker: A stylistic analysis of his film and media work." Publisher:University of New South Wales. English, Media, & Performing Arts, 2009. http://handle.unsw.edu.au/1959.4/41548.
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This thesis explores the poetics of editing in the films and multimedia works of Chris Marker. From his first essay films of the 1950s to his 1998 CD-ROM Immemory, the directors work has attracted critical attention for its beauty and originality of expression. Much existing analysis engages with this work in terms of its subject matter and themes and their relationship with its associational, rather than linear, narrative form, with relatively little focus on the stylistics of Markers editing. While questions of the directors thematic concerns also arise in my study, I argue that Markers contribution to cinema and the visual arts cannot be fully appreciated without a systematic understanding of his stylisticshis expressive use of cinematic forms and patterns. In developing such an understanding, this thesis utilises the work of a number of film writers explicitly concerned with the expressive use of cinematic space and time. From Andr?? Bazin, I take the idea of rapprochement to mean the way the comparison between two juxtaposed events or images suggests or expresses the meaning of their juxtaposition. From Jean-Andr?? Fieschi, I draw on the idea that the dialectical interaction of the plastic, formal and narrative elements of a film gives meaning to its cinematic space and time. My approach synthesises and builds upon both ideas for its account of the stylistics of Markers work. Starting with a preliminary analysis of one cinematic comparison in The Case of the Grinning Cat (2004), I then consider Markers exploration of the imaginative potential of a single image sequence in The Last Bolshevik (1993). After this, I explore examples of the stylistic figure of rapprochement in Letter from Siberia (1958), and the stylistic figure of transformation in Sunless (1982). The thesis then studies articulations of rapprochement and transformation in the museum installations Zapping Zone: Proposals for an Imaginary Television (1991), Silent Movie (1995) and the CD-ROM Immemory.
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Holm, Margaret Ann. "Prehistoric Northwest Coast art : a stylistic analysis of the archaeological record." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29932.
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This thesis is a stylistic study of the prehistoric art record from the Northwest Coast of North America. Its purpose is three-fold: to describe the spatial and temporal variation in the stylistic attributes of prehistoric art; to evaluate theories on the evolution of the Northwest Coast art tradition; and to comment on the possible factors behind variation in the prehistoric art record.
This study examines stylistic attributes related to representational imagery, concentrating on five variables: decorated forms, carving techniques, design elements, design principles, and motifs. The core sample consists of anthropomorphic and zoomorphic images from dated archaeological contexts; a total of 242 artifacts from 58 sites are examined. The material is presented in chronological order corresponding to the Gulf of Georgia prehistoric cultural sequence.
The major finding of this study is that by the end of the Locarno Beach phase or the beginning of the Marpole phase the essential character of the Northwest Coast art style had developed. There are new developments in the late period, but the evidence presented suggests a previously undocumented stylistic continuity from the late Locarno Beach phase to historic Coast Salish art with no decline in quality or productivity. This study indicates that, as far back as the record extends, three-dimensional, naturalistic forms and two-dimensional incising and engraving techniques have equal antiquity. From the Locarno Beach phase onward the flat, engraved style and the three-dimensional sculpture style developed together; the formline concept developed very early out of the raised, positive lines created by deep engraving in antler.Arts, Faculty of
Anthropology, Department of
Graduate
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Teranishi, Masayuki. "Polyphony in fiction : a stylistic analysis of Middlemarch, Nostromo, and Herzog /." Oxford ; Bern Berlin Bruxelles Frankfurt, M. New York, NY Wien : Lang, 2008. http://d-nb.info/987953192/04.
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Dizon, Rachelle. "A Stylistic Analysis of Tom Flaherty’s (b. 1950) Works for Clarinet." Diss., North Dakota State University, 2018. https://hdl.handle.net/10365/27953.
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Composer Tom Flaherty (b. 1950) received a 2016 Grammy award nomination for his piece Airdancing for Toy Piano, Piano and Electronics (2013) in the category of Best Chamber Music/Small Ensemble Performance. He has also received numerous grants, prizes, awards, and residencies from organizations including the National Endowment for the Arts, the National Endowment for the Humanities, and the American Music Center. His most recognized work for clarinet is Three Pieces for Clarinet (1982), which won the Delius Composition Contest in 1985 and is included on Eric Mandat’s 1991 album, The Extended Clarinet. Even though Flaherty has received recognition for Three Pieces, his clarinet works as a whole are rarely performed today. His two works for clarinet and piano, Diversion (1985) and Scherzo (1995), remain unknown in the clarinet repertoire. Furthermore, Diversion has been available only in manuscript. Because very little information about Flaherty and his works for clarinet exists, this dissertation provides a stylistic analysis of Three Pieces, Diversion, and Scherzo, and discusses the performance implications of that analysis. Also included in the dissertation is a performance edition of Diversion and the transcription of my interview with the composer. Flaherty’s compositions for clarinet are technically and musically demanding. One of the most challenging aspects of these works is the way Flaherty manipulates pulse. Rhythmic complexity also tends to obscure the listener’s perception of steady pulse and metrical consistency. In each of these works for clarinet, three compositional elements work together to clarify form: melodic contour, intervallic emphasis, and rhythmic devices. This analysis identifies significant musical features that impact form and provides a methodological approach for musical interpretation. It also provides musicians with useful tools to perform these works with musical conviction, which in turn may bring recognition to Flaherty’s lesser-known works, hopefully making them a part of standard contemporary clarinet repertoire.
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Owiti, Beatrice. "Courtroom interpretation from Dholuo to English : a stylistic and pragmatic analysis." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/30239/.
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Earlier studies on interpretation such as Garcés (1996) and Hale (2004) show that interpreters often make the mistake of conveying only the semantic meaning; ignoring, misunderstanding or simply not conveying the pragmatic meaning of utterances. Other studies have also touched on issues of the classification of the types of errors made during interpretation Mead (1985), Karton (2008) and Kiguru (2008); they do not, however, provide a good understanding of errors that lead to stylistic and pragmatic modifications in interpretation from and to indigenous African languages. Research on interpretation in Kenyan courts is limited and there is none that examines Dholuo-English interpretations. Consequently, there is a need to have a broad and deep understanding of the stylistic and pragmatic meaning of modifications involving Dholuo-English data. The literature reviewed includes literature on courtroom interpreting and literature on meaning shifts in the courtroom. This study investigates courtroom interpretation using critical stylistic tools to determine the stylistic and pragmatic changes and their impact on ideation and interpersonal communication in the Target Text. The critical stylistic tools used from Jeffries (2010) are: presenting other people’s speech and thoughts, presenting actions and state, as well as naming and describing. In the data analysis, for presenting the speech of others, I use the reported speech categories by Short (2012) to examine fidelity to the text, for the description of actions and states I ground my work in the transitivity model by Halliday as explained by Simpson (1993) and for naming and description I use Halliday’s Functional Grammar to describe the Noun group. For analysis of pragmatic modifications during interpretation, the research is grounded in Austin’s (1962) Speech Act Theory and Grice’s (1975) Cooperative Principle. The data analysed consists of 12 court cases. The data collected is analysed using qualitative methods of analysis in order to determine inferences, give explanations and make conclusions. The results show changes in the Target Text which include: modifications to adhere to felicity conditions, passivisation to conform to how Dholuo reports speech from senior people, misreporting while using direct speech, distortion of facts, expansion of meaning, vagueness, changes to the verb processes, use of explanations, use of euphemisms that obscure meaning, changes in the tone of the source text and changes in the pre and post modifications of nouns that cause meaning loss. Reasons for these changes are: culturally bound words and phrases, legal jargon which has no Dholuo equivalents, specialised Kenyan English vocabulary, the nature of courtroom interpretation, the additional duties courtroom interpreters in Kenya carry out, as well as lack of training. This research uncovered a new role for interpreters in the courtroom of striving to maintain the dignity of the court as well as a new feature of adherence to felicity conditions in judgements.
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Dicus, Kent Timothy 1958. "A stylistic analysis of selected piano works of Louis Moreau Gottschalk." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276718.
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Although Louis Moreau Gottschalk's works are not generally recognized as being exceptionally significant in the development of musical style, they do serve as a link between the music of Frederic Chopin and that of Charles Ives. Certain stylistic characteristics of Chopin are seen in many of Gottschalk's works, especially those which incorporate "Scherzo" and "Mazurka" passages. Simultaneously, Gottschalk's concept of using popular tunes as prominent melodies and themes was later expanded by Charles Ives. Gottschalk's works include some of America's first experimentations with form through utilization and expansion of the basic form of ABA Coda. Through his use of varied ABA form with repeated and parallel passages, Gottschalk developed his particular style of phrasing, texture, and rhythm, all of which figure prominently in his works. Four pieces are examined with these concepts as the basis for analysis.
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Baljko, Melanie A. "Ensuring stylistic congruity in collaboratively written text, requirements analysis and design issues." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq29236.pdf.
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Power, Brian Edward. "The polyphonic introits of Trento, archivio capitolare, MS 93, a stylistic analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/NQ45757.pdf.
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Morgan, Maggie. "The polyphonic "voice of society" a stylistic analysis of Our mutual friend /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/2007%20Spring%20Theses/MORGAN_MAGGIE_15.pdf.
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Kim, Jichan. "A stylistic and structural analysis of the Samson story (Judges 13-16)." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.
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Bragina, Jekaterina. "A cognitive stylistic analysis of J.R.R. Tolkien's fantasy world of Middle-earth." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3873/.
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This study provides an extensive cognitive stylistic analysis of one of the most intricate and vast high fantasy worlds created in modern literature – J. R. R. Tolkien’s Middle-earth. The two most popular works that describe this single world are The Hobbit and The Lord of the Rings. The analysis of these texts is conducted using modern cognitive stylistic and linguistic theories (Text World Theory, Schema Theory, Possible Worlds Theory and Cognitive Metaphor Theory), as well as tools from narratology (point of view and focalisation) and discourse stylistics (phraseology and reference studies). The study explores how Tolkien’s skilful stylistic usage of language enables the readers to construct a vast and detailed alternative world in their minds, making use of the combination of general knowledge and the information provided by the texts. In order to investigate and describe from a cognitive perspective some possible ways in which readers construct the fantasy world of Middle-earth, the following specific questions are addressed: 1) How does cognitive research explain how readers go beyond the words on the page to set up rich mental representations of alternative worlds? 2) How do narrative and linguistic features such as focalisation, metaphor, phraseology and reference contribute to the representation of locations, situations and characters? 3) What particular functions are performed by these linguistic features in terms of fantasy world-building? After the introduction (chapter one), the six subsequent chapters are divided into three parts analysing the texts from three different perspectives. Part I (containing chapter two) deals with the narratological aspect, analysing narrative (non-dialogue) text in terms of character focalisations, narratorial omniscience and the narrator’s identity. In part II (containing chapters three and four) world theories are used to analyse the texts. In chapter three, Text World Theory and Schema Theory are applied to The Hobbit, examining the construction of the initial text-world in the first chapter of the story, the ways the world’s inhabitants are introduced into the world, as well as the construction of the intermediate world linking the fantasy world with the empirical one. In chapter four, Possible Worlds Theory is applied to both texts, analysing the world of Middle-earth in terms of its truth-value, its distance from the empirical world as perceived by the reader and its saturation with lifelike details. Part III (chapters five, six and seven) deals with specific stylistic devices that serve as world-building tools in both texts. Chapter five draws on Cognitive Metaphor Theory to analyse personified nature, which accounts for the philosophical aspect of the world of Middle-earth. Chapter six is devoted to the analysis of stylistic modifications of idiomatic expressions (phraseological units), which are influenced by the high fantasy genre of the texts. In chapter seven, the stylistic device of underspecification (the use of indefinite referential expressions) is analysed, exposing its paradoxical expanding effect on the fantasy world. In the concluding chapter (chapter eight), the findings of the analyses are consolidated into a set of world-building functions that are performed by the linguistic features analysed.
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Dizon, Rachelle. "A Stylistic Analysis of Tom Flaherty?s (b. 1950) Works for Clarinet." Diss., North Dakota State University, 2018. https://hdl.handle.net/10365/27953.
Full textAbstract:
Composer Tom Flaherty (b. 1950) received a 2016 Grammy award nomination for his piece Airdancing for Toy Piano, Piano and Electronics (2013) in the category of Best Chamber Music/Small Ensemble Performance. He has also received numerous grants, prizes, awards, and residencies from organizations including the National Endowment for the Arts, the National Endowment for the Humanities, and the American Music Center. His most recognized work for clarinet is Three Pieces for Clarinet (1982), which won the Delius Composition Contest in 1985 and is included on Eric Mandat?s 1991 album, The Extended Clarinet. Even though Flaherty has received recognition for Three Pieces, his clarinet works as a whole are rarely performed today. His two works for clarinet and piano, Diversion (1985) and Scherzo (1995), remain unknown in the clarinet repertoire. Furthermore, Diversion has been available only in manuscript. Because very little information about Flaherty and his works for clarinet exists, this dissertation provides a stylistic analysis of Three Pieces, Diversion, and Scherzo, and discusses the performance implications of that analysis. Also included in the dissertation is a performance edition of Diversion and the transcription of my interview with the composer. Flaherty?s compositions for clarinet are technically and musically demanding. One of the most challenging aspects of these works is the way Flaherty manipulates pulse. Rhythmic complexity also tends to obscure the listener?s perception of steady pulse and metrical consistency. In each of these works for clarinet, three compositional elements work together to clarify form: melodic contour, intervallic emphasis, and rhythmic devices. This analysis identifies significant musical features that impact form and provides a methodological approach for musical interpretation. It also provides musicians with useful tools to perform these works with musical conviction, which in turn may bring recognition to Flaherty?s lesser-known works, hopefully making them a part of standard contemporary clarinet repertoire.
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Odendaal, Andries Albertus. "The piano music of Peter Klatzow : a stylistic analysis of selected works." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/11716.
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The piano music of Peter James Leonard Klatzow forms an integral part of his musical output. An analysis of these works may provide useful insight into the compositional style of this South African composer. Jan LaRue's theory of stylistic analysis formed the inspiration for the analytical approach of the thesis, and the main focus of this analysis is the 1994 composition, From the Poets. This work is analysed in terms of use of sound, harmony and melody in order to attempt an understanding of how these elements impact and contribute to the sense of structure. Other works that have been completed since 1980 are analysed in terms of the main motivic and harmonic material, with occasional reference to other musical parameters that are important for an understanding of the musical discourse.
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Nelson, Amy. "A Stylistic Analysis of American Indian Portrait Photography in Oklahoma, 1869-1904." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2785/.
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This thesis studies the style of Native American portrait photographs of William S. Soule (1836-1908), John K. Hillers (1834-1925), and William E. Irwin (1871-1935), who worked in Oklahoma from 1869 to 1904. The examination of the three men's work revealed that each artist had different motivations for creating Native American portrait photographs, and a result, used a distinct style. However, despite the individual artistic styles, each artist conformed to Native American stereotypes common during the nineteenth-century. The thesis includes a discussion of the history of the area, photographer biographies, a stylistic analysis of the photographs, and how the images fit into American Indian stereotypes.
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Smith, Nicola-Jane. "A stylistic analysis of written language behaviour with practical application to anonymous threat letters." Thesis, University of Surrey, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320911.
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Tarafdar, Arundhati. "Wordspotting from multilingual and stylistic documents." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR4022/document.
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Les outils et méthodes d’analyse d’images de documents (DIA) donnent aujourd’hui la possibilité de faire des recherches par mots-clés dans des bases d’images de documents alors même qu’aucune transcription n’est disponible. Dans ce contexte, beaucoup de travaux ont déjà été réalisés sur les OCR ainsi que sur des systèmes de repérage de mots (spotting) dédiés à des documents textuels avec une mise en page simple. En revanche, très peu d’approches ont été étudiées pour faire de la recherche dans des documents contenant du texte multi-orienté et multi-échelle, comme dans les documents graphiques. Par exemple, les images de cartes géographiques peuvent contenir des symboles, des graphiques et du texte ayant des orientations et des tailles différentes. Dans ces documents, les caractères peuvent aussi être connectés entre eux ou bien à des éléments graphiques. Par conséquent, le repérage de mots dans ces documents se révèle être une tâche difficile. Dans cette thèse nous proposons un ensemble d’outils et méthodes dédiés au repérage de mots écrits en caractères bengali ou anglais (script Roman) dans des images de documents géographiques. L’approche proposée repose sur plusieurs originalitésWord spotting in graphical documents is a very challenging task. To address such scenarios this thesis deals with developing a word spotting system dedicated to geographical documents with Bangla and English (Roman) scripts. In the proposed system, at first, text-graphics layers are separated using filtering, clustering and self-reinforcement through classifier. Additionally, instead of using binary decision we have used probabilistic measurement to represent the text components. Subsequently, in the text layer, character segmentation approach is applied using water-reservoir based method to extract individual character from the document. Then recognition of these isolated characters is done using rotation invariant feature, coupled with SVM classifier. Well recognized characters are then grouped based on their sizes. Initial spotting is started to find a query word among those groups of characters. In case if the system could spot a word partially due to any noise, SIFT is applied to identify missing portion of that partial spotting. Experimental results on Roman and Bangla scripts document images show that the method is feasible to spot a location in text labeled graphical documents. Experiments are done on an annotated dataset which was developed for this work. We have made this annotated dataset available publicly for other researchers
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Walker, Brian David. "Character and characterisation in Julian Barnes' Talking it over : a corpus stylistic analysis." Thesis, Lancaster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.625457.
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This thesis combines stylistics with tools and methods from corpus linguistics to investigate character and characterisation in Julian Barnes' novel Talking It Over. The analysis is guided by Culpeper's (2001) checklist of textual character cues, which I first assess and then amend in I order to take into account the presence of a narrator in prose fiction. The corpus analysis uses primarily WMatrix (Rayson 2009), but is assisted, when necessary, by AntConc (Anthony2011). My analysis focuses on the three main characters in the novel (Stuart, Oliver and Gillian), who are also the principle narrators, and looks at how impressions of these character-narrators are formed from the information provided in their narrations. I use statistical comparison, and the associated notion of keyness, to provide potential foci for further analysis. My thesis thus tests out the potential link between statistical salience and interpretative relevance, and the link between (automated) quantitative analysis and qualitative analysis.
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Nakagawa, Eri. "A stylistic analysis of the piano trios of Saint-Sa�ens and Ravel." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1063301.
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Both Camille Saint-Saens (1835-1921) and Maurice Ravel (1875-1837) were outstanding composers of the late nineteenth century and the early twentieth century who followed and transmitted the specifically French tradition. Ravel studied at the Paris Conservatoire with Gabriel Faure (1845-1924), who was a student of Saint-Satins. SaintSaens's Trio No. 1, Op. 18, was written in 1863, while he was teaching a the Ecole Niedermeyer. As one of the earliest works by the composer, it reveals his conservative style in the well-defined four-movement structure, particularly characterized by classical periodization and clarity of texture. Saint-Sadns's Trio No. 2, Op. 92, was written in 1892, when he was more mature and better known as both composer and performer. Written twenty-nine years after the first trio, the second trio is more ambitious and complicated than the first trio. The second trio exhibits elaborate harmonies and extensive sonata structure, including a fugue within an unusual five-movement framework.Ravel's trio was completed in 1914, shortly after the start of the First World War, at Saint-Jean-de-Luz in Basque country. I The trio displays new sonorities and expression achieved by brilliant string techniques and powerful, vertical piano writing, as well as the employment of various kinds of non-traditional scales. Within a four-movement structure, the second movement, entitled Pantown, a poetic form of Malayan origin, is most original, including the middle section in polymeter.The analyses of these three trios reveal significant similarities in stylistic and formal characteristics. All three trios preserve the outline framework of the traditional sonata concept. Saint-Sa&ns's second trio and Ravel's trio include passacaglia movements, based on the Baroque form. All three trios employ folk elements: the modal style of certain themes, and certain rhythms; e.g., the Basque dance rhythm, zoriko, appears in Saint-Saans's second trio and Ravel's trio. The use of quintuple time in both trios also shows the Basque influence. Among other common characteristics are rhythmic ostinato and thematic juxtaposition. All three trios represent trends in French music between the late nineteenth century and the early twentieth century: nationalism and neoclassicism.School of Music
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Caswell, Nicole I. "Sensing and intutitive preferences : a stylistic analysis of first year composition student writing." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390653.
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Research in psychological type theory – especially that done by Jensen and DiTiberio on type and composition – has offered writing teachers another way to understand the different writing processes of their students. One aspect of composition that has not been researched with regard to psychological type theory is the writing style of students. This study proposes a relationship between psychological type theory (specifically the sensing and intuition continuum) and the writing styles of First Year Composition students. Seventy-two students participated in the study, taking the MBTI (Myers-Briggs Type Indicator) and submitting their diagnostic essays to be analyzed using Corbett's stylistic analysis. The results suggest a relationship between writing style and personality type that teachers can use to tailor lesson plans for students (in areas such as revision and audience awareness) to increase student growth.Department of English
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Iwamoto, Noriko. "Newspaper discourse in wartime and peacetime Japan : a contrastive linguistic and stylistic analysis." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/21319.
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This thesis explores the relationship between situational contexts and the linguistic and stylistic features of politicized language within the theoretical framework of Systemic Functional Linguistics proposed by M.A.K. Halliday and others. The main area of research chosen is the wartime discourse of Japanese journalism during the Second World War. The research demonstrates the existence of a wartime register (as representation of real war) and characterizes its major stylistic and linguistic features. The secondary area chosen for the purpose of contrastive analysis is peacetime discourse concerning international conflict, (1) the Olympic Games and (2) whaling. In wartime discourse, journalism not only plays a significant role in maintaining public morale but is an active participant in the construction of the war effort. In the presentation of news, journalistic reports implicitly reconstruct reality by foregrounding death as sacrifice, glorious, and noble, the enemy as weak, and by obscuring a threatening situation by backgrounding defeats and losses. This reconstruction has the intention to regulate and control the ideas and behaviour of people, and to form a strong sense of solidarity in the nation. For this function, linguistic resources are exploited to structure, transform and sometimes mask 'reality' so that newly created discourse can articulate and legitimize new orders of reality which will meet the demands of a particular social situation such as consolidating the power of the state to wage war. Journalism in peacetime discourse, on the other hand, is not harnessed to a war effort and, thus, the use of linguistic devices to foreground and background news events is not an instrument of state power in an open society. The theoretical framework of Systemic Functional Linguistics is utilized in this research to provide an illustration and examination of the range and complexity of various linguistic and stylistic devices used in journalistic discourse.
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Xin, Yuchen. "Wittgenstein's Tractatus logico-philosophicus and Kafka's Oktavhefte| A comparative stylistic and philosophical analysis." Thesis, University of Colorado at Boulder, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1552100.
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In the mid 1920s, reflecting the concerns of the "Sprachkrise ", Ludwig Wittgenstein and Franz Kafka composed writings deeply concerned with language's ability to express human thought. In his Tractatus Logico-Philosophicus, Wittgenstein attempted to draw the boundary of meaningful language. During the same period, Kafka developed his thoughts on language and ethics in his Oktavhefte. I compare these works, showing that they share an understanding of language as a domain bound within the physical world and incapable of expressing our spiritual being. Presenting itself as rigorous philosophical writing, Wittgenstein's Tractatus constantly reminds its reader of the limitations of its own logical and philosophical language by claiming itself to be "nonsense" and only a ladder the reader should climb and get rid of. Kafka, without constructing rigorous logical arguments, composed a critique demonstrating the unnaturalness of natural language and showing that its poetic nature lets language transcend its own boundaries.
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Ogborne, Jennifer Honora. "Chickahominy Stylistic Expression: Preliminary Motif Analysis of Ceramics of the Chickahominy River Drainage." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539626446.
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Chan, Kam-wing Philip. "The stylistic analysis of literary language in relation to English teaching in Hong Kong." Click to view the E-thesis via HKUTO, 1987. http://sunzi.lib.hku.hk/hkuto/record/B31948935.
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Chan, Kam-wing Philip, and 陳錦榮. "The stylistic analysis of literary language in relation to English teaching in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31948935.
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Clarke, John Wright. "A regional survey and stylistic analysis of Tibetan non-sculptural metalworking, c.1850-1959." Thesis, SOAS, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309320.
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Carter, Justin. "The chamber music of Hendrik Hofmeyr: an investigation and stylistic analysis of selected works." Doctoral thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30433.
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Hendrik Hofmeyr, professor and head of composition at the South African College of Music at the University of Cape Town, is probably the most performed and commissioned composer living in South Africa today. Chamber music forms an integral part of Hofmeyr’s musical output. The overwhelming majority of these works have been produced in the last ten years, demonstrating his growing interest in this genre of music. Furthermore, this demonstrates musicians’ increasing desire for Hofmeyr to compose more chamber works, as most of these compositions are commissions or requests, intended to be premiered and played by specific artists or ensembles. His chamber works already include seven duo sonatas, two trios with piano, two string quartets and a clarinet quintet, among many other lesser works. Indeed, of his roughly 190 numbered compositions, at least 29 are original chamber works (15% of the total). These are also supplemented with several important arrangements within the genre. With this in mind, the research presented here aims to explore each of these major chamber works, contextualise them, as well as examine them from their points of origin, their stylistic conception and musical characterisation. This analysis should provide useful insights into the compositional style of this South African composer. The guidelines of stylistic analysis presented by Jan LaRue form the inspiration for the analytical approach to be taken.1 Up to this point, there has been little discourse, especially in terms of analysis or comprehensive research, which has focussed on any of the chamber works by Hofmeyr. As such this research hopes to break new ground by investigating this important portion of his oeuvre, while at the same time bringing insights and reflections upon these pieces from the composer’s points of view, and then analysing and commenting on the formal structure, harmonic language, melodic writing and musical detail they contain as well as the sound world they create. Ultimately, by comprehensively examining Hofmeyr’s chamber music, and by keeping in mind the historical context, this aspiringly ground-breaking discussion looks towards highlighting what amounts to a much under-valued body of work within South African music.
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Grace, Victoria. "The Goddess of Victory : a philological and stylistic analysis of Sarasvatī in the Ṝgveda." Strasbourg, 2011. http://scd-theses.u-strasbg.fr/2495/.
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Ma thèse a pour objet le rôle de la déesse-fleuve Sarasvatī dans le Ṛgveda, le plus ancien texte de l’Inde en sanskrit védique (2ème millénaire av. N. è). Sarasvatī est l’une des rares divinités védiques dont le culte persiste jusqu’aux temps modernes, et cela malgré son statut mineur dans le Ṛgveda où son nom apparaît dans 71 strophes et trois hymnes qui lui sont adressés. La thèse cherche à résoudre la dichotomie entre la nature physique et mythologique de la déesse, notamment que les tribus védiques vénéraient un fleuve du nom de Sarasvatī qui se desséchait progressivement en même temps qu’elles la célébraient comme déesse de la poésie. Une analyse des attributs, des actions et des requêtes adressés à la divinité montre qu’elle a cinq fonctions distinctes : fleuve, elle est aussi une déesse de la guerre, des joutes verbales, de la poésie et de la fertilité. Ces diverses fonctions ne sont pas en contradiction les unes avec les autres : elles sont liées entre elles par une série de connexions. Il apparaît que le fleuve formait jadis une frontière territoriale séparant les tribus indo-aryennes de la population indigène du sous-continent indien, ce qui a fait de Sarasvatī une déesse guerrière. La confrontation guerrière se répercute dans la sphère du sacrifice où Sarasvatī a une fonction en tant que déesse des joutes poétiques. Les fréquentes sollicitations en vue de l’assistance aux patrons-guerriers dans les guerres et aux poètes dans les joutes montrent qu’elle est, dans le Ṛgveda, avant tout une déesse de la compétition et de la victoire. Cette interprétation de Sarasvatī est tout à fait inédite et jette une nouvelle lumière sur son personnage dans la religion védiqueThis thesis examines the role of the river goddess Sarasvatī in the Ṛgveda, the most ancient text of the Indian corpus from the second millennium B. C. E. Sarasvatī is one of the few Vedic deities to have endured through to modern-day Hinduism despite her minor status in the Ṛgveda where her name appears just 71 times with only three hymns dedicated to her. The thesis seeks to resolve the dichotomy between the physical and mythical reality of the goddess by examining why the Vedic people worshipped a river that was seemingly in a state of desiccation and simultaneously revered it as a goddess of poetry. An analysis of all her attributes, actions, and requests reveals that her personality comprises five distinct aspects, which determine her unique role in the Vedic religion: she is a river but also a goddess of war, verbal contests, poetry, and fertility. These aspects are not at variance with one another, but are rather linked via a series of connections in such a way that her function as a goddess of poetry is tied to her physical nature. It seems that the river at one time formed a territorial boundary dividing the migrating Indo-Aryans tribes from the indigenous population of the Indian subcontinent, which in turn led to Sarasvatī becoming a warrior goddess. This military competition is then reflected in the sacrificial domain where she holds the function of a goddess of poetic contests. The frequent requests for Sarasvatī to assist the warrior-patrons in battle and the poets in the verbal contests show that her most central roles are as a goddess of competition and victory. This wholly-revised perspective thus throws new light on her function in the Vedic religion
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Trout, Marion T. (Marion Thomas). "The Offstage Effect: An Historical and Stylistic Perspective with Performance Considerations for Trumpet." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278691/.
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The present study does not attempt to present a complete or exhaustive survey of the myriad spatial orchestrational devices occurring in the symphonic and operatic repertoire. Rather, the study is limited to an examination of the specified use of the trumpet as an offstage instrument in selected representative works. The study's purpose is to identify trends in the use of this orchestrational device, to serve as an aid to the trumpeter in matters of interpretation, and to provide a practical reference for the solution of acoustical and technical problems common to the performance of spatially conceived music in the orchestral literature.
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Ponchirolli, Flavio Alexandre. "A estilística da adaptação e inadaptação: uma análise de \'A Terceira Margem do Rio\', de João Guimarães Rosa." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8142/tde-22082007-152656/.
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Este trabalho pretende elaborar uma análise estilística da obra \"A terceira margem do rio\", de João Guimarães Rosa. O levantamento, a análise e interpretação dos recursos formais utilizados no conto operam com os conceitos de adaptação e inadaptação, que caracterizam o narrador como um personagem ambíguo, um homem de dois mundos. Este trabalho não faz nenhum recorte quanto aos níveis de língua estudados (nível fonológico, lexical, morfológico, frasal, enunciativo) e, abordando o conceito de convergência estilística, procura seguir, linha a linha, os fatos expressivos presentes no conto, flagrando, assim, a intensidade poética que existe na prosa rosiana. Na primeira parte da dissertação, expõem-se os pressupostos teóricos e metodológicos da análise estilística por nós empreendida e alguns aspectos relativos à situação da obra de Guimarães Rosa dentro da literatura brasileira. Ainda nessa parte, justifica-se a estrutura do trabalho e se verificam algumas características sobre a obra a que pertence o conto estudado. A segunda parte, dedicada à análise estilística propriamente dita, estuda os efeitos de adaptação e inadaptação, que compreende três momentos da narrativa: 1) a sensação de normalidade e adaptação às normas e convenções presentes nas margens lógicas da sociedade racional; 2) os tons de perplexidade do narrador diante do mistério e da escolha de \"nosso pai\"; 3) o sentimento do trágico e os tons de melancolia do narrador diante de sua culpa. Na conclusão, são retomados alguns fatos estilísticos analisados e algumas contribuições dos ensaios que nortearam a interpretação proposta.The objective of this dissertation is to elaborate a stylistic analysis of the narrative \"A terceira margem do Rio\", by João Guimarães Rosa. The research, analysis and interpretation of the form components used in the story prove the validity of the adaptation and inadaptation concepts that characterize the narrator as an ambiguous character. This essay does not exclude any of the levels of the language studied (phonologic, lexical, morphologic, phrasal and enunciative) and, considering the stylistic confluence concept, tends to pursue, point by point, the expressive facts of the story, showing the poetic intensity that exists in Guimarães Rosa\'s prose. In the first part of the dissertation, the theoric and methodological stylistic analyses that we use in this study and some aspects related to the situation of Rosas\'s story inside the Brazilian literature are exposed. Still in this part, the work structure is justified and some characteristics about the oeuvre which this story belongs to are verified. The second part, dedicated to the stylistic analysis itself, studies the effects of adaptation and inadaptation (unsuitableness) that appear in the three moments of the narrative: 1) the sense of normality and adaptation to the rules and convention present in the logical edges of the rational society; 2) the narrator perplexity tones ahead of the mystery and the chosen of \"nosso pai\"; 3) the tragic feeling and the melancholic tones of the narrator, caused by his guilt. In the conclusion, some analyzed stylistic facts and some contribution of the essays that guided the proposed interpretation are recapitulated.
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Hurtubise, Paul G. "A stylistic analysis of selected passages in The Hobbit and The Lord of the Rings." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/MQ33485.pdf.
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Schauer, Joseph Michael. "An historical perspective on Pere Valls with a stylistic and structural analysis of Suite Andaluza /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211559060.
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Roberts, Erinn. "Stylistic fusion in the Cabaret Songs of Benjamin Britten and W.H. Auden : a performer's analysis." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/16322.
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The Cabaret Songs of W.H. Auden and Benjamin Britten merge characteristics of a multitude of styles. The purpose of this document is to investigate the fusion of styles making up the Cabaret Songs and to analyze them from a performer’s perspective with the goal of providing collaborative partnerships with an historical and musical foundation on which to build their interpretation of the Cabaret Songs and thereby serve as a basis for informed performance decisions.
Chapter 1 includes biographical information for both Benjamin Britten and W.H. Auden focusing on how the two artists met and discusses their working relationship during the seven years in which they collaborated. Also included is a short section of relevant biographical information on the singer/actress Hedli Anderson for whom the Cabaret Songs were created.
Chapter 2 includes a brief overview of the history of the European cabaret-artistique and examines the creation and development of this art form. Examples of cabaret songs from other composers, namely Erik Satie, Kurt Weill, Friedrich Hollaender, and Noel Coward are given to show the musical soil of the era, from which the Britten and Auden pieces sprouted.
Chapter 3 discusses the Cabaret Songs on a song-by-song basis and provides a musical analysis from a performer’s perspective, outlining the different musical influences in each song and investigating the cross-pollination of musical styles. The songs will be examined for characteristics of traditional European art song, operatic elements, American popular song elements, European dance rhythms and elements of original European cabaret.
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ARTUSO, VICENTE. "THE REVOLT OF CORE, DATHAN AND ABIRAM (NM 16-17): STYLISTIC-NARRATIVE ANALYSIS AND INTERPRETATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9867@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROO texto de Nm 16-17 trata da revolta de diferentes grupos contra a autoridade de Moisés e Aarão. Sua composição é complexa, e ao menos três mãos participaram de sua elaboração. As interpolações e glosas, segundo os críticos, sinalizam tentativas frustradas de harmonização em vista de unir a história da revolta de Datã e Abiram com a história da revolta de Coré e os duzentos e cinqüenta líderes. Diante das novas abordagens mais voltadas para o estilo, a pesquisa aborda o texto na sua forma final como um enredo construído e articulado em torno do conflito de autoridade. A construção dramática de Nm 16-17 possui um início determinado com a apresentação dos personagens, a presença dos conflitos (Nm 16,1-3), com um desenvolvimento (Nm 16,5- 11), dramatização (Nm 16,12-15) e auge dos conflitos (Nm 16,19). Essa dramatização (Nm 16,19b- 24. 25-30) e desfecho com aniquilação dos revoltosos (Nm 16,31-35), caracteriza o texto como unidade literária com elementos estilísticos e narrativos peculiares. O fim do enredo ocorre com a aniquilação dos culpados. Porém isso não indica ainda o fim dos conflitos. Eles reaparecem na segunda história de revolta que envolveu todo o povo (Nm 17,6-15). A intenção do autor final é defender a identidade judaica do povo, por meio da classe sacerdotal que assumiu a liderança após o exílio. Essa história, ao enfatizar a aniquilação dos revoltosos contra a autoridade, foi então escrita na ótica daqueles que estavam no poder, justamente porque sua conclusão (Nm 17,16-28) visa à confirmação divina do eleito Aarão como sumo-sacerdote. Ao destacar a derrota dos revoltosos, o autor também quer apresentar uma história de rebelião arquétipo em vista de hostilizar ou ameaçar todos aqueles que ousarem revoltar-se contra as autoridades constituídas pelo próprio Deus.
The text of Nm 16-17 relates the revolt of different groups against the authority of Moses and Aaron. Its composition is complex, and at least three hands contributed to its elaboration. The interpolations and glosses, according to critics, signal frustrated attempts at harmonization, with the aim of uniting the story of the revolt of Dathan and Abiram with the story of the revolt of Core and the two hundred and fifty leaders. Faced with news studies, more interested in style, research has treated the text in its final form as a plot constructed and articulated around conflict of authority. The dramatic construction of Nm 16-17 contains a clear beginning with the presentation of personalities, the presence of conflicts (Nm 16,1-3), development (Nm 16,5-11), dramatization (Nm 16,12-15) and a high point of conflict (Nm 16,19). This dramatization (Nm 16,19b-24; 25- 30) and the ending, with the liquidation of the rebels (Nm 16,31-35), characterize the text as a literary unit with stylistic elements and peculiar narratives. The plot ends with the wiping out of the guilty. However this does not yet mean the end of the conflicts. They reappear in the second story of revolt which involved the people as a whole (Nm 17, 6 -15).The intention of the final author is to defend the Jewish identity of the people, by means of the priestly class, which had assumed leadership after the Exile. This story, emphasising the liquidation of those who rebelled against authority, was therefore written from the viewpoint of those who were in power, exactly because its conclusion (Nm 17,16- 28) aims to show the divine confirmation of the Elected One, Aaron, as High Priest. Emphasising the defeat of the rebels, the author also wishes to present an archetypical story of rebellion, with the aim of confronting or threatening all those who would dare rebel against the authorities constituted as such by God himself.
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Ibrahim, Mahmood. "The construction of the speaker and fictional world in 'The Small Mirrors' : critical stylistic analysis." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34586/.
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This thesis conducts a Critical Stylistic Analysis of Sherko Bekas’ The Small Mirrors, with the help of metaphor analysis. Five textual conceptual functions (Jeffries, 2010): Naming and Describing; Equating and Contrasting; Representing Processes/Events/States of being; Assuming and Implying and Prioritizing are used to analyse the poems. I also analyse the connotations of metaphor. These functions and metaphor analysis show how the texts construct the speaker and the fictional world in Bekas’ The Small Mirrors and the ideologies behind such constructions. The ranges of ideation – ideology in Bekas’ poetry identified by these tools are: 1. Suffering and survival are inexorable 2. Martyrdom is positive 3. Valuing one’s nation and identity is positive 4. The speaker and the people lack control over the situation My thesis aims to create a version of the Critical Stylistic model that helps me to show the depiction of the speaker and the fictional world in The Small Mirrors. I argue that Critical Stylistics is applicable to the Kurdish poetry, but it needs modifications and that the tools might work in hierarchical ranks meaning that some tools are given primary focus over others because of the difference between English and Kurdish. I use Jeffries’ (2010) Critical Stylistics and add any required modification for the textual conceptual functions to get a complete model for the analysis of The Small Mirrors. The model can show how the speaker and the fictional world are constructed which I aim to reveal. The textual conceptual functions construct a coherent perspective of the reality of the fictional world in Bekas’ poetry. The linguistic images of the fictional world of Bekas’ poetry are repetitions that become part of the naturalised ideologies of the writer.
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So, Hanna Na. "A compositional and stylistic analysis of selected works by Eak-Tai-Ahn / Two examination concerts." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62657.
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Sturman, Esra. "Krzysztof Penderecki’s Divertimento/suite for Cello Solo (1994-2013): a Stylistic Analysis and Performance Guide." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500083/.
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Penderecki made a tremendous variety of contributions to the cello repertoire. His profound respect for tradition and for his past is deeply appreciated by both performers and audiences. In each individual composition, he explored the cello’s sonorous possibilities and created a new technical and musical palette for the instrument. He worked with legendary, world-renowned cellists who not only gave the premieres of his works but also established deep friendships with him. The Divertimento/Suite for Cello Solo (1994-2013), a compilation of miniature movements, each with its sophisticated structure, demonstrates Penderecki’s three compositional style periods. Baroque and Romantic elements in each movement are achieved within their style characteristics. Penderecki’s Divertimento/Suite for Violoncello Solo is composed of eight contrasting movements that were written during a nineteen-year period. The work is characterized by a Neo-Romantic aesthetic and utilizes the cello’s dark lyrical tones with a variety of timbre and tonal contrasts. The purpose of the present study is to create a practical performance guide to this important musical work with a detailed stylistic, textural, and motivic analysis of all eight movements. Although there are many published documents and analyses of Penderecki’s orchestral, choral, chamber and other solo pieces, the Divertimento/Suite for Cello Solo has yet to be thoroughly researched and discussed in the extant cello literature. It is the lack of research concerning this work that prompts this important study. This analysis will serve to outline the unifying compositional procedures of the work and explain the special instrumental techniques employed. With its illustrations of the motivic, harmonic and the textural relationships of each movement, this study serves as a twentieth-century performance guide for the cello world.
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Chung, Chiyoon. "A Performer’s Perspective on the Berg Piano Sonata, Op. 1:A Stylistic Analysis and Interpretation." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439282655.
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Claassen, Jo-Marie. "Poeta, exsul, vates : a stylistic and literary analysis of Ovid's Tristia and Epistulae ex Ponto /." Online version, 1986. http://bibpurl.oclc.org/web/24196.
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Ward, R. J. "A stylistic analysis of administrative English through a qualitative and quantitative investigation of government information leaflets." Thesis, Bangor University, 1988. https://research.bangor.ac.uk/portal/en/theses/a-stylistic-analysis-of-administrative-english-through-a-qualitative-and-quantitative-investigation-of-government-information-leaflets(d597d1a4-45d0-4ea9-8668-c37d7c80a8c1).html.
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Previous work in stylistics has concentrated a great deal on theory to the exclusion of practical investigation of styles. The practical investigations deal with Newspapers or Advertising copy. No thorough stylistic analysis has been made of Administrative English. A qualitative analysis of Government Information leaflets, reveals that they are stylistically distinct at all linguistic levels, but that two different types of text emerge, closely linked to the means by which the reader is addressed either personally as 'you' (P.A.) or impersonally as for example in 'the claimant (I.A.). A subsequent quantitative analysis of a selection of the most prominent stylistic features of Government Information Leaflets and their comparison with the leaflets published by financial institutions reveals that whilst most of the variables chosen are stylistic, there is little evidence to assume a single Administrative variety. Checks on the relationship between supposed style categories and the individual texts assigned to than are shown by a Cluster Analysis to be very accurate. Patterning of variables is revealed around 2 stylistic dimensions: Status and Mbdality. leaflets are distinguished from P.A. largely by Status variables. The leaflets of Financial Institutions group with P.A. texts. All three of these styles are grouped together by Modality Variables.
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Feng, Ping Feng. "Examination of the Hollywood Movie Trailers Editing Pattern Evolution over Time by Using the Quantitative Approach of Statistical Stylistic Analysis." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/395476.
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Media Studies & ProductionM.A.
In this study, I took the quantitative research approach of film statistical stylistic analysis to examine the editing pattern evolution of 130 Hollywood movie trailers over the past 60 years from 1951 to 2015; the prior studies on the overall evolution of the Hollywood movies’ editing pattern are compared and discussed. The results suggest that although the movie trailers are much shorter than the whole movies, the average shot lengths of the trailers still display a declining trend over the past 60 years, and the variations in the shot lengths are also decreasing. Second, the motions within each framedo not change significantly over the years, while the correlation coefficients between the shot lengths and the motions within the shots are moving toward a more negative correlation relationship over time, suggesting that the trailers are subject to an editing evolution trend that the shorter the shot is, the more motions there are within it, and this also aligns with the overall movies’ editing pattern evolution trend. Last, the luminance of the trailers remains almost the same over time, which does not align with the overall movies’ editing pattern evolution of becoming darker and darker over decades. Together these findings suggest that the movie trailers’ editing rhythm evolution in general aligns with that of overall movies over time while the visual editing pattern evolution of color luminance does not. The study results will improve our understanding on how the Hollywood movie trailers’ editing pattern and style have evolved over time and pave the way for future advertising studies and cognitive psychology studies on the audience’s attention, immersion and emotional response to various editing patterns of movie trailers.
Temple University--Theses
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Chaemsaithong, Krisda. "Linguistic and stylistic constructions of witchcraft and witches : a case of witchcraft pamphlets in Early Modern England /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/9413.
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Chen, Szu-Wei. "The music industry and popular song in 1930s and 1940s Shanghai : a historical and stylistic analysis." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/202.
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In 1930s and 1940s Shanghai, musicians and artists from different cultures and varied backgrounds joined and made the golden age of Shanghai popular song which suggests the beginnings of Chinese popular music in modern times. However, Shanghai popular song has long been neglected in most works about the modern history of Chinese music and remains an unexplored area in Shanghai studies. This study aims to reconstruct a historical view of the Shanghai popular music industry and make a stylistic analysis of its musical products. The research is undertaken at two levels: first, understanding the operating mechanism of the ‘platform’ and second, investigating the components of the ‘products’. By contrasting the hypothetical flowchart of the Shanghai popular music industry, details of the producing, selling and consuming processes are retrieved from various historical sources to reconstruct the industry platform. Through the first level of research, it is found that the rising new media and the flourishing entertainment industry profoundly influenced the development of Shanghai popular song. In addition, social and political changes and changes in business practices and the organisational structure of foreign record companies also contributed to the vast production, popularity and commercial success of Shanghai popular song. From the composition-performance view of song creation, the second level of research reveals that Chinese and Western musical elements both existed in the musical products. The Chinese vocal technique, Western bel canto and instruments from both musical traditions were all found in historical recordings. When ignoring the distinctive nature of pentatonicism but treating Chinese melodies as those on Western scales, Chinese-style tunes could be easily accompanied by chordal harmony. However, the Chinese heterophonic feature was lost in the Western accompaniment texture. Moreover, it is also found that the traditional rules governing the relationship between words and the melody was dismissed in Shanghai popular songwriting. The findings of this study fill in the neglected part in modern history of Chinese music and add to the literature on the under-explored musical area in Shanghai studies. Moreover, this study also demonstrates that against a map illustrating how musical products moved from record companies to consumers along with all other involved participants, the history of popular music can be rediscovered systematically by using songs as evidence, treating media material carefully and tracking down archives and surviving participants.
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Spears, Samuel Bruce. "A Study of Michael Praetorius' Megalynodia Sionia: An Historical and Stylistic Analysis and Selective Performing Edition." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/283.
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Michael Praetorius was one of the most prolific and innovative Lutheran composers of the early seventeenth century. His Megalynodia Sionia ("The Magnificats of Zion") is a collection of fourteen Magnificats for use in Vespers services. The compositions in the collection present a series of complicated issues that modern editors and performers must unravel to be able to perform this music. The most common method for performing Magnificats at this time was alternatim, in which different musical groups alternated in performing verses. For eleven of the Magnificats in Megalynodia, only six of the twelve verses are supplied by Praetorius. Appropriate sources for the other verses must be identified. Also, there was a tradition in the Lutheran church of inserting chorales between the verses of the Magnificat on feast days. The chorales would be songs associated with the occasion, for example Christmas or Easter. Praetorius gives important instructions to prospective performers as to how these insertions should be chosen and performed. Eleven of the Magnificats are parodies of works by other composers, Orlando di Lasso in particular. Parody technique is the use of polyphonic music by another composer as source material for a new composition. It was a very typical compositional method of the sixteenth century. Lasso started a Continental tradition of using parody technique in the Magnificat; in this collection Praetorius follows in his footsteps. One must take all these issues into account in attempting to create modern performing editions of this music. The study culminates in performing editions of two Magnificats from the collection.