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Dissertations / Theses on the topic 'World music'
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1
Taylor, Timothy D. "World Music Revisited." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71782.
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Johnson, Sherry Anne. "High-school music teachers' meanings of teaching world musics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22326.pdf.
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Panteli, Maria. "Computational analysis of world music corpora." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/36696.
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The comparison of world music cultures has been considered in musicological research since the end of the 19th century. Traditional methods from the field of comparative musicology typically involve the process of manual music annotation. While this provides expert knowledge, the manual input is timeconsuming and limits the potential for large-scale research. This thesis considers computational methods for the analysis and comparison of world music cultures. In particular, Music Information Retrieval (MIR) tools are developed for processing sound recordings, and data mining methods are considered to study similarity relationships in world music corpora. MIR tools have been widely used for the study of (mainly) Western music. The first part of this thesis focuses on assessing the suitability of audio descriptors for the study of similarity in world music corpora. An evaluation strategy is designed to capture challenges in the automatic processing of world music recordings and different state-of-the-art descriptors are assessed. Following this evaluation, three approaches to audio feature extraction are considered, each addressing a different research question. First, a study of singing style similarity is presented. Singing is one of the most common forms of musical expression and it has played an important role in the oral transmission of world music. Hand-designed pitch descriptors are used to model aspects of the singing voice and clustering methods reveal singing style similarities in world music. Second, a study on music dissimilarity is performed. While musical exchange is evident in the history of world music it might be possible that some music cultures have resisted external musical influence. Low-level audio features are combined with machine learning methods to find music examples that stand out in a world music corpus, and geographical patterns are examined. The last study models music similarity using descriptors learned automatically with deep neural networks. It focuses on identifying music examples that appear to be similar in their audio content but share no (obvious) geographical or cultural links in their metadata. Unexpected similarities modelled in this way uncover possible hidden links between world music cultures. This research investigates whether automatic computational analysis can uncover meaningful similarities between recordings of world music. Applications derive musicological insights from one of the largest world music corpora studied so far. Computational analysis as proposed in this thesis advances the state-of-the-art in the study of world music and expands the knowledge and understanding of musical exchange in the world.
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Sarkar, Mihir Ph D. Massachusetts Institute of Technology. "World music technology : culturally sensitive strategies for automatic music prediction." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77812.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 103-112).
Music has been shown to form an essential part of the human experience-every known society engages in music. However, as universal as it may be, music has evolved into a variety of genres, peculiar to particular cultures. In fact people acquire musical skill, understanding, and appreciation specific to the music they have been exposed to. This process of enculturation builds mental structures that form the cognitive basis for musical expectation. In this thesis I argue that in order for machines to perform musical tasks like humans do, in particular to predict music, they need to be subjected to a similar enculturation process by design. This work is grounded in an information theoretic framework that takes cultural context into account. I introduce a measure of musical entropy to analyze the predictability of musical events as a function of prior musical exposure. Then I discuss computational models for music representation that are informed by genre-specific containers for musical elements like notes. Finally I propose a software framework for automatic music prediction. The system extracts a lexicon of melodic, or timbral, and rhythmic primitives from audio, and generates a hierarchical grammar to represent the structure of a particular musical form. To improve prediction accuracy, context can be switched with cultural plug-ins that are designed for specific musical instruments and genres. In listening experiments involving music synthesis a culture-specific design fares significantly better than a culture-agnostic one. Hence my findings support the importance of computational enculturation for automatic music prediction. Furthermore I suggest that in order to sustain and cultivate the diversity of musical traditions around the world it is indispensable that we design culturally sensitive music technology.
by Mihir Sarkar.
Ph.D.
5
Vogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.
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Chatwin, Fiona Lilian Hooey Steven Henderson Moya Beckett Alison. "A challenge of world premieres /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236637.
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Thesis (D.M.A.)--University of California, San Diego, 2006.Vita. Material related to a thesis recital on April 9, 2006. Accompanying sound recording shelved in Music Department Tape Archive as: 06 IV 09. Appendix includes scores of Sirens in December by Steven Hoey, Divers by Moya Henderson, and Four dollars and fifteen cents by Alison Beckett.
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Degirmenci, Koray. "Turkish World Music: Multiple Fusions And Authenticities." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/3/12610077/index.pdf.
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This dissertation investigates the case of world music in Turkey as an illustration of the discursive mechanisms involved in the production of a global cultural form from what the globality has defined as the &lsquolocal&rsquo
. The study attempts to show the complicated nature of the process by examining how the musical forms and themes supposedly belonging to the &lsquo
local&rsquo
are incorporated into and appropriated in the discourses associated with world music and into the corresponding strategies of the actors. The discursive compilations, articulations and dislocations taking place in the subspecies of the commercial category of world music in a particular locality are investigated by mapping the discursive topographies on the imaginary continuum from the global to the local. This study views locality as a space where a repertoire of discourses are contested and articulated in the production and consumption of global cultural commodities. In line with this understanding, this dissertation also investigates what is the local as it is produced through the particular brand of world music in Turkey. The study also aims to contribute to the theoretical discussions in the literature on the interaction between the global and the local by looking at the production of a global cultural form in a particular locality.
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North, Adrian C. "Responses to music in the real world." Thesis, University of Leicester, 1996. http://hdl.handle.net/2381/9224.
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This thesis concerns aesthetic responses to music, and is divided into four main parts, with each comprising an initial literature review and subsequent empirical studies. Part A describes 5 studies which employed conventional laboratory techniques to investigate how theories of aesthetic response might be extended to explanations of emotional responses to music and liking for musical styles. This part of the thesis also discusses how these theories might be reconciled. In contrast, Parts B-D of the thesis provide several examples of how responses to music in the real world are not made in the 'social vacuum' of conventional laboratory research, but are instead linked inextricably to the context of musical behaviour. Part B reports 7 studies which investigate the relationship between music and the immediate listening situation. These demonstrate that through variables such as 'appropriateness', musical preference may interact with the environment in which it is experienced. Part B also investigates the relative roles of arousal- and cognitive-based factors in this, and suggests that music is selected to as to optimise responses to the listening situation. Part C investigates two sources of extra-musical information, namely stereotyping and the physical attractiveness of music performers. Although some research has been carried out on conformity and prestige effects on musical preference, the two studies in this part of the thesis indicate that other types of information may also be important social features of people's musical behaviour. Finally, Part D reports three studies concerning artistic eminence and acculturational factors. These demonstrate a considerable consensus between several means of measuring artistic eminence; that this consensus breaks down to some extent as a result of cultural factors; that archival data sources can reveal several interesting cultural trends in eminence; and that there are age differences in tolerance for musical styles. These three studies indicate that the broader culture in which people develop and live also influences musical behaviour. More generally, the research reported in this thesis suggests that although context-independent laboratory studies can be informative in their own right, responses to music also seem related to their social psychological, real-world context.
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Gibbs-Singh, Cheynne. "World music in the British secondary school." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30251/.
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World music has enjoyed increasing representation in the National Curriculum up to Key Stage 3. At the same time, music in higher education in the UK is becoming increasingly diverse, with degrees in popular music, world music and jazz becoming more commonplace. This, alongside the growing diversity of the population, supports arguments for introducing and maintaining a diverse music curriculum, particularly one that includes world music, throughout secondary education. The importance of world music in education has been advocated both in the UK (e.g. Wiggins (1996), Stock (1991)) and in other parts of the western world (Campbell (2007) and Fung (1995) in the USA, Drummond (2005) in New Zealand, Schippers (2012) in Holland). However, post-16 music syllabi have remained noticeably narrow in focus: the music A level continues to be dominated by the Western classical music tradition, whilst the BTEC is rooted largely in Western popular music, despite adopting a more flexible approach. Both have recently been revised, and this thesis examines the current status quo regarding diversity in the secondary music classroom, pinpointing some of the challenges and successes of delivering a multicultural music education. It focuses on seven contrasting schools in south-east England. By examining the relationships these schools have with world music, specifically within their post-16 provision, this research examines individual responses towards musical diversity as well as the themes that emerge from these across the subject. These themes include: the exclusivity of Western classical and Western popular music; whether breadth of study or depth of understanding is more valued in classrooms; how teacher attitudes towards world music influences the curriculum content as well as student attitudes; challenges in teaching and learning world music; uptake and engagement; diverse music in non-diverse areas; and the desire for more diversity in the curriculum.
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Geldenhuys, Daniël G. "The Idiosyncratic Use of the Term 'World Music' as a Music Concept." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36676.
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Nott, James. "Popular music and the popular music industry in interwar Britain." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324242.
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Wierckx, Marcel. "From heaven, through the world, to hell." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33370.
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From Heaven, Through the World, to Hell is a theatrical piece which makes reference to various versions of the Faust legend. There are two versions of the piece: the full version for actress-singer, CD, computer, and four chamber ensembles (piano quintet, baroque trio, jazz quartet and modern ensemble), and the solo version for actress-singer, CD, and computer. The work explores the Faust legend within a technological musical theatre framework, and makes extensive use of live computer interaction using the Max/MSP programming environment. The singer interacts with the computer using an infrared sensor, allowing her to trigger as well as shape many of the sounds in the piece through physical gestures. This piece was written for g.e.m.s. (the Group of the Electronic Music Studio) as part of the McGill University Faculty of Music composer-in-residence program between 1998--1999.
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Morgan, Melanie Josephine. "World music and international development ethnography of globalization /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3573.
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Thesis (M.A.) -- University of Maryland, College Park, 2006.Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Schumacher, Rüdiger. "World Music – die Musikethnologie zwischen Traditionellem und Modernem." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71806.
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Dee, Constance R. "Music and propaganda : Soviet music and the BBC during the Second World War." Thesis, University of Manchester, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505332.
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During the Second World War, specifically after the Nazi invasion of the USSR on 22 June 1941, Britain was forced to rethink its stance on the Soviet Union. Aside from improving diplomatic relations, there was the question of how to present the Soviet Union to the British population. The Government feared that the British Left would promote Communism by capitalising on the public's new-found support for the Soviet Union, which was an understandable concern given that Communist Party membership in Britain rose from 12,000 in 1941 to 65,000 in September 1942. Steps were therefore taken by the British Government to outdo the Communist Party and its affiliates. To do this, it was decided that the endorsement of Anglo-Soviet relations might be less politically orientated and instead gravitate towards cultural achievements, allowing the issue of Communism to be sidelined. Broadcasting, having the ability to reach the majority of the population, was put to use as a way to influence and shape the thoughts of the public. This thesis presents a case study in Anglo-Soviet cultural propaganda, each chapter detailing a specific event or radio programme organised and broadcast by the BBC during the period of 1941-1945. More specifically the focus is on what Russian, and especially Soviet music, was used and for what purpose. The first chapter examines the arguments and internal correspondence surrounding the banning of the `Internationale', then the Soviet anthem, on the BBC. The following chapter demonstrates the complexities in Anglo-Soviet cultural relations by exploring a birthday concert organised by the BBC for Joseph Stalin in December 1941, at a time when the Soviet anthem was still banned. The two succeeding chapters chronicle the BBC's involvement in the celebrations of significant dates on the Soviet calendar, specifically Soviet National Day and Red Army Day. The chapter on Soviet National Day discusses the BBC's 1942 broadcast of Prokofiev's Alexander Nevsky Cantata and two movements from Shostakovich's `Leningrad' Symphony; however, the main focus is an examination of a three-hour broadcast on both the Home and Forces Services of Soviet-themed programmes for Soviet National Day 1943. The Red Army Day chapter discusses Britain's celebrations for the 25t" anniversary of the Red Army in February 1943, which showcased a variety of British and Soviet music in the form of pageantry, and the less elaborate celebrations for the 26th anniversary in 1944, which used only British music. This thesis will illustrate how the media, in particular the BBC Home Service, were used to further the Government's political agenda, while at the same time shaping British culture during the Second World War and paving the way for an enhanced appreciation of Soviet music in Britain in the years to come.
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Van, Klyton Aaron. "The social life of music : commodification, space, and identity in world music production." Thesis, King's College London (University of London), 2012. https://kclpure.kcl.ac.uk/portal/en/theses/the-social-life-of-music(3f90ae17-2c87-43f9-b396-3334cf3fe10f).html.
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This project examines the ways in which commodification and identity work in the particular context of world music production. I trace the path of world music of West African origin as it connects different people, ideas, and objectives in the London world music scene. I look at how commodification occurs in this context and the implications for how identity gets (re)-constructed during the commodification processes to suit a variety of individual needs. The paper empirically examines some theoretical assumptions about space, representation, and commodification by problematizing them as three key aspects of this production/consumption process. Lastly, the thesis shows how performance spaces become spaces of performance through the interactions of various social actors, namely, the musicians, promoters, and DJs and that world music is a site of struggle over representation. Drawing on ethnographic approaches used in the fieldwork, I demonstrate the relationship that relatively small players in the local world music scene maintain with the larger structural forces that control the industry. In doing so they create value for the art and for themselves. The thesis is an effort to understand the ways in which identity can shift and is relational with respect to space and power. It contributes to literature on geography and music, music and identity, and commodification.
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Morford, James B. "A study of the pedagogy of selected non-Western musical traditions in collegiate world music ensembles." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5099.
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Alkoot, Hamid A. "Undergraduates' familiarity with and preference for Arabic music in comparison with other world music." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536744.
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This study examined undergraduate, non-music majors’ familiarity with and preference
for Arabic music as compared to other world music. Several factors were examined to assess
their effect on music preference including familiarity, musical characteristics, and student
characteristics. Study participants included 203 undergraduate, non-music majors enrolled in six
sections of music appreciation classes. Participants were divided into Caucasian and non-
Caucasian groups ranging from 18 to 42 years of age. Music excerpts from Africa (Congo), Latin
America (Mexico), Asia (Japan), and the Middle East (Kuwait) were used as examples of
different world music. Arabic music was introduced as a new factor in this study that had not been explored in previous research. Knowing about students’ familiarity and preference for
Arabic music may help in understanding the ramifications of its inclusion in music programs,
and the proper method of introducing it to the students in the classroom. Participants listened to the 12 musical excerpts and completed the WMFPT questionnaire. Results indicated that
participants were not familiar with the world music excerpts, but did like the excerpts to a
moderate degree. Significant positive relationships were found between preference and
familiarity, within preference ratings, and within familiarity ratings. The most influential musical characteristics in liking world music were rhythm, tempo, and timbre, with rhythm being the most influential. Participants’ background seems to have no significant relationship with either familiarity or preference. Results revealed that playing a musical instrument, musical training, and previous exposure to music of other cultures significantly affected preference and familiarity ratings.School of Music
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Acee, Dana F. "Women in Sha'bi Music: Globalization, Mass Media and Popular Music in the Arab World." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1321368508.
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Lombardi, David. "Communication and Creative Process Between Musicians From Different Cultures : A report of travels, experiences, exchanges and encounters." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4221.
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Meidinger, Valerie. "Multicultural music : attitudes and practices of expert general music teachers in Oregon /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055699.
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Kowalczyk, Beata Maria. ""Transnational" art world : career patterns of japanese musicians in the European world of classical music." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01E003.
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Toujours plus visibles sur les scènes occidentales de la musique classique, les musicien-ne-s japonais-e-s évoluant en Europe constituent un phénomène social intéressant. Adoptant deux perspectives complémentaires - celle des «mondes de l’art» et des trajectoires d’artistes d’un côté, et celle des mobilités et des migrations de travailleurs d’un autre -, cette thèse vise à examiner la construction des carrières artistiques des musicien-ne-s japonais en Europe étudiées comme des trajectoires «transnationales» de professionnel-le-s qualifié-e-s. Comment se fait-il que des personnes socialisées dans une culture particulière, déménagent dans un environnement socioculturel hétérogène pour étudier et construire leur vie professionnelle et individuelle à l’étranger ? Est-ce que leurs trajectoires nous permettent de les classer comme des « artistes cosmopolites » ? Ou bien la construction sociale de leur carrière ressemble-t-elle davantage à celle des «migrants»? L’analyse s’appuie sur un matériau de 50 entretiens semi-structurés conduits avec des musicien-ne-s japonais-e-s dans leur langue maternelle et 20 interviews/conversations menées avec des experts/informateurs. En comparant deux environnements très différents, la France et la Pologne, j’ai cherché à neutraliser l’impact que diverses idiosyncrasies environnementales, structurelles et socioculturelles peuvent exercer sur la dynamique des carrières de ces musicien-ne-s. En conclusion, l’examen des modes d’insertion dans l’éducation musicale mis en rapport avec l’origine sociale des répondant-e-s m’a amené à distinguer quatre profils professionnels : (1) les héritier-e-s professionnel-le-s, (2) les héritier-e-s des rêves parentaux, (3) les ancien-ne-s élèves de brass band et (4) les pratiquant-e-s avocationnel-le-s. En outre, le matériel recueilli au cours de mes recherches a montré que les carrières des musicien-ne-s japonais-e-s opèrent sur plusieurs niveaux et que la "transnationalité" supposée – que j’associe au concept de « double absence » de Sayad (1977, 1999) – a été conditionnée par une combinaison de différents déterminants sociaux (origines sociales, genre, spécialisation instrumentale, systèmes éducatifs et possibilité de conversion du capital ainsi que les politiques migratoires, les marchés du travail, ou encore les arrangements de l’État de providence). Ces éléments ont en effet largement influencé et, dans certains cas, fait dérailler les parcours professionnels étudiésJapanese musicians arriving to Europe for the purpose of studies and work have become more and more visible in the context of classical art scenes, and they do not constitute a niche sample anymore. Combining two perspectives – that of the “art world” on the one hand and that of labour mobility and migration on the other, – this thesis examines the dynamics of Japanese musicians’ artistic careers establishing themselves in Europe in the context of “transnational” trajectories of skilled professionals. How do people, socialized in one particular culture, relocate to a disparate socio-cultural environment to study and then to build their professional as well as individual lives abroad? Shall these musicians be conceived of as “cosmopolite” artists? Or does the social construction of their careers bring them closer to “migrants”? This study is based on 50 semi-structured interviews conducted with Japanese musicians in their mother tongue as well as 20 interviews/conversations led with experts/informers. Comparing two substantially disparate environments, the French and the Polish ones, I aimed at distilling the impact that various structural as well as socio-cultural environmental idiosyncrasies have on career dynamics. In conclusion, examining modes of insertion into music education against the background of respondents’ social origins led me to distinguish four main career trajectories: (1) professional heirs; (2) inheritors of parental dreams; (3) brass band alumni and (4) avocational practitioners. Furthermore, the collected material unveiled that their careers are multilayered. Consequently, the presupposed “transnationality” – that I associate with Abdelmalek Sayad’s concept of “double absence” – has been conditioned by a combination of various social factors (i.e., social origins, gender, specialization, education systems and the possibility of conversion of capitals be it social or cultural; as well as migration policies, labor markets or structure of the welfare state in the hosts societies), which largely influence, and in some cases, derail the studied professional paths
23
Taylor, Joshua. "Missa eclectic: mass settings of the world church." Kansas State University, 2013. http://hdl.handle.net/2097/15529.
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Master of MusicDepartment of Music
Julie Yu
Matthew and Mark both conclude their Gospel accounts of the first Mass, the last supper, the same way: “while singing a hymn they went out to the Mount of Olives.” Since the beginning of the Christian tradition the Mass has been accompanied by religious song. The structure of the Roman Mass grew, changed, and took its present form over the course of many years from the Ordo romanus I of ad 700 to the modern rite. The movements of the Mass Ordinary were all present in the Roman Mass as early as the 8th century, while the sections of the Mass Proper took longer to develop. Though early settings of the Ordinary were sung to modal chants, the introduction of organum and polyphony in the 14th century gave rise to inventions in compositions that continue to influence music history. Numerous composers have composed Mass settings for liturgical use. Through their work, these composers shaped compositional techniques and paved the way for additional settings of the Mass. Many other composers’ works have outgrown their liturgical use. Composers have used every form from a cappella missa brevis’, large-scale cori spezatti compositions, to orchestral works rarely intended for liturgical use. Following the Second Vatican Council (1962-1965) the liturgy could be spoken and set musically in the vernacular creating a new collection of compositions in a variety of languages. Movements from five compositions are the subject of this paper. Each piece was selected to for its compositional techniques from its respective time period and region of the world. The composers represent England, Brazil, Germany, France, and the United States.
24
Szabo, Moira. "For the love of music : avenues of entry into the world of western art music /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11342.
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Morris, John Vincent. "Battle for music : music and British wartime propaganda 1935-1945." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3260.
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The use of classical music as a tool of propaganda in Britain during the War can be seen to have been an effective deployment both of the German masters and of a new spirit of England in the furtherance of British values and its point of view. Several distinctions were made between various forms of propaganda and institutions of government played complementary roles during the War. Propaganda took on various guises, including the need to boost morale on the Home Front in live performances. At the outset of the War, orchestras were under threat, with the experience of the London Philharmonic exemplifying the difficulties involved in maintaining a professional standard of performance. The activities of bodies such as the Council for the Encouragement of Music and the Arts played a role in encouraging music, as did the British Council’s Music Advisory Committee, which co-operated with the BBC and the government, activities including the commissioning of new music. The BBC’s policies towards music broadcasting were arrived at in reaction to public demand rather than from an ideological basis and were developed through the increasing monitoring of German broadcasts and a growing understanding of what was required for both home and overseas transmission. Beethoven’s Fifth Symphony became an important part of the Victory campaign and there was even an attempt at reviving the Handel Cult of the Nineteenth Century. German music was also used in feature film but pre-eminent composers such as William Walton and Ralph Vaughan Williams contributed to the War effort by writing film music too. The outstanding example is Vaughan Williams’ music for Powell and Pressburger’s Ministry of Information sponsored 49th Parallel, in which the relationship between music and politics is made in a reference to Thomas Mann’s The Magic Mountain. Vaughan Williams’ non-film output included the greatest British orchestral work to have come out of the War, his Fifth Symphony; a work that encapsulated all the values that the institutions of public life sought to promote.
26
Mok, Lucille Yehan. "Glenn Gould, Oscar Peterson, and New World Virtuosities." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064972.
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This dissertation centers on virtuosity as a source of creative genesis, boundary-pushing, and musical debate. Focusing on the careers and works of pianists Oscar Peterson (1925-2007) and Glenn Gould (1932-1982), I examine the role of the virtuoso in twentieth-century music-making, and his encounter with Canadian national identity. Gould and Peterson were contemporaries, and despite their differences - Gould was a white classical musician from Toronto, and Peterson, an African Canadian jazz artist from Montréal - their career paths share points of connection. Using archival material from the Glenn Gould fonds and the Oscar Peterson fonds at Library and Archives Canada, I analyze the work of both figures as sources of musical creativity through musical performance and composition.
The first part of this dissertation demonstrates how Gould's and Peterson's respective performances sparked furor through their contestation of musical boundaries. In the first chapter, my analysis of outtakes from Gould's 1955 recording session of the Goldberg Variations illuminates how his radical musical philosophies emerged from his early recording practices. In chapter two, I examine critiques of Peterson's performance aesthetic from an extensive collection of reviews, and argue that his style of virtuosic jazz allowed him to push back against musical expectations. In the third chapter, I examine the work of Canadian filmmaker Norman McLaren whose experimental animation provided opportunities for partnerships with both musicians; with Peterson in 1949 and with Gould in 1969.
The second part of my dissertation takes the reader outside the realm of performance and demonstrates how Gould and Peterson engaged with landscape through sound composition. The fourth chapter investigates the spatial and sonic interpretation of Canadian locales in Gould's Solitude Trilogy, a series of three experimental radio documentaries. In the final chapter, I unravel the biographical and musical influences in Peterson's multi-movement suite for jazz trio, Canadiana Suite. By studying these iconic virtuosos side-by-side, my dissertation illuminates the significance of the performer in Canada's cultural life in the second half of the twentieth-century and yields a new understanding of how Gould and Peterson exploded expectations in their respective musical communities.Music
27
Yip, Ho-kwen Austin, and 葉浩堃. "Composing in the globalized world: a witness of music diaspora." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B49858579.
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Music composition is the most direct form of expression for a composer to reflect wholeheartedly upon his knowledge, upbringing and musical preferences. Being a composer, who bears the most direct role in the making of music, has the responsibility to understand and acknowledge how the music of his own culture has developed from the past, and how it has been impacted by other cultures. Such awareness prevents music from narrowing down into one single type, and instead gives rise to many new musical possibilities.
In order to examine the composer’s role and to explore musical possibilities of the modern time, this thesis begins with an introduction that investigates the effects of globalization on four areas of music, namely 1) the music of traditional cultures, 2) the music of popular cultures, 3) music in the technological world, and 4) cross cultural music. Understanding these areas more thoroughly may lead to new ideas in artistic creation, and can help myself to shape my own personal style built upon a firm cultural foundation.
Thirteen new works, written in very different styles during my candidature, are presented in 13 chapters respectively. These chapters are arranged chronologically. Each chapter provides a descriptive explanation for my creative motives and reveals the process in writing the works. To show my works chronologically not only demonstrates how I gradually developed as a composer over the past few years, it also serves as a witness to show how a composer who lives in the cultural hub of Hong Kong reflects his feelings and thoughts about the world in a creative way.published_or_final_version
Music
Doctoral
Doctor of Philosophy
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Broman, Per F. "Bengt Hambraeus's notion of World Music, philosophical and aesthetical boundaries." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ43838.pdf.
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Broman, Per F. "Bengt Hambræus's notion of World Music : philosophical and aesthetical boundaries." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28042.
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The concept of World Music is important for the explanation of various twentieth-century musical phenomena but its application to virtually every genre of music creates an inevitable confusion. In the 1980s, World Music was a term useful for describing popular music in fusion with ethnic music. That fact has lead many to an association of the term exclusively with that new genre. In this study I define World Music in Western art-music---from an historical perspective as well as with regard to musical style, ideology, and aesthetics and give examples of various composers' approaches. In the ideological discussion, the debate over "exotic" music and musical borrowings turns out to have many points of contact with the notions of modernism and postmodernism. I exemplify and test my ideas by using the stylistic development of Swedish-Canadian composer Bengt Hambraeus as a case study and discuss ideological and musical applications to the concept of World Music in relation to Hambraeus's piece Nocturnals for Chamber Ensemble (1990).
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Toledo, Alejandro. "World music, creative reinterpretation, and the East Moldavian Roma tradition." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/9691/.
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This study explores creative engagement with the East Moldavian Roma music tradition as a reflexive process that expands and enriches personal performance practice. It examines how a hermeneutic approach to understanding and reinterpreting the EMR musical tradition may be fed into one’s own performances, improvisations, and compositions, and how this engagement might be contextualized within an over-arching concept of World Music. Moreover, the study considers what transcription and analysis strategies might be employed in the service of this creative reinterpretation, and the strengths and weaknesses of such strategies. Ultimately, the research illustrates an insider’s account of becoming part of the current World Music scene through a process of reinterpretation that leads to new ways of being in the world. This is a process that captures the notion of a ‘changing self’, a metamorphosis of the self and the music one performs.
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Lin, Zhichun. "Out into the world: Chinese film music after the cultural revolution." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399898543.
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Schimpf, Peter John. "A transcultural student, teacher, and composer : Henry Cowell and the music of the world's peoples /." Abstract and electronic version Publication number: AAT 3248815 Electronic version, 2006. http://proquest.umi.com/pqdweb?did=1268603461&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.
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Kinsella, Timothy Patrick. "A world of hurt : art music and the American war in Vietnam /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11209.
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Coyle, Alexandra. "Jazz in Japan: Changing Culture Through Music." Thesis, Boston College, 2015. http://hdl.handle.net/2345/bc-ir:104170.
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Thesis advisor: Franziska SeraphimThis thesis primarily focuses on jazz in Japan and the role it played in the American occupation after World war II. The trajectory jazz took in Japan changed a multitude of times: in the 1920s it was immensely popular with the rise of consumerism and internationalism, and was emblematic of the carefree attitude of that time period. After Pearl Harbor occurred, enemy music, clearly being American jazz, was formally forbidden in Japan but periodically still played for the entertainment of the troops. Thus jazz went from being incredibly popular to practically banned. As the occupation took place, jazz yet again was popular but became more associated with connotations of homogeneity and representative of America. The Japanese reacted in various and differing ways, which I demonstrate in this thesis by examining the work of Japanese director Kurosawa Akira and the widely popular Japanese singer Kasagi Shizuko. Therefore, jazz was not only a form of entertainment but a tool of manipulation by many throughout the 1920s, 1930s, and, most importantly, the American occupation in Japan
Thesis (BA) — Boston College, 2015
Submitted to: Boston College. College of Arts and Sciences
Discipline: Departmental Honors
Discipline: History
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Dieker, Nicole. "And the world dances: Pieces by Maurice Ravel: A Music-Theatre Collaboration." Miami University Honors Theses / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111683732.
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Recob, Elizabeth R. "Ethnomusicology in the Classroom: A Study of the Music Education Curriculum and its Inclusion of World Music." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1574507820991207.
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Howell, Gillian. "A world away from war: Music interventions in war-affected settings." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/378101.
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This thesis examines what happens when the worlds and knowledges of war,
international development, and music education intersect. It investigates the practices
and experiences of music interventions, a term used in this thesis to describe
structured programs for music learning and participation in places that have been
unmade by war, taking shape within the structures and funding arrangements of largescale
international aid and assistance. It explores the work of three specific music
interventions—the Pavarotti Music Centre in Bosnia-Herzegovina, Hadahur Music
School in Timor-Leste, and the Afghanistan National Institute of Music in
Afghanistan—with the goal of identifying how these kinds of projects are shaped, and
their potential for sustainability in a volatile and mutable environment. These case
study sites offer interesting contrasts of timeframe (longevity of the music
intervention and retrospective distance from the wartime experiences); scale (of
ambition, funding, and external drivers); and approaches to the teaching and learning
of music, in particular their efforts to regenerate local music traditions.
The research was designed as an ethnographic, multi-sited, multi-case study project.
Semi-structured interviews and document review were the principal data sources,
offering diverse perspectives that bring both positive and critical voices of
participants and local community members to the fore, alongside those of organisers
and practitioners. Data were coded and analysed thematically, using grounded theory
methods.
As a result of this process, the thesis argues that the phenomenon of music
interventions can be understood as evolving across six critical junctures—sites of
negotiation between the various actors—that produce decisions and actions that
critically shape each project. The critical junctures—Aims and Motivations, Buildings
and Facilities, Pedagogy and Learning Materials, Organisational Culture, Internal
Engagement, and External Engagement—also have implications for sustainability, as
they represent points of active interface between contrasting constructs and ideals, and
therefore can generate instability and conflict as well as harmony and growth. The
critical junctures model offers practitioners and scholars a tool for understanding, planning, operationalising, evaluating, and handing over music interventions in waraffected
contexts. It sheds light on internal practices, and helps to reveal the influence
that the complex wider context can have on shaping and sustaining the music
activities.
The model of critical junctures for shaping and sustaining music interventions is the
central theoretical contribution of this research. In addition, the thesis makes
methodological, empirical, and practical contributions to what is a nascent subject of
inquiry, mapping three radically different music interventions in their achievements
and their missteps, and presenting empirical data from multiple perspectives. In a
world that is as much at war as ever, and an aid environment that is increasingly
recognising the importance of cultural development and creative expression to human
development, this study has deep and immediate relevance to an audience of music
and development practitioners, policy makers, and scholars in the fields of (applied) ethnomusicology, music education, community music, music sociology, music therapy, cultural development, and international development.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Walser, Robert Young. "Musical difference and cultural identity : an African musical tradition in English classrooms." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251739.
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Ottersen, Torbjørn Skinnemoen. "Remembering through music : issues in musical commemoration since World War II." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709119.
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Martin, Pierre. "CompositionALife: an artificial world as a musical representation for composition." Thesis, Linköping University, Department of Computer and Information Science, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2880.
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Composing music is something a lot of people have wished they could be able to do. Unfortunately, to be able to compose music, people often need several years of training and study to acquire the necessary knowledge: first to learn how to use the traditional musical representation and then to learn the rules for composing different kinds of music.
This thesis describes research to develop and evaluate a representation and system for musical composition. The system provides users with a simple and specific language to create and interact with the artificial world; and by creating animals and giving them behaviors, users are composing music. The user study conducted at the end of this project showed that this program ("CompositionALife") could make it easier for people without previous knowledge in music and/or composition to compose interesting music.
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Advocat, Amy. "[A] New tonal world: The Bohlen-Pierce Scale." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96150.
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This paper compares the Bohlen-Pierce scale to other octave and nonoctave-based tuning systems, drawing parallels between it and the widely used 12-equal temperament. These parallels lead to the hypothesis that there can be a set ofharmonic mIes applicable to the Bohlen-Pierce scale that are analogous to the CUITent musical practice. Those theorized mIes are then applied to some examples of the growing body of musical compositions wrtten in the BohlenPierce scale. Aiso included are supportive arguments for a preference of the use of odd-partial timbres in performance of this scale, which make the invention of the Bohlen-Pierce clarinet a major tuming point in the scale's development. Sorne of the musical works studied were written specifically for this author's performance on the Bohlen-Pierce clarinet.Ce document compare la gamme Bohlen-Pierce d'autres systmes d'accord octave et non-octave-bass, tablissant des parallles entre soi et le systme la plus utilis, temprament de I2-gal. Ces parallles mnent la possibilit qu'il peut tre des rgles harmoniques applicables la gamme BohlenPierce qui sont analogues la pratique musicale courante. Ces rgles thorises sont alors appliques quelques exemples du corps croissant de compositions musicales crites la gamme Bohlen-Pierce. Il-y-a aussi inclus des arguments qui support la prfrence d'utilisation des timbres impair-partiels dans la performance de cette gamme, qui ferait l'invention de la clarinette Bohlen-Pierce un point tournant majeur dans la dveloppement de cette gamme. Certains compositions etudi a t ecris pour la prformance sur clarinet Bohlen-Pierce par cette auteure .
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Panzner, Joseph E. "The Process That Is The World: Cage/Deleuze/Events/Performances." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1332343323.
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Lawson, Katheryn Christine. "Little soldiers and orphans: musical childhoods lived and constructed in World War I." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2559.
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Broadly speaking, my thesis will investigate children's music in the World War I era (1914-1918). The aim of my thesis is to answer, at least partially, the questions of how children experienced WWI musically, and how adults approached children in music media during the war years. My research will focus on war-related materials produced for children by adults and ways that children may possibly have responded to the war through music. After an introduction, chapter two first discusses constructions of children by adults found in children's song collections as well as other print materials, such as child-rearing manuals. Secondly, this chapter looks into the ways that children were exposed to war culture, via militaristic children's songs, war-themed fiction, and children's magazines. Chapter three investigates constructions of children and child-rearing in popular Tin Pan Alley songs, namely those of soldier boys and prayerful girls, as well as propagandistic depictions of pacifist and militarist mothers. Finally, chapter four looks into war contrafacta published in the monthly magazine of the Girl Scouts of the USA, The Rally, contextualizing these findings in propaganda posters that targeted children, as well as war work by both the Boy Scouts and Girl Scouts. Through these case studies, I hope to construct a picture of how children from infancy to early adulthood were constructed and depicted in popular culture, how they were approached by adults, and how children were used as part of the nation's narrative.
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Greer, Jonathan David Boyd Jean Ann. "Paul Simon's Graceland and its social and political statements on apartheid in South Africa." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4854.
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Hoene, Christin. "Sing who you are : music and identity in postcolonial British-South Asian literature." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7794.
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This thesis examines the role of music in British-South Asian postcolonial literature, asking how music relates to the possibility of constructing postcolonial identity. The focus is on novels that explore the postcolonial condition in India and the United Kingdom, as well as Pakistan and the United States: Vikram Seth's A Suitable Boy (1993), Amit Chaudhuri's Afternoon Raag (1993), Suhayl Saadi's Psychoraag (2004), Hanif Kureishi's The Buddha of Suburbia (1990) and The Black Album (1995), and Salman Rushdie's The Ground Beneath Her Feet (1999). The analysed novels feature different kinds of music, from Indian classical to non-classical traditions, and from Western classical music to pop music and rock 'n' roll. Music is depicted as a cultural artefact and as a purely aestheticised art form at the same time. As a cultural artefact, music derives meaning from its socio-cultural context of production and serves as a frame of reference to explore postcolonial identities on their own terms. As purely aesthetic art, music escapes its contextual meaning. The transcendental qualities of music render music a space where identities can be expressed irrespective of origin and politics of location. Thereby, music in the novels marks a very productive space to imagine the postcolonial nation and to rewrite imperial history, to express the cultural hybridity of characters in-between nations, to analyse the state of the nation and life in the multicultural diaspora of contemporary Great Britain, and to explore the ramifications of cultural globalisation versus cultural imperialism. Analysing music's cultural meaning and aesthetic value in relation to postcolonial identity, this thesis opens up new frames of textual and cultural analysis that help understand the postcolonial condition from the interdisciplinary perspective of word and music studies.
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Silén, Em. "What about WORLD CRAVE? : Musik & text genom tankar om övermättnad, utmattning, sorg och hopp." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3135.
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Bergh, Arild. "I'd like to teach the world to sing : music and conflict transformation." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/97884.
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Modern conflict transformation emerged after World War II as a discipline and a field of academic research. Since the early 1990s it has increasingly concerned itself with psycho-social issues (e.g. trauma treatment or reconciliation) in the aftermath of violent protracted social conflicts. Within this psycho-social space there has been a growing interest in the use of music in conflict transformation to improve relationships between in and out-groups. However, the field of music and conflict transformation is still nascent, with little in-depth research available. The majority of studies have been undertaken by interested parties or relies on anecdotal evidence from organisers and musicians with little concern for the context of the music use. Participants, whose attitudes and relationships to out-groups are the focus of conflict transformation interventions, are largely overlooked and their views are rarely discussed. Furthermore, there are few detailed studies on exactly how music affects conflict transformation outcomes. Instead allusions are often made to terms such as “the power of music” which act as a black box intended to explain how music “works”, but patently fail to do so. This thesis attempts to fill these two gaps in the literature by focusing on the participants’ experiences in two different conflict transformation contexts, a multi- cultural music project for school children in Noway and the casual music use in a settlement of internally displaced persons in Sudan. Through qualitative research methods, rich descriptive data from different parties is gathered. The data is analysed using grounded theory. As a result a very different and more complex picture emerges that enriches the current understanding of how music is used and perceived in conflict transformation contexts. In particular, how participants view these activities and how power relationships, though rarely mentioned, affect the music use is explored in detail. Some tentative suggestions indicate that music works best when used in longitudinal bottom-up activities and that music can augment conflict transformation activities rather than replace them. Additionally, it is proposed that music may work as a form of benign interruption in conflict transformation activities and that musical events provide a liminal space where the real work lies in the process of bringing any changes in attitudes from the liminal space into everyday life.
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Clò, Clarissa. "Italy in the world and the world in Italy : tracing alternative cultural trajectories /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3100380.
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Tkachenko, Paul. "The real deal : professional klezmer musicians on a London world music scene." Thesis, City University London, 2013. http://openaccess.city.ac.uk/2361/.
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The Real Deal is a term often used by musicians to describe people they perceive to be more authentic than them. Over the past seven or eight years, I have performed music from Eastern Europe, the Balkans, Turkey and beyond under the umbrella of World Music in one of the most cosmopolitan cities in the world: London. As I negotiated my way onto this scene and played with some of the finest musicians, I became increasingly aware of those I felt to be the Real Deal. I also began to feel that, in certain circumstances, I may also have appeared to be the Real Deal to others. Many of the musicians on this scene had begun their foray into these diverse styles with klezmer and it is this style that I explore most with relation to the Real Deal. As klezmer is a Jewish music style not played, or even enjoyed, by all Jews, this makes notions of the Real Deal much more ambiguous. This thesis examines the movable perception that is the Real Deal and the complex interplay that results between musicians. Through discussions with twenty musicians with whom I have played regularly, I discussed the Real Deal and how it affects the way we work. Although half of the musicians self-identified as being Jewish and the other half did not, this became only one factor in the complex negotiations involved in professional music making. The often amusing anecdotes of mistaken identity that we shared raised fundamental questions about our stage performances. I examine the complex issues surrounding klezmer as a style of music and the unique scene that has developed from the American revival in London. I consider the role of the Jewish Music Institute and how it serves the Jewish community and professional musicians in London and beyond. Finally, I assess how my discussions with musicians and the Jewish Music Institute have not only changed and shaped this evolving scene, but forced me to question my own attitudes and practice.
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Dinerstein, Joel Norman. "Swinging the machine : White technology and Black culture between the World Wars /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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