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Dissertations / Theses on the topic 'World music'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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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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2

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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3

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 conside

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4

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.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 103-112).<br>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 enculturati

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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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6

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.<br>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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7

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 &lsquo<br>local&rsquo<br>. The study attempts to show the complicated nature of the process by examining how the musical forms and themes supposedly belonging to the &lsquo<br>local&rsquo<br>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 ta

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8

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

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9

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

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10

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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11

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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12

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 infrare

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13

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.<br>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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14

Schumacher, Rüdiger. "World Music – die Musikethnologie zwischen Traditionellem und Modernem." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71806.

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15

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 Br

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16

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

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17

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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18

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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19

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 Ea

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20

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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21

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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22

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 d

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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 Music<br>Department of Music<br>Julie Yu<br>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

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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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25

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 ex

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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 G

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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

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28

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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29

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 ide

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30

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 we

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31

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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32

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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33

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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34

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 Seraphim<br>This 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 practical

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35

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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36

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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37

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 A

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38

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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39

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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40

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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<p>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. </p><p>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 anim

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41

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

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42

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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43

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 fo

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44

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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45

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 m

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46

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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47

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

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48

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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49

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

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50

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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