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Rozprawy doktorskie na temat „Music audiences”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 1 sierpnia 2024

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1

Redhead, Tracy. "Interactive music formats : will audiences interact?" Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/80881/4/Tracy_Redhead_Thesis.pdf.

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The purpose of this research was to conduct a pilot study of a prototype interactive music release format which sought to investigate the readiness of audiences to interact with an interactive alternative to a fixed recorded work. A prototype music interface was created for testing. The prototype was then tested on a sample of users to understand what factors might be critical to audience engagement. The research further investigated the potential implications of the interactive release format on musicians' creative process.

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Zaborowski, Rafal. "Audible audiences : engaging with music in Japan." Thesis, London School of Economics and Political Science (University of London), 2015. http://etheses.lse.ac.uk/3219/.

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In this thesis I aim to uncover the nature, quality and implications of audience engagement with popular music in everyday life. Specifically, I look at two post-war generations in modern Japan and analyse their listening practices and interpretations of music encounters. To investigate this, a mixed-method approach is used based on focus group and individual interviews, questionnaires, participant observation and expert interviews with industry representatives – 100 study participants overall. Emerging patterns and themes are identified through qualitative thematic analysis. In two case studi

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Lee, Erin Gilligan. "New Audiences for New Music: A Study of Three Contemporary Music Ensembles." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1240423668.

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Lee, Erin. "New audiences for new music a study of three contemporary music ensembles /." Akron, OH : University of Akron, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1240423668.

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Thesis (M.A.)--University of Akron, School of Dance, Theatre, and Arts Administration, 2009.<br>"May, 2009." Title from electronic thesis title page (viewed 8/1/2009) Advisor, Durand Pope; Faculty Readers, Neil Sapienza, George Pope; School Director, Neil Sapienza ; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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Emanski, Julianna. "Early Music Audiences: A Survey and Analysis of Early Music Consumers in Texas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707272/.

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Texas has a rich tradition of Early Music ensembles that dates back to 1969. However, there is little reliable information based on statistical data collection and analysis concerning Texas Early Music consumers. Little is known about why they attend Early Music performances or other important factors that affect the Early Music industry. Through the use of an extensive survey and accompanying statistical analysis, this study answers many questions regarding Early Music consumers in the State of Texas. This study collected demographic and psychographic data in January 2020 about the Early Musi

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Hearn, Lucinda J. "Wild release: Making albums for audiences in a short-form economy." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/117287/2/Lucinda%20Hearn%20Thesis.pdf.

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The importance of making full length albums has been questioned in light of recent changes in the music industry, and there have been a variety of responses on the part of artists and labels. Many of these responses have been highly specific, and may not lend themselves to being scaled up effectively or to innovative ways of rethinking the relationship between artists and fans. Here I make the case that responses thus far are lacking, and point to the need for more broadly applicable and sustainable response techniques. Using a practice-led research project, I seek out such response techniques

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7

Dilokkunanant, Komsun. "Strategies for classical music audiences: an exploration of existing practices used by western European art music organizations." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6937.

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Music has been part of human culture since the beginning of civilization. All musical types, styles, and genres are products of different cultures at different times. What we refer to today as Classical Music are the musical compositions written for standard Western European orchestral instruments ranging from solo to chamber music to symphony orchestra. Towards the end of the nineteenth-century classical music gradually came to be seen as "serious" music that required deeper knowledge in order to truly appreciate it. With the rise of the popular music category, classical music itself has beco

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8

Freeman, Cole. "Educating American Audiences: Claire Reis and the Development of Modern Music Institutions, 1912-1930." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500034/.

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The creation of institutions devoted to promoting and supporting modern music in the United States during the 1920s made it possible for American composers to develop an identity distinct from that of European modernists. These institutions were thus a critical part of the process of modernization that began in the United States during the early decades of the twentieth century. There is substantial scholarship on these musical institutions of modern music, such as the International Composers’ Guild and the League of Composers; but little to no work has been done on the progressive musical ins

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9

Lee, Sang Won. "Audience participation using mobile phones as musical instruments." Thesis, Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/44749.

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This research aims at a music piece for audience participation using mobile phones as musical instruments in a music concert setting. Inspired by the ubiquity of smart phones, I attempted to accomplish audience engagement in a music performance by crafting an accessible musical instrument with which audience can be a part of the performance. The research begins by reviewing the related works in two areas, mobile music and audience participation at music performances, builds a charted map of the areas and its intersection to seek an innovation, and defines requisites for a successful audience p

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10

Carter, Danielle Catherine. "Envisaged, invited and actual audiences: A new model to approach audience research in Australian community-engaged performance projects." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127464/1/Danielle_Carter_Thesis.pdf.

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This study investigates different approaches to theatre audience studies to develop a new practical model for examining the embedded and intrinsic audiences in community-engaged performance projects with social orientations. The practical model is empirically tested in two Australian case studies, and augmented and enhanced through its application in three key audience categories: Envisaged Audience, Invited Audience and Actual Audience. This study argues that the proposed model is a useful tool for industry, in particular, to locate, illuminate and disrupt different points of views on audienc

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11

Brüggemann, Sophie [Verfasser], and Lorenz [Akademischer Betreuer] Welker. "Parsing consumption preferences of music streaming audiences : through concatenating data analytics / Sophie Brüggemann ; Betreuer: Lorenz Welker." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2020. http://d-nb.info/1218465514/34.

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Xie, Lingli. "Exploring the intersection of translation and music : an analysis of how foreign songs reach Chinese audiences." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22010.

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The thesis looks into the practice of song translation, which occupies a peripheral position in translation studies (TS) despite its commonplace occurrence and significant impact on the global spread of songs. Foreign songs enjoy enormous appeal in China, where different methods have been adopted to translate them with the aim of enhancing listeners’ full reception. In particular, the practice of writing Chinese lyrics anew and setting them to the foreign tunes regardless of the semantic relationship between the source text (ST) and the target text (TT) has proliferated over the past decades.

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13

Pearce, Kevin (Conductor). "A Descriptive Study of the Musical Backgrounds of Orchestral Concert Attendees, with an Emphasis on Past Participation in School Music Programs." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505209/.

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This was a descriptive study that was completed to gather information about musical backgrounds of orchestral concert attendees, and to determine if those attendees perceived relationships between past participation in school music programs and current patronage of classical music concerts. Participants completed a survey about their musical experiences from childhood through adulthood, as well as memories from school music programs. Results and analysis of the responses identified common themes among participants' childhoods, their schooling and private lessons, experiences that served as gat

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Broughton, Mary C. "Music, movement and marimba : solo marimbists' bodily gesture in the perception and production of expressive performance." Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/33189.

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A combination of experimental and empirical studies investigate the assumption that musical expression is communicated in marimba performance through at least two channels – sound and action. A parallel is drawn between the bodily movements and gestures occurring with expressive musical sound, and gestures produced in concurrence with speech. Experiment 1 investigated the assumption that bodily movements and gestures can enhance or diminish the perception of expression and interest in solo marimba performance when presented audio-visually compared to presentation in audio-only form. Body movem

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Nguyen, Hang Thi Tuyet. "Audiences’ engagement with Twitter and Facebook Live during classical music performances: community and connectivity through live listening experiences." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6618.

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Music ensembles have made a concerted attempt to reach out through social media platforms to the communities surrounding their concert venues in order to attract young adults to replace aging audiences. By observing opera and symphony orchestra audience members’ social media engagement through Twitter and Facebook Live, this dissertation endeavors to better understand how technology has changed the culture of classical music concert attendance. The music organizations utilizing social media considered for this study include the Los Angeles Opera, San Francisco Opera, and Boston Lyric Opera for

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16

Blue, Kevin J. "In/retrospection : an interactive audiovisual composition for ten-piece orchestra, electronically manipulated audio, and video." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365789.

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In/Retrospection is an audiovisual composition employing audio and video in an interactive form, written for a ten-piece orchestra, electronically generated audio, and video that interact with each other in a variety of ways. Not only is the use of overall interaction employed, but each element of the composition is given its own space to develop and take its place in the forefront of the listeners/viewers focus, thus shifting attention to various aspects of the composition. In this way, the composition is neither a video with accompanying audio or audio with accompanying video, but a combinat

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17

Padua, Daniel A. "The Family 'Playlist': Popular music, age and identity." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/110533/1/Daniel_Padua_Thesis.pdf.

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Popular music is central to the understanding of youth culture and has come to represent the so-called 'generation gap'. This thesis, however, argues that popular music is no longer just a signifier of generational tension. It is now an increasingly significant cultural resource that allows parents and their children to establish and maintain family relations. Using interviews from families who are fans of Queen or Taylor Swift, this research investigates how shared practices around popular music consumption contribute to a cohesive family identity.

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Broughton, Mary C. "Music, movement and marimba solo marimbists' bodily gesture in the perception and production of expressive performance /." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/33189.

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Thesis (Ph.D.)--University of Western Sydney, 2008.<br>A thesis presented to the University of Western Sydney, College of Arts, School of Psychology, in fulfilment of the requirements for the degree of . Includes bibliographies.

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19

Stanley, R. M. "A formative force : the BBC's role in the development of music and its audiences in Northern Ireland 1924-39." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546441.

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Price, Sarah M. "Risk and reward in classical music concert attendance : investigating the engagement of 'art' and 'entertainment' audiences with a regional symphony orchestra in the UK." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/16628/.

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Classical music organisations across the UK are under increasing pressure to grow and diversify their audiences. ‘Populist’ concerts are designed to attract new audience members by being more accessible and informal than core classical concerts, with programmes structured around well-known short pieces within a broadly-defined classical repertoire. Populist programming has been criticised in mainstream press for ‘dumbing down’ classical music in favour of attracting larger audiences. This thesis investigates how the distinction between populist and core programming is perceived and negotiated

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21

Jones, Natalie. "Lost in Translation : To what extent can sign language be used to translate the meaning of the text for hearing audiences in classical vocal music?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3625.

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The purpose of this project is to examine the extent to which sign language can be used as a means of communicating the text for hearing audiences attending classical vocal recitals. The project discusses historical practices for providing text translation of classical repertoire sung in foreign languages and gives an account of the increasing popularity of sign language interpretation for hearing audiences within the contemporary, commercial music industry. A trial performance is undertaken in order to examine the effectiveness of the idea in the context of classical vocal music. Feedback is

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de, Bruyn Moreira Annis. "Master's Thesis - Welcome to the Shed." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23206.

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Traditional media has a long history of marginalising women and ethnic minorities by trivialising their contributions and obscuring their involvement. Ethnic minorities have been kept out of top roles in films – as evidenced in 2016, with the #Oscarssowhite controversy, when not a single nomination was extended to a person of colour. Women, too, have been objectified and typecast in supporting and “love interest” roles. This marginalisation, whereby male and white are the norm and everyone else is “the other”, extends far beyond movies. YouTube has transformed from its humble beginnings of a

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23

Collie, Hazel. "Television for women : generation, gender and the everyday." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10478.

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This study is part of the AHRC funded project “A History of Television for Women in Britain, 1947-1989”. The research is based upon the data gathered from interviews carried out with thirty geographically and generationally dispersed women about their memories of watching television in Britain between 1947 and 1989. I have used generation and gender as analytical categories, and have paid particular attention to the role of memory work in this type of historical research. This thesis aims to build upon previous work which has investigated the connection between generation and interaction with

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Clarke, Jennifer 1974. "The effect of digital technology on late 20th century and early 21st century culture [electronic resource] / by Jennifer Clarke." University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.

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Title from PDF of title page.<br>Document formatted into pages; contains 65 pages<br>Thesis (M.L.A.)--University of South Florida, 2003.<br>Includes bibliographical references.<br>Text (Electronic thesis) in PDF format.<br>ABSTRACT: Recently, artists have begun using digital technology to create new cultural forms in the fields of art, literature, and music, and a new cultural form known as interactive digital multimedia has emerged, which combines elements from the new artistic, literary, and musical forms. Many of these artists have produced works that explore the interactive capabilities of

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Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.

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XIAO, DAXIN. "Enhancing audience experience on Live music." Thesis, Uppsala universitet, Människa-datorinteraktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-362615.

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Increasingly, people attend live music event for diversified experiences that they could not have from listening to music at home or watching a broadcast on TV. Some seek to interact with their idol on site; others enjoy the collective action with audience members who share with them the same music preference. Enhancing audience experiences on live events, therefore, gains popularity. Research focus on crowd behaviors and the possibility of how implementing new technologies into this area. However, few studies have investigated have investigated the impact of individual promotion in the crowds

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Zubeck, Stella. "Not Fade Away : Enriching Music Festival Audience Experience." Research Showcase @ CMU, 2014. http://repository.cmu.edu/theses/77.

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The modern music festival is a site of interaction between up to hundreds of thousands of people, artists, vendors, musicians and technologies. Audiences travel thousands of miles and invest huge amounts of time, energy and money to attend them. Despite the increasing commercial demand for music festivals and the budding recognition of their social value to festivalgoers, humancentered design methods have not been applied to explore ways to increase the value of music festival experiences for audiences. The purpose of this project was twofold. First, I planned to develop a nuanced human-center

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Legaspi, Melissa M. "Gender Role Identity and Audience Perceptions of Music Videos." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/communication_theses/9.

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The emergence in recent years of strong female musical artists asserting their sexuality as empowerment (Andsager & Roe, 2003; Gauntlett, 2002) has necessitated an evaluation of their depictions in music videos as perceived by contemporary target audiences. This study attempts to determine how viewers’ gender role identity, based upon gender schema theory (Bem, 1981; 1993) and measured through Bem Sex-Role Inventory (BSRI), relate to perceptions of female pop and hip hop artists’ music videos. It was hypothesized that sex-typed respondents would perceive portrayals as traditional more than oth

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Tarrant, Patrick Anthony. "Documentary practice in a participatory culture." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/26975/1/Patrick_Tarrant_Thesis.pdf.

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Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and p

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Tarrant, Patrick Anthony. "Documentary practice in a participatory culture." Queensland University of Technology, 2008. http://eprints.qut.edu.au/26975/.

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Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and p

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Lindblom, Shari. "Audience connectivity in orchestral performances." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/20533/1/Shari_Lindblom_Thesis.pdf.

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With the general global decline in the popularity and profitability of traditional orchestras, ways to build new audiences, develop new repertoires and create new networks and business partnerships are being explored. The aim of this thesis is to analyse the various elements of a proposed Orchestral Sustainability Framework and determine if and how these elements contribute to an increased audience connection with the music performance experience. Three main elements are explored in this Orchestral Sustainability Framework: 1. Social aspects of audience connection such as performer/audience in

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Lindblom, Shari. "Audience connectivity in orchestral performances." Queensland University of Technology, 2009. http://eprints.qut.edu.au/20533/.

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With the general global decline in the popularity and profitability of traditional orchestras, ways to build new audiences, develop new repertoires and create new networks and business partnerships are being explored. The aim of this thesis is to analyse the various elements of a proposed Orchestral Sustainability Framework and determine if and how these elements contribute to an increased audience connection with the music performance experience. Three main elements are explored in this Orchestral Sustainability Framework: 1. Social aspects of audience connection such as performer/audience in

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33

Sumner, Lott Marie. "Audience and style in nineteenth-century chamber music, c. 1830 to 1880 /." Digitized version, 2008. http://hdl.handle.net/1802/7668.

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Thesis (Ph. D)--University of Rochester, 2008.<br>Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7668

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34

Godinho, José Carlos David Nunes. "Audience-listening and audience-performing : a study of the effect of context on mental representation of music." Thesis, UCL Institute of Education (IOE), 2000. http://eprints.ioe.ac.uk/19236/.

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This study is concerned with the effects of the context of musical experiences on the mental representation of music. The analysis is focused on the context of listening to recorded music in the classroom, with particular regard to strategies of listening through participation. Playing rhythms along with recorded music within an instrumental group (Audience-Performing) is therefore the main context of analysis, being developed in comparison to the context of listening in silence (Audience-Listening). Everyday situations give evidence of the power of context on the ways individuals think and me

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35

Olsson, Per. "”Ni på sittplats, är ni klara?” : Ett arbete om musikens påverkan på en ishockeypublik." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1658.

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<p>The question formulation for this work has been "is an ice-hockey audience influenced by music during time-outs in a game?". The method was to observe one period with Färjestads BK and Mora IK, but a recording was also made, together with a conversation with the arena DJ. From the recording, the audience reactions were graded from a given scale. The grades were compilated to a diagram that shows the audience reactions in relation to the time, from the first face-off to the final whistle. From the diagram, one can see the connections between the audience reactions and the music. During the o

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Rahal, Crawford Christine. "Effects of exposure to virtual audience environments on performing musicians." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103538.

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The objective of the study was to determine if repeated exposure to a virtual reality (VR) audience environment would desensitize musicians suffering from performance anxiety when subsequently performing in front of a live audience. Sixteen university music students participated in the study. They performed in pretest and posttest concerts with live audiences. Each was assigned either to the VR condition or to a control waiting-list group. VR participants played during five weekly VR sessions, and were measured on a state anxiety inventory (SAI), heart rate and cortisol levels. Performances we

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Anderson, Lauren. "Investigating audience responses to popular music in contemporary romantic comedy films." Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/cc4ece5f-c1df-4198-be56-c7afb3067dcb.

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Despite the rapidly growing body of critical academic writing around sound and music on screen, and studies of the increasing role of popular music within contemporary films, there has to date been little empirical exploration of audience responses to popular music in film. This thesis investigates how audiences hear and relate to popular music in romantic comedy soundtracks, specifically those of Love Actually (2003, dir. Richard Curtis), What Women Want (2000, dir. Nancy Meyer), and 10 Things I Hate About You (1999, dir. Gil Junger). Building upon a detailed critique of existing theoretical

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38

Zamorano, Yerai. "Performer-initiated and audience- controlled interaction effects in live-streamed music events." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-294143.

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Although live stream music events have been gaining popularity in recent years, there has not been much research on the impact the interactions unfolding during the event have on the user experience of the audience. This thesis focuses on the effects that a particular performer-initiated and audience-controlled interactivity, such as being able to vote for the next song, has during the music event. The user study followed an experimental between-subjects design to estimate the consequences of this interaction using a mobile prototype with two different conditions that differ in the level of in

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Hill, Andrew. "Interpreting electroacoustic audio-visual music." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9898.

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The basis of this research project stems from reflections upon the process of composition for electroacoustic audio-visual music. These are fixed media works in which sound and image materials are accessed, generated, explored and configured in creation of a musically informed audio-visual expression. Within the process of composition, the composer must decide how to effectively draw relationships between these time based media and their various abstract and mimetic materials. This process usually has no codified laws or structures and results in relationships that are singular to the individu

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40

Stavrides, Michael G. "The interaction of audience-listening and composing : a study in Cyprus schools." Thesis, University College London (University of London), 1995. http://discovery.ucl.ac.uk/10006589/.

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Lehmann, Matthias. "„Für wen spielt die Musik?“." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-86926.

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Die Musikbetriebe der klassischen und der „Neuen“ Musik sehen sich gegenwärtig mit zwei publikumsbezogenen Problemen konfrontiert. Während „die Neue Musik einsam alt geworden ist“ und „das spärliche Publikum, das oft nur ein Konzert besucht, weil es zum Abonnement gehört, […] dieser Musik häufig verständnislos gegenüber [sitzt]“ (DIE ZEIT 43/2009: 57), droht das vergreiste und oftmals als „elitär“ etikettierte Publikum der klassischen Musik allmählich auszusterben. Diese Befunde beruhen methodisch oft auf subjektive, alltagspsychologische Betrachtungen der Konzertbesucher im Konzertsaal, was h

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McKenna, Libby. "Audience interpretations of the representation of women in music videos by women artists." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.

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Single, Nancy Ann. "An arts outreach/audience development program for schools of music in higher education." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392911317.

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Oberlander, Erin Marissa. "Reaching Arcadia: Rural and Agricultural Themes in Vocal Art Music including Plans to Introduce this Music to a Rural Audience." Diss., North Dakota State University, 2011. https://hdl.handle.net/10365/29768.

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Throughout the history of Western Music, composers have written works on rural and agricultural subjects. The first half of this dissertation examines a number of important works from the Baroque era through the present day and the composers who have chosen this specialized subject matter. Rural communities are underserved where the arts are concerned. Yet, rural audiences have perhaps the best chance at identifying with the subjects of this particular subset of vocal art music. The second half of this dissertation examines reasons why it is important to reach rural communities with vocal art

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Force, Kristin Alicia. "La Monte Young, Terry Riley, Steve Reich, and Philip Glass: The evolution of minimalism and audience response." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26636.

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Minimalism was a period in music throughout the postmodern twentieth century initiated by the compositions of La Monte Young (1935-- ), followed by those of Terry Riley (1935--), developed by Steve Reich (1936-- ), and evolved by Philip Glass (1937-- ). Minimalist music was influenced by the non-Western music of India, created by the constant repetition of musical patterns to generate a hypnotic state on the listener through stasis. The size of the minimalist audience has continually increased from the New York City loft-based performances of La Monte Young to the opera house performances of P

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Frantz, Elizabeth Lorraine. "Is Technology the Way Forward for Classical Music? Exploring Audience Engagement in the Digital Era." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429625667.

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Smialek, Eric. "Rethinking metal aesthetics: complexity, authenticity, and audience in Meshuggah's «I» and «Catch Thirtythr33»." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32597.

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The unusual complexity of two recent recordings by the extreme metal band Meshuggah has resulted in a strongly divided reception amongst fans, providing the opportunity to reconsider some common conceptions of metal aesthetics and to contribute to subtler ways of understanding taste and social demographics. Spanning twenty-one and forty-seven minutes respectively, I (2004) and Catch Thirtythr33 (2005) surprised fans with their unusual lengths (both recordings considered by the band to be single songs), co

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Lüneburg, Barbara. "A holistic view of the creative potential of performance practice in contemporary music." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7512.

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The creative potential and work of the performer in new music extends from the moment of conceptualising a concert to the moment of presenting it on stage and comprises many areas between and around those two points. In this thesis I explore the nature of this activity, from the act of playing itself to the commissioning and creating of new pieces, curatorial and collaborative tasks, and the actual concert presentation. I deliberately include interrelations between performer and music promoters, composers and the audience. This leads me to further areas of investigation, namely the question of

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Murphy, Michael J. "Methodology for the production and delivery of generative music for the personal listener : systems for realtime generative music production." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/9737.

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This thesis will describe a system for the production of generative music through specific methodology, and provide an approach for the delivery of this material. The system and body of work will be targeted specifically at the personal listening audience. As the largest current consumer of music in all genres of music, this represents the largest and most applicable market to develop such a system for. By considering how recorded media compares to concert performance, it is possible to ascertain which attributes of performance may be translated to a generative media. In addition, an outline o

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Burgess, Jean E. "High Culture as Subculture : Brisbane's Contemporary Chamber Music Scene." Thesis, The University of Queensland, 2004. https://eprints.qut.edu.au/28527/1/28527.pdf.

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The aim of the dissertation is to discover the extent to which methodologies and conceptual frameworks used to understand popular culture may also be useful in the attempt to understand contemporary high culture. The dissertation addresses this question through the application of subculture theory to Brisbane’s contemporary chamber music scene, drawing on a detailed case study of the contemporary chamber ensemble Topology and its audiences. The dissertation begins by establishing the logic and necessity of applying cultural studies methodologies to contemporary high culture. This argument is s

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