Dissertationen zum Thema „Music – california – history and criticism“
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Hilliard, Howard (Howard Louis). „The History of Horn Playing in Los Angeles from 1920 to 1970 : a Lecture Recital, Together With Three Recitals of Selected Works for Horn by M. Haydn, Franz, Britten, Mozart, Koetsier, Hindemith, Herzogenberg, Rossini, Stevens and others“. Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc1038828/.
Der volle Inhalt der QuelleKirilov, Kalin Stanchev. „Harmony in Bulgarian Music“. Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.
Der volle Inhalt der QuelleThis study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire.
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Ram, Deepak. „A portfolio of original compositions exploring syncretism between Indian and western music“. Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.
Der volle Inhalt der QuelleSchmid, William A. (William Albert). „An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.
Der volle Inhalt der QuelleBrownlee, Jane. „The Transmission of Traditional Fiddle Music in Australia“. Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.
Der volle Inhalt der QuelleBrownlee, Jane. „The transmission of traditional fiddle music in Australia“. Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.
Der volle Inhalt der QuelleStewart, Shawna Lynn. „Charles C. Hirt at the University of Southern California| Significant contributions and an enduring legacy“. Thesis, University of Southern California, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564029.
Der volle Inhalt der QuelleDr. Charles Hirt and the Department of Church and Choral Music at the University of Southern California (USC) produced some of America's most successful choral conductors and administrators. Many of those students are conducting or administrating at the finest colleges and universities, secondary schools, churches, and community choral organizations in the nation. From the earliest moments of his career, Charles Hirt himself received a seemingly endless string of accolades. Always focused on the betterment and future of the choral arts, he was a "founding father" of significant choral organizations such as the American Choral Directors Association (ACDA), Choral Conductors Guild of California, and the International Federation of Choral Music. It was also his visionary mindset that served as a hallmark of his tenure at USC and arguably earned him the right to stand as an equal alongside the greatest of American choral conductors.
It is the aim of this study to examine Hirt's significant contributions to the University of Southern California and his legacy as it continues on in his students and the subsequent generation of choral leaders they generated.
Williams, Stephanie E. (Stephanie Evangeline). „On folk music as the basis of a Jamaican primary school music programme“. Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.
Der volle Inhalt der QuelleSarmast, Ahmad Naser. „A survey of the history of music in Afghanistan, from ancient times to 2000 A.D., with special reference to art music from c.1000 A.D“. Monash University, School of Music-Conservatorium, 2004. http://arrow.monash.edu.au/hdl/1959.1/9685.
Der volle Inhalt der QuellePapanikolaou, Dimitris. „Singing poets : literature and popular music in France and Greece /“. London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
Der volle Inhalt der QuelleStrahle, Graham. „Fantasy and music in sixteenth- and seventeenth-century England /“. Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.
Der volle Inhalt der QuelleWillett, Toby T. „California as Music to American Ears: Migration, Technology, and Rock and Roll in the Golden State, 1946-2000“. DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/264.
Der volle Inhalt der QuelleSchmitz, Michael David. „Oriental influences in the piano music of Claude Achille Debussy“. Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187118.
Der volle Inhalt der QuelleBrennan, Matthew. „Down beats and rolling stones : an historical comparison of American jazz and rock journalism“. Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.
Der volle Inhalt der QuelleLau, Man-chun, und 劉文俊. „A study of Hong Kong popular music industry (1930-2000)“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.
Der volle Inhalt der QuelleChapman, Christopher Adam 1964. „Regional traditions of Lao vocal music : lam siphandon and khap ngeum“. Monash University, School of Music-Conservatorium, 2002. http://arrow.monash.edu.au/hdl/1959.1/7867.
Der volle Inhalt der QuellePeter, Timothy Layne. „Johann Mattheson's "Das Lied des Lammes": Progressive tendencies in the evangelist recitatives“. Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186414.
Der volle Inhalt der QuelleMatambo, Lotta Eleonoora. „The solo piano music of Einojuhani Rautavaara“. Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002311.
Der volle Inhalt der QuelleCard, Patricia Pierce. „The influence of klezmer on twentieth-century solo and chamber concert music for clarinet with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others /“. Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/card%5Fpatricia/index.htm.
Der volle Inhalt der QuelleBurns, Kristine Helen. „The history and development of algorithms in music composition, 1957-1993“. Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902512.
Der volle Inhalt der QuelleSchool of Music
Forward, David William. „The keyboard repertory as a reflector of art nouveau in music /“. Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.
Der volle Inhalt der QuelleRhodes, Carol Shirley. „The dance of time: The evolution of the structural aesthetics of the prepared piano works of John Cage“. Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187153.
Der volle Inhalt der QuelleCHINCOLI, Veronica. „Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s)“. Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/62230.
Der volle Inhalt der QuelleExamining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo
This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainment circuit. Both cities functioned as sites of crossfertilisation for genres of music that were co-produced in a circulation between empires and Europe. Musicians of various origins met in the urban spaces of the two cities. The convergence and intermingling of musical cultures that musicians had brought with them produced new sounds. This process was influenced by a minority group (blacks), but had a significant and lasting influence on the musical world. By creating an historical account of the encounters and exchanges between people of different origins within the music scenes, this thesis examines music development and the complexity of processes of racialisation according to their historical locality and meaning. Using a variety of sources including police reports, government documents, interviews, guidebooks and newspapers, this work contributes to widen the perspective of historical studies on music developments, emphasising their social and spatial dimensions, which are fundamental for the exploration of music scenes, in general, and for the spread of black genres of music in particular. Black music styles spread internationally, but were produced in several specific locations where music industry infrastructure was developing. In the urban spaces of the music scenes of London and Paris social networks were formed by various actors - both blacks and whites - and were crucial for music production and reception; different perceptions of blackness, processes of competition, and debates on authenticity emerged; and processes of regulation and negotiation underpinned the intervention of public authorities.
Chapter 4 'Black Music Styles as Vehicles for Trans-racial Interplay: Practices of Learning, Perceptions of Blackness and Commercialisation of Music' of the PhD thesis draws upon an earlier version published as an article “Black Music Styles as Vehicles for Transnational and Trans-Racial Exchange: Perceptions of Blackness in the Music Scenes of London and Paris (1920s-1950s),” (2017) in the journal 'Zapruder world'
West, Aaron J. „Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz“. Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.
Der volle Inhalt der QuelleVendrix, Philippe Pierre 1964. „Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)“. Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.
Der volle Inhalt der QuelleRyan, Robin Ann 1946. „"A spiritual sound, a lonely sound" : leaf music of Southeastern aboriginal Australians, 1890s-1990s“. Monash University, Dept. of Music, 1999. http://arrow.monash.edu.au/hdl/1959.1/8584.
Der volle Inhalt der QuelleSmith, David John. „The instrumental music of Peter Philips : its sources, dissemination and style“. Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:d1af3140-2553-4f58-8437-a1eee66d7f13.
Der volle Inhalt der QuelleLe, Cocq Jonathan. „French lute-song, 1529-1643“. Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.
Der volle Inhalt der QuelleJohnston, Gregory Scott. „Protestant funeral music and rhetoric in seventeenth-century Germany : a musical-rhetorical examination of the printed sources“. Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27359.
Der volle Inhalt der QuelleArts, Faculty of
Music, School of
Graduate
Baquet, N. Eugene. „Blues Story: Narratives of Cultural Identity“. Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/BaquetNE2006.pdf.
Der volle Inhalt der QuelleHausfeld, Gretchen Gayle. „The treatment of the bassoon in three chamber works of Igor Stravinsky“. Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186265.
Der volle Inhalt der QuelleDube, Michelle Claire. „Prelude of Suite V for cello solo by J. S. Bach: Options for performance“. Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186392.
Der volle Inhalt der QuelleJames, Douglas Goff. „Luigi Rinaldo Legnani: His life and position in European music of the early nineteenth century, with an annotated performance edition of selections from 36 Capricci per Tutti I Tuoni Maggiori E Minori, Opus 20“. Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186632.
Der volle Inhalt der QuelleNercessian, Andy Hagop. „Marxism-Leninism, national identity, and the perception of Armenian music“. Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619554.
Der volle Inhalt der QuellePerry, Shirley Mercedes. „Selected Psalms, Old Verses and Spiritual Songs of the Canadian Doukhobors: Transcription and musical analysis“. Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185897.
Der volle Inhalt der QuelleKeightley, Keir. „The history and exegesis of pop : reading "All summer long"“. Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22458.
Der volle Inhalt der QuelleRushing-Raynes, Laura. „A history of the Venetian sacred solo motet (c. 1610--1720)“. Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
Der volle Inhalt der QuelleLinekin, Kim. „The modern popular song as a literary art form“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.
Der volle Inhalt der QuelleKotze, Hanneli. „Agogiek in historiese perspektief met spesiale verwysing na die 18de eeu“. Thesis, Stellenbosch : Stellenbosch University, 1987. http://hdl.handle.net/10019.1/65460.
Der volle Inhalt der QuelleVOORWOORD Die twintigste eeu beleef 'n besondere belangstelling in die outentieke uitvoering van ou musiek en dit is 'n studieveld wat reeds uitgebreid nagevors is. Desondanks bestaan daar steeds baie vraagstukke aangaande sekere uitvoeringspraktyke en styltipes en hoe ouer die musiek, hoe meer problematies word 'n outentieke uitvoering, veral as gevolg van die groot verskille tussen die moderne en ou instrumente, die speeltegnieke en die dikwels ontoereikende notasie. Die teoriee wat die twintigste eeuse musici aangaande die uitvoeringspraktyke geformuleer het, is hoofsaaklik gebaseer op ou geskrifte, verhandelinge en onderrigboeke uit die onderskeie styltydperke. Daar bestaan baie teenstrydighede tussen hierdie teoriee, veral met betrekking tot die musiek van die Barokperiode. Die uitvoering van musiek van die Klassieke en veral die Romantiese periodes is minder problematies en die redes hiervoor is hoofsaaklik die volgende: Die notasiesisteem het reeds tydens die Hoog-Klassieke tydperk tot sy huidige vorm ontwikkel. Verder het musiekkritiek en -geskiedskrywing segert die agtiende eeu toenemend meer aandag geniet en bestaan daar dus meer inligting aangaande uitvoeringspraktyke. Ten spyte daarvan dat hierdie na vorsing reeds dekades gelede begin het, is daar steeds groot onkunde daaromtrent en word daar dikwels min aandag gegee aan die outentieke uitvoering van ou musiek. Hierdie studie is 'n paging om die navorsing wat reeds gedoen is krities te ondersoek en 'n moontlike samevatting daarvan te gee.
Digitized at 300 dpi B/W PDF format (OCR), using ,KODAK i 1220 PLUS scanner. Digitised, Rebecca Patterson on 28 August 2013. Digitization of Music Thesis Project
Hurley, Therese. „Jeanne d'Arc on the 1870s Musical Stage: Jules Barbier and Charles Gounod's Melodrama and Auguste Mermet's Opera“. Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12991.
Der volle Inhalt der QuelleStein, Eric 1973. „"Living right and being free" : country music and modern American conservatism“. Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21267.
Der volle Inhalt der QuelleMcMahon, Orlene Denice. „Listening to the French new wave : the film music and composers of postwar French art cinema“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610716.
Der volle Inhalt der QuelleStafford, Andrew. „Pig city : from The Saints to Savage Garden“. Thesis, Queensland University of Technology, 2004.
Den vollen Inhalt der Quelle findenBroman, 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.
Der volle Inhalt der QuelleCheung, Kwok-hung Stephen, und 張國雄. „Traditional music and ethnicity : a study of Hakka shange“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195958.
Der volle Inhalt der Quellepublished_or_final_version
Music
Doctoral
Doctor of Philosophy
Powell, Steven. „Dread rites : an account of Rastafarian music and ritual process in popular culture“. Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55647.
Der volle Inhalt der QuelleBach, Edward Stanley. „A performance project on selected works of five contemporary composers : Malcolm Arnold, Robert Henderson, Stan Friedman, John Elmsley, Lucia Dlugoszweski“. Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32135.
Der volle Inhalt der QuelleArts, Faculty of
Music, School of
Graduate
Bhimani, Nazlin. „Kaikhosru Sorabji’s critical writings on British music in The New Age (1924-1934)“. Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25348.
Der volle Inhalt der QuelleArts, Faculty of
Music, School of
Graduate
Samball, Michael L. (Michael Loran). „The Influence of Jazz on French Solo Trombone Repertory“. Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.
Der volle Inhalt der QuelleHolman, Jones Stacy Linn 1966. „Music for torching“. 2001. http://hdl.handle.net/2152/10542.
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