Dissertationen: „Set poetry to music“

1

Hsieh, Ching-Hsuan Lily. „Chinese poetry of Li Po set by four twentieth century British composer: Bantock, Warlock, Bliss, and Lambert“. The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1086095656.

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2

Ohki, Hitomi. „American Poet Emily Dickinson Set to Music by 20th Century Composers“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.

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When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song. The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”. Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson. The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song.

Soprano: Hitomi Ohki

Piano: Anders Kilström

Aaron Copland (1900-1990)

Twelve Poems of Emily Dickonson

1, Nature, the gentlest mother

2, There came a wind like a bugle

3, Why do they shut me out of Heaven?

4, The world feels dusty

5, Heart, we will forget him!

6, Dear March, come in!

7, Sleep is supposed to be

8, When they come back

9, I felt a funeral in my brain

10, I've heard an organ talk sometimes

11, Going to Heaven!

12, The Chariot

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3

Bassett, Dennis M. „The Five Song Collections of John David Earnest Set to the Poetry of Robert Bode: A Performer's Perspective“. Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243567209.

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4

Timman, Matthew Peter. „The Drum Set Works of Stuart Saunders Smith as a Correlative Trilogy through Compositional Unity and Autobiographical Content as Confession“. Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400161867.

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5

Shortway, Christopher Greg. „Set in motion“. Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1078.

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Set in Motion is a composition in two movements for an ensemble of 10 instruments that interacts with a computer in real-time performance using Max/MSP software. The instrumental writing in the piece focuses on incorporating electronic composition techniques into acoustic composition. Techniques such as constructing envelopes, shading, and sound masses, which are common in electronic works are applied to the ensemble. Also, the intervals of a major and minor second are important in the instrumental writing. These intervals provided the basis for the material, which was then transformed algorithmically, both in individual lines and whole sections of music. In terms of the electronics, the first movement takes advantage of the interactive possibilities of the software. The electronic part is created through the computer extending, processing, and responding to the instruments. The techniques include extracting small grains of sound from the live instruments and repeating them, analyzing the pitch of the signal and amplifying overtones, and rearranging fragments in blocks of recorded sound. The second movement changes the focus of the electronic sound. The electronics are made of precomposed gestures that compliment the live instruments. These gestures are categorized and selected randomly according to specific characteristics. Filtering and other effects applied to the sounds are chosen randomly as well.

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6

Rosenbaum, Traci J. „The Music of Turbulence“. ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1891.

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7

Wertz, Charles Bradley. „Artistic expression in music and poetry“. Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3597.

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8

Blizzard, Amy. „The nightingale in poetry and music“. Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20031/blizzard%5Famy/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Accompanied by 3 recitals, recorded Nov. 28, 1994, Mar. 5, 2001, and Feb. 17, 2003. Recording for June 10, 1996 missing. Includes bibliographical references (p. 71-74).

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9

Dargan, James Thomas. „Gerard Manley Hopkins: poetry and music“. Thesis, Boston University, 2006. https://hdl.handle.net/2144/27629.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

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10

Knapp, Christian. „Creating Music Visualizations in a Mandelbrot Set Explorer“. Thesis, Linnéuniversitetet, Institutionen för datavetenskap, fysik och matematik, DFM, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-21135.

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The aim of this thesis is to implement a Mandelbrot Set Explorer that includes the functionality to create music visualizations. The Mandelbrot set is an important mathematical object, and the arguably most famous so called fractal. One of its outstanding attributes is its beauty, and therefore there are several implementations that visualize the set and allow it to navigate around it. In this thesis methods are discussed to visualize the set and create music visualizations consisting of zooms into the Mandelbrot set. For that purpose methods for analysing music are implemented, so user created zooms can react to the music that is played. Mainly the thesis deals with problems that occur during the process of developing this application to create music visualizations. Especially problems concerning performance and usability are focused. The thesis will reveal that it is in fact possible to create very aesthetically pleasing music visualizations by using zooms into the Mandelbrot set. The biggest drawback is the lack in performance, because of the high computation effort, and therefore the difficulties in rendering the visualization in real-time.

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11

Plamondon, Marc. „Music in the poetry of Robert Browning“. Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26304.

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This thesis attempts to characterize the musicality of Robert Browning's poetry. There has been much debate about whether or not Browning may be said to be a musical poet, but neither side has effectively characterized the musicality or lack thereof in his poetry. This study does not concentrate on Browning's "philosophy" of music, nor on the musical allusions in his poetry. Instead it attempts to identify aspects of Browning's art that share an affinity with music.
First, the state of music in nineteenth-century England is briefly discussed, followed by a discussion of Browning's musical background and an attempt to identify some general characteristics of musical poetry. The balance of the study is devoted to a discussion of the musicality of ten poems, among them "A Toccata of Galuppi's" and "Master Hugues of Saxe-Gotha". Emphasis is placed on these last two poems' ability to approximate a musical form: the toccata and fugue in the first, and the fugue in the second. The study concludes with a more general discussion of music in Browning's poetry.

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12

Frendo, Maria. „T.S. Eliot and the music of poetry“. Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4565/.

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This thesis is a study of T.S. Eliot's poetry in the light of the different ways in which it can be considered 'musical'. Two concerns central to the thesis are: (1) Eliot's enduring interest in the musical quality of poetry; (2) the critical usefulness and viability of drawing analogies between his poetry and music. The thesis considers three important related topics: (1) Eliot's preoccupation with language, its inevitability and its inadequacy; (2) the figure of the seeker in his poetry; (3) his interest in mysticism. The thesis begins by exploring affinities between music and literature in the context of Wagner’s ideal of the 'Gesamtkunstwerk' and its influence on French Symbolist writers. It goes on to trace the development of T.S. Eliot's poetic style as influenced by the French Symbolist poets, by Dante and the mediaeval mystics, and by the music of Wagner, Stravinsky and other composers. Throughout, Eliot's poetry presents variations on the theme of detachment and involvement in relation to the figure of the seeker: consciousness is most engaged and challenged when it journeys. In the early poetry, music serves to emphasize failed relationships: the closer the physical proximity between protagonists, the greater the psychological distance. From The Waste Land on, Eliot makes use of myth and leitmotif to portray consciousness in the role of seeker urged on by the need for meaning. After his conversion to Anglo-Catholicism in 1927, Eliot's characters embark on a journey inward, where music, now "unheard", no longer signifies neurosis and despair, but becomes the only language for the ineffable.

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13

Wilson, Geoffrey Allan. „Music and poetry in Mallarmé and Debussy“. Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31748.

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My dissertation re-evaluates music and poetry in the works of Claude Debussy and Stéphane Mallarmé. Often in such collaborations, critics assume that the music mimics various aspects of the texts it engages. Instead, I argue for a more nuanced paradigm that values both concurrences and antagonisms between the two media, in light of the specific systems of thought characterizing, respectively, the poet and the musician. Chapter One re-evaluates the role of music in Mallarmé's oeuvre. Mallarmé imagined an original language in which individual phonemes created the meaning of words. As languages evolved and multiplied, the sound-sense relationship in words became increasingly arbitrary. Traces of this original language are visible in contemporary idioms when a group of words share both a phonemic and a semantic link. For him, poetry exists to reconstruct sound-sense relationships in modern language. These relationships, and the patterns of thought they enact, are music for Mallarmé, a music which the sound of instruments and singers merely implies. Drawing evidence from Mallarmé's letters and critical writings, I establish the "musical" nature of his language and show its use in analyses of selected poems. In the remaining chapters I examine each of Debussy's compositions that engage a Mallarmé text: the songs Apparition, Soupir, Placet futile, Éventail, and the Prélude à l'après-midi d'un faune. I chronicle Debussy's early exposure to Mallarmé's poetry through Verlaine's essay "Les poètes maudits" and the song Apparition that resulted. Here, Debussy responds to the semantic content of Mallarmé's poem, constructing a musical "apparition" to parallel the poetic one. I offer a new reading of Prélude that relates it to Mallarmé's dramatic theories, and not as a mimetic illustration of the poem's text. I argue that Debussy's later song settings allow Mallarmé's poetic "music" to be perceived alongside his own. In Soupir, this is manifested through a series of mirror images in both music and text. In Placet futile, I show how the music alters the semantic message of the poem. In Éventail, I compare the interaction of wholetone, octatonic and diatonic pitch collections to the interaction between the phonetic and semantic layers of the poem.
Arts, Faculty of
Music, School of
Graduate

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14

Adams, Leslie Elizabeth. „Music despite everything“. Master's thesis, Mississippi State : Mississippi State University, 2008. http://library.msstate.edu/etd/show.asp?etd=etd-04042008-131845.

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15

Olson, Ted. „Ted Olson's Poetry“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1122.

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Ted Olson was the featured poet for the symposium who presented “Scotland the Brave: A Nation's Legacy in Literature and Folklore,” "When First Unto This Country: The Flow of Scottish and Scots-Irish Culture to the American South in Song and Story," "Darkness and Revelation: Ted Olson's Poetry".

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16

Gutman, Laura A. „Gerard Manley Hopkins and the music of poetry“. Thesis, University of St Andrews, 1988. http://hdl.handle.net/10023/2625.

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This study attempts to correlate two facts about Gerard Manley Hopkins: that he was an avid musician, who theorised about and composed music; and that his poetry is characterised by its highly complex, evocative sounds and by its relation of form to meaning, sound to sense. This study is an attempt to prove that Hopkins is a "musical" poet in a specific and literal sense--that his musical knowledge and interests influenced his poetry in specific and discernible ways, making his work "musical" in a sense that other poetry of his age is not (or to an extent that other poetry is not), and resulting in much of what we consider to be characteristic in his verse. The study is divided into two parts, the first (I-III) analysing the role music plays in his theoretical writings, the second (IV-VI) tracing these musical influences through to the musical and poetic art itself. In Part One, Chapter I presents Hopkins the musician, the biographical details and philosophical background behind his musical interest; Chapter II relates this to Hopkins as priest and theologian, demonstrating music's role as central to his Scotus-based position; Chapter III then shows this musical philosophy in more detail in his theories of language and art, resulting in an ideal art of song epitomised by the art of Hopkins' favourite composer, Henry Purcell. Part Two then looks at Hopkins' art itself, shown as following this Purcellian musical ideal: Chapter IV differentiates the requirements of songs from those of poetry, and demonstrates the particular aims and techniques of Hopkins' own songs; Chapter V reveals principles of musical or song-structure behind Hopkins' concepts of sprung rhythm and other characteristic poetic devices; finally, Chapter VI analyses the poems to discover their radically musical nature. The study concludes with a brief question on the nature of "the music of poetry" generally.

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17

Morrison, Karen Y. „Anne Bradstreet's rap : the music in her poetry /“. View abstract, 2001. http://library.ccsu.edu/ccsu%5Ftheses/showit.php3?id=1658.

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Thesis (M.A.)--Central Connecticut State University, 2001.
Thesis advisor: Gilbert L. Gigliotti. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English Literature." Includes bibliographical references (leaves 62-64). Also available via the World Wide Web.

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18

Lamp, Sebastian. „Korean Sijo music and poetry : transmission and aesthetics“. Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30276/.

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This thesis explores Korean 'sijo', as both poetry and music. It surveys the different bodies of research on the topic that are the result of 'sijo' long being treated from one or other of the perspectives of literary and musicological scholarship by both Western (e.g. Rutt 1971, McCann 1988, O'Rourke 2002) and Korean scholars (e.g. Chang Sa-hun 1986, Kim Tae-Haeng 1986, Cho Kyu-Ick 1994). Placing both literary and musicological aspects together, this thesis discusses the form, origins and content of 'sijo'. The synthesis of the two aspects forms the basis of my exploration of 'sijo' performance during the 20th century. My focus is on the transmission of 'chongga' - 'sijo', along with 'kagok' and 'kasa', that together form Korea's classical vocal music tradition - during the turbulent times from the late 19th century through the colonial period to the post-liberation era. The important actors, that is, the singers, scholars and relevant institutions - governmental and private - have been discussed at least partially in various publications (e.g. Hahn Man-young 1990, Yi Pohyong 2004, Song Bang-Song 2007, Kim Minjong 2015, Moon Hyun 2015), but this thesis provides the first thorough account of 'chongga' in the 20th century, its teaching genealogies, institutions, aspects of its preservation, and its regional variants. This thesis demonstrates that the subtle aesthetic of 'chongak' literati music lies at the heart of what constitutes 'sijo' as a genre; reference to Confucian and sometimes Daoist influence on the aesthetic of literati music is frequent, but the nature of such influence has not been adequately discussed. I survey academic writings by Korean and Western scholars (e.g. Donna Kwon 1995, Lee Byong Won 1997, Byung-ki Hwang 2001) to address terminology and concepts relevant in the context of 'chongga' and then, based on my personal fieldwork, and in order to provide a comprehensive account of 'chongga' aesthetics, I complement previous writing by incorporating the views of contemporary 'chongga' singers.

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19

Beuerman, Eric G. „The evolution of the twenty-four prelude set for piano“. Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/289865.

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The set of preludes containing twenty-four preludes is an important compositional form used throughout the Common Practice Period. The twenty-four prelude set generally includes preludes written in each key and mode. Early sets include preludes or fantasies composed in each mode. Composers exploited and advocated the advent of equal-temperament tuning (at the turn of the eighteenth century) by organizing preludes in each major and minor key. Since then, the number of prelude sets has increased greatly, particularly during the nineteenth and twentieth centuries. Although music today has moved beyond the confines or parameters of major and minor tonalities, composers continue to use the twenty-four prelude set to collect preludes, including some atonal sets. The twenty-four prelude set model extends to sets of twenty-five preludes that begin and end in the same key and twenty-four preludes without keys. Composers use different methods of tonal organization in their sets of preludes: two principal methods are progression through the chromatic scale and progression through the circle of fifths. Within those two methods are variations. Other composers use unique forms of organization, and some do not attempt a systematic method of organization. Several types of prelude sets appear, including preludes of virtuosity, preludes for pedagogical purposes, preludes as improvisatory warm-ups, preludes paired with fugues, and prelude sets that are performed as a whole. One must weigh various considerations when performing a set or smaller grouping of preludes. Over forty sets of preludes are surveyed, and four sets are examined in detail representing different methods of tonal organization, different types of prelude sets, and different historical periods: Fischer's Ariadne Musica, Hummel's Twenty-Four Preludes op. 67, Alkan's Twenty-Five Preludes op. 31, and Duckworth's The Time Curve Preludes.

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20

Hannam, William B. „Arnold Bax and the Poetry of Tintagel“. [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1227877436.

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Thesis (Ph.D.)--Kent State University, 2008.
Title from PDF t.p. (viewed Dec. 10, 2009). Advisor: Theodore Albrecht. Keywords: Bax, Tintagel, symphonic poem, British music. Includes bibliographical references (p. 207-213).

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Bugher, Jeffrey S. „Take Me With Your Shovel“. VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4929.

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Take Me With Your Shovel is a collection of poems that explore systems of oppression with an emphasis on psychiatry and law enforcement, the slow crawl of catching a break as a member of the blue collar class, the monotonous side of working in pop music, drug abuse, and finding God in the midst of it all--salvation through sin rather than salvation from sin.

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22

Gordon, Amy Christine. „The Contemporary Child| A set of eleven pieces for the beginning to intermediate pianist“. Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523318.

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This paper analyzes Béla Bartók's For Children as an ideal pedagogical example of introducing contemporary musical concepts to the beginning through intermediate piano students. Contemporary concepts include non-diatonic harmonies, modal tonal centers, surprising harmonic shifts, utilizing the entire range of the piano, and changing meter, including additive meter. This paper also analyzes The Contemporary Child, a set of eleven pieces for the beginner through intermediate pianist. The Contemporary Child uses For Children as its inspiration in finding a way to introduce contemporary musical concepts in a manner that is simultaneously elementary yet engaging.

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23

Colford, Chris. „Music and silence in the poetry of Wallace Stevens“. Thesis, University of Liverpool, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316118.

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24

MILLER, ALEXANDER ALBERT. „GESAMTKUNSTWERK ARIZONA A CREATIVE SYNTHESIS OF POETRY AND MUSIC“. Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/613290.

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Throughout the history of German culture, the synthesis of text and music has been central to the cultural and social identity of its respective eras. The union of poetry and text that immediately comes to mind is the Deutsche Lieder, the term used to describe the practice of setting classic German poetry to music during the early 19th century. The poetry of the Weimarer Klassik, principally the works of Goethe and Schiller, was honored by composers of the next generation through their Lieder, seeking to manifest these renowned works in the form of music. However, the synthesis of text and music in German culture had long since been a testament to underlying social temperament, from the introspective chants of Hildegard von Bingen conveying the spiritual mysticism of the 12th century, to the cynical and ironic Episches Theater, or Epic Theater, of Bertolt Brecht in the 20th century. The idea of this project is to similarly find a synthesis of music and text, such that a perspective on the contemporary German identity is manifested and communicated with an audience, simultaneously commenting on and participating in German culture. This project culminates with a live musical performance and poetry reading, both of which are original creations by the artist, in hopes of sharing an appreciation for German culture with the University of Arizona community. The performance can be found here: https://www.youtube.com/channel/UCZEehSGWO6N81Lc0gqg8tIg

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Igarashi, Yoko. „Japanese Poetry in Western Art Song“. Thesis, Boston University, 2012. https://hdl.handle.net/2144/12426.

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Thesis (D.M.A.)--Boston University
Western art songs written on Japanese poems, Tanka, appeared in the early twentieth century as a late manifestation of Japonisme, the Japanese influence on Western art and music. The songs discussed in this dissertation include Japanisches Regenlied (1909) by Joseph Marx, Three Japanese Lyrics (1912-13) by Igor Stravinsky, Petits Poi!mes Japonais (1919) by Francesco Santoliquido, and Romances on Texts by Japanese Poets (1928-32) by Dmitri Shostakovich. Japonisme emerged as a significant movement in late-nineteenth-century Western art when Japanese artworks were first exported to Europe. Under the influence of these works, Western painters soon adopted Japanese techniques especially from traditional wood-block prints (Ukiyo-e). The appreciation of Japanese art and culture eventually emerged in Western music as a part of Orientalism and exoticism, first in opera, then in Debussy's music, and lastly in art songs. The Japanese poems used in Western art songs examined here are most commonly referred to as Tanka (a short poem), a genre that flourished between the third and tenth centuries. Because of the unique characteristics of the Japanese language, translating Japanese poems into European languages requires a certain imagination. The purpose of this dissertation is to explore the relationship between the original Japanese poems and their translations into European languages, and to discuss their transformation. The introduction provides a brief overview of Japonisme in Western art in the late nineteenth century. Chapter One focuses on the basic elements of Japanese poetry in order to outline the characteristics unique to the Japanese language. Considering Japanese influence within the category of "Orientalism" and "Exoticism" in music, Chapter Two explores the evidence for Oriental and exotic influences on Western music. Chapter Three focuses more specifically on Japanese influences in Western music. A detailed study of poems and translations, and their relationship to music is the core focus of Chapter Four. Chapter Five concludes that Tanka vanished from Western art songs soon after the songs under consideration were composed.

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Soflin, Elizabeth Louise, und Elizabeth Louise Soflin. „Text as Music, Music as Text: Stuart Saunders Smith's Works for Percussion and Spoken Word“. Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/624573.

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American composer Stuart Saunders Smith (b. 1948) has been active in the composition of contemporary art music for over forty years, composing over 200 musical and interdisciplinary works. His music ties the experimental world of contemporary music to his experiences living, composing, and teaching in the northeastern United States. Many of his works have included spoken word as a percussion instrument, either alone or blended with instrumental percussion writing. Although not unique in blurring the boundaries between text and music, Stuart Saunders Smith’s texted percussion works manage to both belong to tradition and exist as a unique body of works, as can be seen by studying the context of their creation, technique in synthesizing music and text, and usage of text as melodic material.

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McNeilis, Michael James. „Portfolio of compositions : pitch-class set theory in music and mathematics“. Thesis, University of Liverpool, 2017. http://livrepository.liverpool.ac.uk/3009792/.

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This portfolio contains six scores of contemporary works, one electroacoustic piece submitted in concrete audio format and a critical commentary. Three additional scores are included as appendices, which present alternative arrangements of the acoustic works. An accompanying data DVD includes stereo recordings of a concert performance and four workshop performances, as well as stereo and 5.1 versions of the electroacoustic piece. With existing literature primarily focussing on pitch-class set theory as an analytical tool, this study aims to answer the question: Can set theory be used as the basis of a compositional framework to advance the creative process within the interdisciplinary field of music and mathematics? The pieces in the portfolio consider how set theory can be applied alongside mathematical principles like mutation, symmetry and proportion to inform musical networks and topologies based on material such as the octatonic scale, whole-tone scale and the all-interval tetrachords. A particular emphasis is placed on relationships between pitch-class sets in order to produce coherent compositional designs which link micro-level material to macro-level form and structure. Postcompositional evaluation of each work helps to create subsequent designs in the portfolio, and culminates in the piece Aggregation, which assesses the mathematical principles and compositional techniques developed earlier in the portfolio to encapsulate the research within a unified design and large-scale work. The results of the research establish set theory as a viable mathematical language for both the precompositional and compositional stages of the creative process, and demonstrate refinement of my own compositional methodology and musical style.

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Nichols, Kevin Arthur. „Important works for drum set as a multiple percussion instrument“. Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2952.

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The drum set is an evolving instrument and performance concept that for much of its existence has been relegated to a supporting role for an ensemble or soloist in varied mediums, rather than being used, as is well suited for, in a soloistic capacity. Drum set had rather humble beginnings and was often a collection of percussion instruments used only for time-keeping and adding color to the music. However, over time, a considerable amount of solo literature has been composed for drum set and there now exists a substantial repertoire for the varied forms of the instrument. Support for the literature and art form has come from numerous well known composers ranging from John Cage to Stuart Saunders Smith and Frank Zappa. Unfortunately, resistance to performing these solo works comes from a broad-based teaching philosophy that emphasizes teaching rudimental, time-keeping, and stylistic performance practices. In this particular paradigm, soloing is important strictly as improvisation grounded in a thorough understanding of the development of the language of Jazz, rather than as a performance concept. Although this repertoire does include works that address these pedagogical concerns, it also includes some works that present the drum set in more virtuosic solo setting. These compositions offer the performer musical opportunities much like those found in solo works for snare drum, keyboard percussion, timpani, and multiple percussion. While a performer may face an initial challenge in finding quality existing works, he or she can then develop synergy between the interpretive skills developed for orchestral style percussion In this study, the author will examine the body of literature composed for unaccompanied solo drum set. Specific compositions will be identified for their significance in promoting personal growth as a drum set artist. In support of this goal, analysis of the performance practice used in these particular works will be developed. To aid in better organizing the body of literature, the author will categorize

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Lewis, Lynnell K. „The poetry of symbolism and the music of Gabriel Fauré“. Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/836.

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Dares, Jasmine. „"Poetry out of poison" : exploring rap music as critical pedagogy“. Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44966.

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How to create learning experiences that are more relevant and empowering for young people is an ongoing issue for educators, youth workers, parents, social scientists, and students. Critical pedagogical theorists have identified gaps in formal education which limit the possibilities for critical thinking and student-centredness (Ibrahim, 2004; Low, 2007, 2011; McLaren, 1997). While many of these studies have been conducted in classroom settings, this study focuses on what can be learned from youth programs that were collaboratively developed by program directors and rap artists in community organizations. Using qualitative interviews and drawing from cultural studies, this research engages the perspectives of five participants who are actively involved in the development and implementation of hip hop youth programs. The emergent themes from the interviews highlighted hip hop culture’s relationship with social justice and social contradictions. These findings support the claim that critical rap pedagogies provide young people with more relevant learning experiences and with greater possibilities to draw connections between their own experiences and the wider community leading to greater opportunities for agency and empowerment.

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Englehart, Robert James. „An electromyographic study of preparatory set in singing as influenced by the Alexander Technique /“. The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487668215805728.

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32

McCombie, Elizabeth. „Unheard music and unseen text : an interdisciplinary study of Mallarme and Debussy“. Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365638.

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33

Ballenger, Hank D. „Everything and Nothing at the Same Time“. Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2168/.

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34

Tingle, Joseph Edwin. „The emperor's music : the creation of a poetic tradition from the Han dynasty music bureau“. HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1443.

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35

Burke, Victoria Elizabeth. „Women and seventeenth century manuscript culture : miscellanies, commonplace books, and song books compiled by English and Scottish women, 1600-1660“. Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338746.

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36

Williams, Molly K. „For God and Country: Scriptural Exegesis, Editorial Intervention, and Revolutionary Politics in First New England School Anthems“. University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1511862418359819.

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37

Yadegari, Shahrokh. „The radif as a basis for a computer music model : union of philosophy and poetry through self-referentiality /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3120720.

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Thesis (Ph. D.)--University of California, San Diego, 2004.
Vita. Includes computer program for No flower, no incense, only sound: P. 192-239. Sound tape contains 2 compositions by the composer and an improvisation by Ivan Manzanilla with the composer: No flower, no incense, only sound; excerpt of A-window; Mirrors of the past. Includes bibliographical references (p. 241).

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Ripley, Angela N. „Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437583773.

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39

Michaelis, Kimberly Anne Fredrickson William E. „Ready, set, doh! the effect of timed practice drills on music reading fluency /“. Diss., UMK access, 2006.

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Thesis (M.M. Ed.)--Conservatory of Music. University of Missouri--Kansas City, 2006.
"A thesis in music education." Typescript. Advisor: William E. Fredrickson. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 1, 2007. Includes bibliographical references (leaves 104-106). Online version of the print edition.

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Haydon, Liam David. „'I sing'? : narrative technique in epic poetry“. Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/i-sing-narrative-technique-in-epic-potry(3d7d23da-ade0-424c-93a2-9b183283e30e).html.

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This thesis examines the genre of epic, and particularly Milton’s Paradise Lost. It argues that it is only in attending to the contextual interactions within Paradise Lost that its full meaning can be comprehended. It demonstrates that the poem not only narrates the Fall, but actively performs its consequences in its thematic and linguistic structures, which continually stress the impossibility of approaching perfect (divine) totality. Chapter one outlines the theoretical response to epic, read as a petrified genre in contrast to the newness, openness and linguistic flexibility of the novel. It then challenges these assumptions through a reading of the invocation to book III of Paradise Lost. The chapter closes by examining seventeenth-century writings on epic, demonstrating that Milton’s contemporaries saw the epic as defined by the possibility of didactic intervention into its context. Chapter two examines the forms of the epic metaphor, which serve as a temporal link between the ‘mythic’ past of epic and contemporary events. It then shows that the nationalistic impulse of epic was a method by which the mythic past of a country was deployed as an exemplary narrative for the present. The chapter closes by considering the ways in which shifts in national conception were mapped onto the epic. Chapter three outlines Paradise Lost’s thematic engagement with the concept of representation. It focuses on the twin images of the music of the spheres and the Tower of Babel, used in Paradise Lost to represent man’s relationship with God. It argues that the poem uses these tropes to explore the linguistic effects of the Fall. Both these images are deployed to suggest that postlapsarian expression is too open and ambiguous to properly portray divinity. Chapter four moves that discussion to a linguistic level, arguing that the poem is characterised by indeterminacy. It argues that Paradise Lost calls into question the possibility of expressing perfect truth in fractured, postlapsarian language. It shows that punning is the mark of fallen creatures in the poem, and suggests that the poem’s own puns exploit this category to linguistically question its own status as representation through performances of ambiguity. The conclusion synthesises these local readings of Paradise Lost into a reading of the poem as a whole. It argues that these individual instances demonstrate the poem’s continual reflexive concern over its theodicean project. By continually expressing ambiguity, at the level of imagery and language, Paradise Lost draws attention to its status as postlapsarian art, and the consequent impossibility of approaching the divine perfection exemplified by the celestial music or prelapsarian language.

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Faynberg, Anton, und Anton Faynberg. „Symbiosis of Music and Poetry in Alfred Schnittke's Five Aphorisms for Piano“. Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/620981.

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This study relates Alfred Schnittke's Five Aphorisms for Piano (1990) both to an earlier set of piano pieces, Dmitry Shostakovich's Aphorisms (1927), and to the poetry of Joseph Brodsky (1940-96). The study identifies musical and extra-musical connections between Shostakovich and Schnittke and examines the genesis of their musical sets in light of the composers' biographies and writings. Later it explores Schnittke's relationship with Brodsky, to whom the Five Aphorisms was dedicated, and whose poetry was intended to be recited before the performance of each of the five pieces. It analyzes the worldview and philosophy of Schnittke and Brodsky within the context of Postmodernism in order to shed new light upon their artistic intentions. Finally, the study considers the broader question of the relationship between music and poetry in late Soviet artworks.

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Martin, Maria Jose. „Drama and Poetry in the Music of Maria Luisa Ozaita (b. 1939)“. University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1006873170.

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43

Holmes, Barbara. „The decomposer's art : ideas of music in the poetry of Wallace Stevens /“. The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487326511715011.

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44

Hsu, James Stephen. „Orpheus' Lyre : a study of symbolist and post-symbolist music and poetry /“. The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488195633517853.

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45

Richardson, Scott. „Taking the repeats: Modern American poetry in imitation of eighteenth-century musical forms“. Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/20986.

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46

Brown, Kevin John. „The development of the drum set in steel drum music| A guide for integrating the standard steel drum band percussion section into a single drum set part as applied to Andy Narell's composition "The Last Word"“. Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10150596.

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The Panorama competition held in Trinidad each year is the global epicenter of steel drum music, showcasing the greatest performers and composers while shaping steel drum world-wide. However, music written for the standard Panorama ensemble of 120 players offers up a challenge for smaller, less experienced ensembles to preserve the spirit and energy of the original composition, especially when the drum set is the only member of the percussion rhythm section. My interest in this endeavor was spirited by the challenge of combining the typical percussion section consisting of congas, maracas, guiros, cowbells irons, and drum set into an individual part while maintaining key elements of the original composition. This paper addresses the concepts and approaches I employed for my recital performance of The Last Word; composed by American steel drum virtuoso, Andy Narell.

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Hsieh, Ching-Hsuan Lily Bantock Granville Warlock Peter Bliss Arthur Lambert Constant. „Chinese poetry of Li Po set by four twentieth century British composers Bantock, Warlock, Bliss, and Lambert /“. Columbus, Ohio : Ohio State University, 2004. http://www.ohiolink.edu/etd/send-pdf.cgi?osu1086095656.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xiii, 146 p. : ill. Advisor: Loretta Robinson, School of Music. Includes bibliographical references (p. 132-136).

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Collins, Andrew S. „Poetic Structural Devices as a Consideration When Analyzing and Interpreting Choral Scores“. University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1299005782.

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49

Chung, Fiona, und 鍾雅妍. „Reflections on the relations between note and word: original compositions in music and poetry“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29793622.

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50

Dumigan, Darryl Jacqueline. „Nicola Porpora's operas for the 'opera of the nobility' : the poetry and the music“. Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/24693/.

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Studies of Italian opera in London during the first half of the eighteenth century have focussed on George Frideric Handel (1685-1759). As the most prolific composer of this genre in the English capital, this is unsurprising, but it has meant that other composers, contemporaneously active in this field, have been relatively neglected. This is especially true of the period 1733 – 1737, during which time two Italian opera companies attempted to co-exist in the city. Leading one of the companies was Handel, with the Neapolitan, Nicola Porpora (1686-1768), recruited to compose the works for the rival opera company, the so-called ‘Opera of the Nobility’. This study therefore discusses Porpora’s contribution of five operas to the London operatic stage during his three year residency between 1733 and 1736, in opposition to Handel’s company. This has required an investigation into the circumstances surrounding the formation of the rival opera company, its operation in terms of repertoire and the influence of its librettists on Porpora’s works. Detailed analysis of the music has been undertaken to consider Porpora’s style, establish how he adapted this in London for an English, rather than Italian audience, and determine the efficacy of his communication of the drama through his music. This thesis is the first large-scale detailed study of Porpora and his operas. Although the primary focus of this work is his London operas, the necessity of providing a context for these has resulted in a contribution to greater knowledge of Porpora’s overall style. There is still much work to be done on a full study of all of Porpora’s 44 operas and other compositions. This study also significantly adds to the current knowledge of operatic rivalry in London between 1733 and 1736, for the first time evaluating the fabric and importance of Porpora’s operas within this period.

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Dissertationen zum Thema „Set poetry to music“

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