Dissertationen: „Song work“

1

Marshall, Debra. „Has the Song Remained the Same?: Perceptions of Effectiveness in Family Safety Work“. Doctoral diss., University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5418.

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National and international research on governmental privatization efforts reflects myriad successes and failures. However, little is known about the effectiveness of family safety privatization efforts in the state of Florida. In Brevard County, Florida, family safety privatization efforts have been underway for several years now, and while evaluations are taking place, they do not reflect one key piece of information—the perceptions of family safety workers. A snowball sample was obtained from former and current child safety workers and open- and closed-ended questions were administered with a total of 15 former and current family safety workers who work or worked for several different public and private family safety agencies within Brevard County, Florida. Information was obtained regarding perceptions of privatization to adequately and more efficiently do the work of public entities. The results show two primary areas of interest. The model of care which has been instituted post-privatization (CARES) has been perceived as more effective than the former state model; the strongest problematic themes that developed concerned power, control, and the perception of unfairness. These themes are explored using a backwards mapping approach and recommendations for continued growth and cohesion are explored.
ID: 031001442; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: John Lynxwiler.; Title from PDF title page (viewed June 26, 2013).; Thesis (Ph.D.)--University of Central Florida, 2012.; Includes bibliographical references (p. 163-173).
Ph.D.
Doctorate
Sociology
Sciences
Sociology

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2

O'Byrne, William L. „The shepherd's hypothesis and the use of the Song of Solomon in Christian education“. Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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3

Thorpe, Vicki. „We made this song : the group song writing processes of three adolescent rock bands : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in History and Literature of Music /“. ResearhArchive@Victoria e-Thesis, 2007. http://hdl.handle.net/10063/272.

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4

Beasley, Rebecca Choate. „The influence of Sister Helen Prejean on the life and work of Jake Heggie as seen in the song cycle The Deepest Desire: Four Meditations on Love“. Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9795.

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5

Morgan, Sarah. „Community choirs : a musical transformation ; a review of my work in management, music, choir leadership and folk-song“. Thesis, University of Winchester, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.666336.

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My aims have always been to present an exploration of English community choirs, their music and their leadership from a very personal perspective, which brings together my background as a folk musician, my career in training and facilitation, and my developing understanding of a system of musical hierarchies which (though often unspoken) inform and colour not only my own musical experience but that of many others. My motivation for this is partly to put into words the story of a movement that has had relatively little attention from the academic world, and to bring into the foreground aspects of music making which have had a marginal place the world of choral music. I also wish to draw attention to the skills of a range of performers and practitioners who despite (or perhaps because of) a lack of formal musical qualifications, through familiarity with oral methods of learning and teaching provide a means for many people to make the significant transition between being music consumers and music makers. This statement is a review of my work in many fields leading to my achievement of the position of a highly regarded performer, choir leader, arranger and trainer. I recount my journey, and give many examples of my work in this field, demonstrating many contributions along the way. In so doing I have added significantly to the store of knowledge and understanding in these areas.

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Vries, Patrick de. „The aesthetics of emptiness in Northern Song China : a case study of the work of Huang Tingjian (1045-1105)“. Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407743.

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7

Salerno, Stephanie. „True Loves, Dark Nights: Queer Performativity and Grieving Through Music in the Work of Rufus Wainwright“. Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1476645017261653.

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8

Kazi-Nance, Ambata K. „Traumatic and Healing Memory in Leslie Marmon Silko's Ceremony and Toni Morrison's Song of Solomon“. ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1450.

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A comparative analysis of Leslie Marmon Silko’s Ceremony and Toni Morrison’s Song of Solomon, with a focus on individual as well as collective memory work in historically marginalized indigenous and African-American communities, respectively. This represents a critical study of how the novels invoke progressive and redemptive models of remembering, as well as foreground the role of spiritual guides in the transformative process from trauma towards healing.

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Dahlberg, Camilla. „Lärandets sångsamling : En studie om vilket språkligt lärande som är möjligt i förskolans sångsamling“. Thesis, University of Skövde, School of Humanities and Informatics, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-2914.

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Denna studie syftar till att ta reda på vilket språkligt lärande som blir möjligt iförskolans sångsamling för att därigenom kunna problematisera kring hur musicerandet kan bli till redskap för språkutveckling. För att kunna undersöka detta fenomen, söktes i olika typer av litteratur svaret på frågan hur barn lär sig talspråket. Litteraturen visade bland annat att språket är ett mycket komplext system som kan delas upp i olika komponenter för att lättare förstås. De komponenter denna studie behandlar är språkets: innehåll, form och användning. Dessa tre komponenter innehåller olika delar: semantik, fonologi, fonetik syntax, morfologi och pragmatik som alla är viktiga för språkutvecklingens helhet. För att få svar på frågan vilket språkligt lärande som blir möjligt i förskolans sångsamling videofilmades en förskoleavdelnings barn och pedagoger då de hade olika sångsamlingar. Videoinspelningarna analyserades sedan genom att vissa intressanta händelser ordagrant skrevs ned och sattes i relation till vad litteraturen sa om hur barn lär sig talspråket. Studien visade att det finns möjlighet att på olika sätt lära alla de delar av språket som tillsammans bildar den helhet som gör oss till språkande människor. Utifrån detta resultat diskuterades sedan på vilket sätt vi vuxna kan använda musiken som redskap för språkinlärning.

This study aims to find what linguistic learning can be possible during pre-school singing gatherings and so be able to examine how making music could be used as a tool in language development. To enable an examination of this phenomena, the answer to the question how children learn their colloquial speech was researched in various kinds of literature. These findings indicated that language is an extremely complex system, which could be divided into different components in order to simplify its understanding. The components of contents, form and usage will be considered in this study. These three again consist of different parts, as semantics, phonology, phonetics, syntax, morphology and pragmatics. These are all essential to language development as a whole. To be able to identify what kind of language learning would be possible to gain during musical activities, a class of pre-school pupils with their teachers was videotaped at various song gatherings. These recordings were later analysed and certain occasions and specific incidents or happenings were taken down word by word and then related to current literature on how children learn their colloquial speech. This study indicates that it might be possible learning, by means of various methods, all parts of a language, which together form this wholeness, that makes us speaking individuals. From these findings, the issue of how we as adults can use music, song activiries, as a tool in language was discussed.

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LEE, HAISUN. „A STUDY OF A MODERN CLARINET WORK, SONG IN THE DUSK I FOR SOLO CLARINET BY GEONYOUNG LEE: FOCUSED ON THE COMPARISON WITH SANGRYUNGSAN (KOREAN TRADITIONAL SOLO PIRI PIECE) THROUGH MUSICAL STYLE AND PERFORMANCE PRACTICE“. University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1138726227.

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11

Dyer, Paul D. „The use of oral communication methods (storytelling, song/music, and drama) in health education, evangelism, and Christian maturation“. Theological Research Exchange Network (TREN), 1994. http://www.tren.com.

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12

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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Abele, Catherine. „Barbara Pentland's Songs for Soprano: A Performer's Guide to Selected Major Works“. University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1446546475.

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14

Stibe, Anna. „"I am walking in my city" : The Production of Locality in Githa Hariharan’s In Times of Siege, Vikram Chandra’s Love and Longing in Bombay, and Amit Chaudhuri’s Freedom Song“. Doctoral thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-32160.

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At the center of this study are three Indian novels with an urban setting and dealing with political and social issues of the 1990s: Githa Hariharan’s In Times of Siege (2003), Vikram Chandra’s Love and Longing in Bombay (1997) and Amit Chaudhuri’s Freedom Song (1998). The Delhi of In Times of Siege is portrayed as a city infused with power but haunted by a troubled past that is brought to the present by a dissenting professor of history. The Bombay of Love and Longing in Bombay is also a haunted city, but is primarily imagined as a narrative locality in which storytelling is central to both the narrative and the city. The Calcutta of Freedom Song is explored through a resident family, blurring the distinctions between the home and the city. The three novels all negotiate an increasingly sectarian environment. The three cities of the novels are explored through the framework of anthropologist Arjun Appadurai’s concept of the production of locality, which sees place as a value and a dimension of social life. By approaching the cities in the novels through locality, it is possible to discern how the authors construct place as meaningful. This study thus extends the anthropological concept of locality into literature, addressing the specific strategies through which the authors portray and create their respective cities. Key concepts explored in the novels include agency, haunting, storytelling, and memory.
Baksidestext At the center of this study are three Indian novels with an urban setting and dealing with political and social issues of the 1990s: Githa Hariharan’s In Times of Siege (2003), Vikram Chandra’s Love and Longing in Bombay (1997) and Amit Chaudhuri’s Freedom Song (1998). The Delhi of In Times of Siege is portrayed as a city infused with power but also haunted by a troubled past. The Bombay of Love and Longing in Bombay is primarily imagined as a narrative locality in which storytelling is central. The Calcutta of Freedom Song is explored through a resident family, blurring the distinctions between the home and the city. The three novels all negotiate an increasingly sectarian environment. The three cities of the novels are explored through the framework of anthropologist Arjun Appadurai’s concept of the production of locality, which sees place as a value and a dimension of social life. By approaching the cities through locality, it is possible to discern how the authors construct place as meaningful. This study thus extends the anthropological concept of locality into literature, addressing the specific strategies through which the authors portray and create their respective cities. Key concepts explored in the novels include agency, haunting, storytelling, and memory.
Denna avhandling behandlar tre indiska romaner vilka utspelar sig i städer och fokuserar på de politiska och sociala konflikterna under 1990-talet: Githa Hariharans In Times of Siege (2003), Vikram Chandras Love and Longing in Bombay (1997) och Amit Chaudhuris Freedom Song (1998). Delhi i In Times of Siege porträtteras som en politisk stad hemsökt av det förflutna vilket påverkar nutiden. Bombay i Love and Longing in Bombay är också delvis hemsökt, men framförallt framställt som en stad i vilken berättandet är centralt. I Freedom Song blir gränsen mellan hem och stad diffus genom det sätt på vilket en familj gestaltar Calcutta. De tre romanerna behandlar alla en alltmer sekteristisk tid. Avhandlingens analys bygger på antropologen Arjun Appadurais begrepp the production of locality, dvs. hur känslan av plats skapas. ”Locality” är ett begrepp som täcker in en plats kapacitet att också ha ett värde och vara en social konstruktion. Genom att använda the production of locality är det möjligt att utforska hur författarna konstruerar plats som något meningsbärande. Denna avhandling vidgar det antropologiska begreppets användningsområde till att innefatta litteratur och används för att identifiera de strategier genom vilka författarna porträtterar och skapar sina respektive städer. Dessa strategier bygger på nyckelbegreppen agens, hemsökelse, berättande och minne.

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Lundqvist, Nathalie, und Olivia Jönsson. „“Livet vi lever är jettat, därför många vill testa. Jalla, kom testa, ra-ta-ta-ta från en Tesla” : En tematisk och språklig innehållsanalys om gangsterrapens normalisering och uppmuntran av kriminalitet“. Thesis, Hälsohögskolan, Jönköping University, HHJ, Avd. för socialt arbete, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-49563.

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The gangsta rap has topped the Swedish music charts in recent years and the controversial message of the music genre has led people in the community to question what the gangsta rap message convey. The purpose of the study is to investigate how a normalization and encouragement of crime are characterized in the contemporary song texts, and how men and women are portrayed in connection with the power aspects of society. The method choice is a qualitative thematic and linguistic content analysis with the aim of examining the significance of the song texts in deph. The study has been conducted on the 24 songs that have been streamed the most number of times according to P3´s DigiLista since 2018. The result shows that the gangsta rap encourages and romanticizes crime through its choice of personal pronouns and semantics in the song lyrics. Women and men are portrayed in an unequal way, where women are portrayed as objectified as opposed to the hegemonic masculinity with which masculine men are equated. Power has been proven to be a dominant concept throughout the performance analysis and the power aspect has conveyed different viewpoints in each theme. The power that gangster rappers get through their coveted music may come to encourage criminal acts through their choice of words.
Gangsterrapen har toppat de svenska musiklistorna de senaste åren och musikgenrens kontroversiella budskap har fått människor i samhället att ifrågasätta vad gangsterrapens budskap förmedlar. Syftet med studien är att undersöka på vilket sätt en normalisering och uppmuntran av kriminalitet präglas i de nutida låttexterna och hur män och kvinnor skildras i koppling till samhällets maktaspekter. Metodvalet är en kvalitativ tematisk och språklig innehållsanalys med syftet att kunna granska låttexternas betydelse på djupet. Studien har genomförts på de 24 låtarna som har streamats flest antal gånger enligt P3’s DigiLista sedan 2018. Av resultatet framkommer att gangsterrapen uppmuntrar och romantiserar kriminalitet genom dess val av personliga pronomen och semantiken i låttexterna. Kvinnor och män skildras på ett ojämlikt sätt, där kvinnor framställs som objektifierade gentemot den hegemoniska manligheten som maskulina män likställs med. Makt har påvisats vara ett dominerande begrepp genom hela resultatanalysen och maktaspekten har förmedlat olika synvinklar i respektive tema. Makten som gangsterraparna får genom deras eftertraktade musik bidrar till att de kan komma att uppmuntra till kriminella handlingar genom deras val av språkbruk.

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Lee, Haisun. „A study of a modern clarinet work, Song in the dusk I for solo clarinet by Geonyoung Lee focused on the comparison with Sangryungsan (Korean traditional solo piri piece) through musical style and performance practice /“. Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1138726227.

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Thesis (D.M.A)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Sept. 15, 2006). Includes abstract. Keywords: Modern clarinet work; Korean music. Includes bibliographical references.

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Yang, Yoon Joo. „A Practical Approach to Donald Martino's Twelve-Tone Song Cycles: Three Songs and Two Rilke Songs, for Performance“. Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68066/.

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The performance of vocal works using the twelve-tone technique requires thorough study of complex rhythms, non-tonal melodies, non-traditional notations, and specific musical terms. They generally also require advanced and varied vocal techniques. Twelve-tone vocal works often contain unusual features vital to the composer's intention. One of the premiere twelve-tone composers in the United States, Donald Martino (1931-2005) composed only two solo vocal works using the twelve-tone technique: Three Songs (1955) and Two Rilke Songs (1961). He has explored innovative and progressive uses of the twelve-tone technique, and composed music with particular methods of his own, later used by other composers. Three Songs, his first twelve-tone work, and Two Rilke Songs, the only twelve-tone song cycle in his mature style, present comparable features in his use of the twelve-tone technique, text setting, and notations. The variety of ways in which Martino uses these features in the song cycles is discussed in the performance guide. The intention of the present study is to help performers, especially singers, understand Donald Martino's two twelve-tone song cycles, and to aid in the preparation of an excellent performance. The study includes a study of historical context, the poems, and Martino's compositional and aesthetic approaches to setting them. It also offers practical and systemized ways of analyzing and preparing Martino's songs for performance. It is hoped that the methods suggested herein will reduce a singer's difficulties and rehearsal time with the pianist. The present study will offer a valuable addition to the literature on the performance practice of twelve-tone vocal music, and provide insight and advice on how to practice and perform other non-tonal music. This method of study may be applied to other contemporary music. Doing so can in turn help develop a singer's skill in handling tonal and rhythmic difficulties of all kinds, including non-traditional notations.

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Gao, Lingling [Verfasser], Sonia [Akademischer Betreuer] Lippke, Sonia [Gutachter] Lippke, Song [Gutachter] Yan, Roßnagel Christian [Gutachter] Stamov und Yiqun [Gutachter] Gan. „Interrelations of Internet Use and Health Behaviors, Perceived Quality of Life and Work-life Balance: Findings from Web-based studies in Germany and China / Lingling Gao ; Gutachter: Sonia Lippke, Song Yan, Christian Stamov Roßnagel, Yiqun Gan ; Betreuer: Sonia Lippke“. Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2020. http://d-nb.info/1213975654/34.

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19

Bidgood, Lee. „River Song (musical theater production)“. Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1049.

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20

Redman, Carolyn E. „Songs to the moon: a song cycle by Jake Heggie from poems by Vachel Lindsay“. The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1101848827.

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Ingram, Catherine. „Word and Song: The Paradox of Romanticism“. TopSCHOLAR®, 1996. http://digitalcommons.wku.edu/theses/805.

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Among the various outcomes of the Romantic period, an interest in the relationship of the arts remains a widely recognized yet rarely examined field of study. Music and literature seemed to develop a particular kinship, yet to identify the exact relationship is as difficult as defining Romanticism itself. In this study, I attempt to do both. In exploring the concept of Romanticism, its paradoxical development from Classicism is examined through the comparison of six great composers and poets of the period. By tracing the similarities and differences in style of Beethoven/Wordsworth, Schumann/Keats, and Brahms/Tennyson, hopefully a clearer understanding of the evolution of Romanticism is achieved. These artists, although creating through different mediums, address the apparent rejection of Neoclassicism, the apex of Romanticism, and the realization of its limitations. The result is the revelation of the paradox of Romanticism. For each artist, the realization of the Romantic spirit presents contrasts. Ultimately, the rejection of Neoclassic thought becomes as important to Romanticism as its dependence on Neoclassic form. These six artists achieved success not only because of their talents but also because of their acknowledgement of this fact. In this study, I trace their development through the rise and fall of Romanticism as more than instances of shared techniques or borrowed texts; the similarities in thought, poetic vision, and style shared by these artists are explored as well. The paradox of Romanticism is revealed through the interrelationship of poetry and music.

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Brown, Stacy D. „I Liked That Song Before It Was Popular“. Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/5258.

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Weierbach, Florence M. „Singing a New Song in Tennessee: Rural Health 2011“. Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/7375.

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Seesholtz, John Clayton. „An introduction to the AIDS quilt songbook and its uncollected works“. Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12199.

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Newsome, Padma. „Portfolio of works /“. Title page and contents only, 1999. http://web4.library.adelaide.edu.au/theses/09MUM/09mumn558.pdf.

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Wilhite, Clyde G. „Designing a program to assist fathers in nurturing their adolescent sons by combining a father's nurturing skills workshop with a memorable father/son event“. Theological Research Exchange Network (TREN), 2005. http://www.tren.com.

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Wells, Robert Allen. „David Diamond as Song Composer: A Survey of Selected Vocal Works of David Diamond With a Theoretical and Stylistic Analysis of Six Early Songs, The Midnight Meditation, and Hebrew Melodies“. University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163480150.

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Simmons, Emilee Lauran. „Radio song : alternative music and the works of REM (1983-1993)“. Thesis, University of Leeds, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535660.

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Pilcher, Matthew Aaron. „Structure, rhetoric, imagery : intersections of literary expression and musical narrative in the vocal works of Beethoven“. Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/structure-rhetoric-imagery-intersections-of-literary-expression-and-musical-narrative-in-the-vocal-works-of-beethoven(a11f5cb1-a44d-45cd-a0fb-a6836df55be1).html.

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Beethoven’s vocal works are often neglected or overshadowed as a result of his prominent involvement with large-scale instrumental genres such as sonata, symphony, or string quartet. Nevertheless, he sustained throughout his life a significant interest in literature and poetry; his personal library, as well as his letters, Tagebuch, and conversation books all document this by way of numerous direct quotations from—and indirect references to—the literary materials that interested him. The numerous vocal works he produced between 1783 and 1826 are one relevant manifestation of this interest and engagement with words. Beethoven produced a significant body of vocal works, the majority of which have not received the same intensity of analytical treatment as the instrumental works. Specifically, this study examines the relationship between words and music in the solo songs and other vocal works of Beethoven. The points of intersection between literary and musical expression are evaluated within four aspects of text setting: structure, rhythm, meaning, and narrative. Firstly, elements of derivation and deviation are explored to determine the diverse ways that he deliberately constructed musical structures in response to the poetic (and semantic) structures of each source text. Secondly, and by extension, rhythm and metre—and varying degrees of derivation, deviation, and manipulation—are assessed so as to demonstrate how these works illustrate Beethoven’s awareness of the expressive possibilities for adhering to or altering the relationship between poetic and musical metre. Thirdly, various types of musical rhetoric—including Beethoven’s implementation of the conventions for affective tonality, as well as the reliance on both conventional and uniquely-Beethovenian depictive idioms and gestures—illustrate his response to various levels of semantic content. Fourthly, his response to individual (though interrelated) aspects of narrative in his selected texts are evaluated. Drawing concepts from key figures of narrative theory—including Gérard Genette, Roland Barthes, Mieke Bal, and others—this study assesses the narrative content in selected texts as a means by which to gauge Beethoven’s compositional response to aspects of temporality, focalisation, spatiality, and so forth, both individually and in combination. Ultimately, this study demonstrates that—contrary to frequently voiced opinions—Beethoven responded quite closely and deliberately to the expressive implications of his selected texts, while aspects of poetic and musical structure, rhythm, syntax, imagery, and layers of meaning coalesce within complex narrative processes. Beethoven was aware of the inherent musicality of poetic texts and the significance of forging a close compositional relationship between words and music; thus he consistently demonstrated in composing these works his ideology that within vocal works ‘words and music form a unit’.

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McGarry, Theresa. „The L1 in L2 learning - Teachers’ Beliefs and Practices by Yanan Song and Stephen Andrews“. Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/6160.

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31

Lackey, William Joseph Mobberley James. „Ritual of the body electric a multimedia work scored for soprano, chamber ensemble and electronics /“. Diss., UMK access, 2009.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009.
"Five dances and nineteen musicians are featured in the work"--p. ii. "A dissertation in music composition." Advisor: James Mobberley. Duration: 30:00. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 25, 2009. Online version of the print edition.

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Bidgood, Lee. „Real Imaginary Place in Czech Bluegrass Songs“. Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1081.

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Bluegrass is a music form often considered to be necessarily or uniquely connected to Appalachia. Significant popular and scholarly discourses (Malone, Negus, etc.) support the sense of a homological relationship (Middleton, Born, Murphy) linking certain rural spaces with country musics. At the same time, bluegrass has a broad and varied global appeal. Abroad, bluegrass is often a part of "Americanism," the negotiation of cultural elements from the United States--and is subject to an array of different cultural politics. This presentation presents an analysis and contextualization of three Czech bluegrass-related songs to indicate some ways in which bluegrass music makers can create a sense of place far afield from the music's putative geographic roots. During their long history of Americanism Czechs have inscribed "real imaginary" elements of Americana on their environment, laying a foundation for the current interest in bluegrass music. Czech articulations of this imagined "Amerika" in translated, newly-created, and recontextualized bluegrass songs reveals a playful ambiguity. Czechs have cultivated this music and sense of place through Americanisms that blur boundaries between what is American and what is Czech. These cases challenge homologies of sound and geography, and provide new ways to consider music and place in Appalachia.

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MILLER, KATHLEEN A. „Valery Gavrilin: A Theoretical and Historical Analysis of Select Works for Voice and Piano“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1201116646.

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Smith, D. Jason. „A compositional narrative for the musical work entitled The lantern of Diogenes“. Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1178350.

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This composition is arranged for string ensemble (first and second violin, viola and cello), flute, oboe, piano, electric guitar, electric bass guitar, drum set and auxiliary percussion. Overall, the work follows a standard four-section format in a fast-slow-fastfast order. However, the individual sections experiment with the nested repeats form and with bifurcation of the Fibonacci Sequence to determine the length of the cells which make up the form. The individual sections display various styles including a Webern-like pointillism and Latin rhythms. The concept of non-narrative performance instructions is also experimented with in the work. Throughout the piece, projected (or otherwise displayed) words are to shown to the audience. These words along with the music are intended to comment upon the nature of the search for knowledge. The accompanying narrative details each of the four sections in regards to form, instrumentation, harmonic material and melodic content. The discussion at the end of the narrative covers the composer's impressions about the success of this musical experiment.
School of Music

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Olson, Susan M. „Rick Sowash an annotated bio-bibliography of his vocal works /“. Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1085957126.

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Thesis (D.M.A.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains vi, 131 p. Advisor: Loretta Robinson, School of Music. Includes bibliographical references (p. 131).

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McGarry, Theresa, und R. Marotta. „Songs and Memories for Expanding Vocabulary and Grammar“. Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/6152.

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Book Summary: New Ways in Teaching With Humor explores the whole gamut of possibilities for using humor in English language teaching. Find ideas for beginning to advanced students, 5-minute activitiesto start a class on a humorous note to multiday projects, and silly English puns and jokes to activities for examining controversial social issues. Topics covered include: Humor and Language Development; Wordplay and Puns; Comics and Cartoons; Jokes and Joke Telling; Sitcoms and Movies; Internet Resources and Digital Literacy; and Parody, Satire, and Sarcasm.What all these lessons have in common is that they all use humor to enhance the English learning experience and provide English language learners with the linguistic and cultural knowledge they need to become more proficient users of the language. New Ways in Teaching With Humor not only shows the how of using humor in the English language classroom, but also the why.

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Rodrigues, Irailda Eneli Barros Silva. „THE ART SONG OF EDMUNDO VILLANI-CÔRTES: A PERFORMANCE GUIDE OF SELECTED WORKS“. UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/25.

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The purpose of this study is to present a performance guide for singers on twelve selected songs in Brazilian Portuguese for voice and piano by Brazilian composer, pianist, and arranger Edmundo Villani-Côrtes (b.1930). Since 1949, Villani-Côrtes has been active in the musical scene of Brazil. He has a unique compositional style that seamlessly combines elements of both art music and popular music. Villani-Côrtes’s body of works includes over two hundred compositions for solo instrumental music, orchestral music, choral music, and art song. He has written over sixty songs in Brazilian Portuguese, including the Ciclo Cecília Meireles (1987), winner of the 1988 Prize of the Associação Paulista de Críticos de Arte (A.P.C.A.), but most of these remain unpublished. This performance guide is the result of three years of research, study and personal communication between the author, Villani-Côrtes, and poets whose words the composer used as lyrics. It offers a comprehensive body of information relevant for both the performer and voice teacher who approach this new and untraditional repertoire. It includes a concise biography of the composer, biographical information for the poets, comments on the compositional style of Villani-Côrtes, an overview of the Brazilian Portuguese International Phonetic Alphabet (IPA)—with a chart of Brazilian Portuguese Sounds, IPA transcriptions with English word-by-word translations and poetic versions of all the lyrics, comments from the composer and the poets on each of the songs, and the technical information, pedagogical suggestions, and interpretative insights provided by the author.

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Hopson, Samuel D. „Fathers and Sons: A Journey in Creating a Personal Work of Cinematic Art“. ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2085.

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This document gives an account of my artistic efforts in creating my thesis film Fathers and Sons. This document includes sections that cover the writing, casting, production design, principal photography, and editing of my film. I give special attention to the writing process in Chapter 2, because of its personal significance to my growth as a filmmaker. This chapter details the evolution of my original story concept from a drama to a comedy. The ultimate goal of my film was to create a personal work of art. This document self-reflects on how well I was able to achieve this goal, and what I learned along the way.

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Zetzer, Emily E. „Examining Whether Instrument Changes Affect Song Recognition the Way Talker Changes Affect Word Recognition“. Cleveland State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=csu1463321447.

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Arvidsson, Carina, und Lina Sverkersdotter. „Barn i sorg : Förskollärare med lekarbetspedagogisk utbildning intervjuade om barn och sorg“. Thesis, Högskolan i Gävle, Ämnesavdelningen för didaktik, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-4912.

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Syftet med detta examensarbete är att utforska pedagogiken vid förskolans bemötande och lekens betydelse för barn som genomgår sorg. Vi vill genom detta arbete få kunskap om hur pedagoger bör förhålla sig till barn som sörjer. Genom att utgå från litteraturen som finns inom ämnet och intervjuer med förskollärare som vidareutbildat sig till lekarbetspedagoger, har vi studerat hur pedagoger bemöter barn som drabbats och hur lekarbetspedagogik kan hjälpa dem. Resultatet visar att barn sörjer på olika sätt och att de sörjer i perioder. Då barn inte har den verbala förmågan att utrycka sin sorg kan de istället göra det genom att till exempel leka och rita. Resultatet visar vidare på att leken enligt respondenterna är en viktig del i barns sorgearbete och att vuxna bör finnas där för barnen som genomgår sorg. Låta barnen prata när de vill prata och inte tvinga dem till det. Vuxna bör även svara ärligt på barnens eventuella frågor kring det som skett.

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Wells, Robert Allen. „David Diamond as song composer a survey of selected vocal works of David Diamond with a theoretical and stylistic analysis of six early songs, the Midnight Meditation, and Hebrew Melodies /“. Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1163480150.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2005.
Title from electronic thesis title page (viewed Jan. 26, 2007). Includes abstract. Keywords: David Diamond; American Art Song; Twentieth Century American Art Song. Includes bibliographical references.

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Mossberg, Amanda, und Jessica Köster. „Att bemöta sorg och död inom socialt arbete : En kvalitativ studie gällande socialarbetarens färdigheter och möjligheter att bemöta klienter i sorg eller som har döden närvarande i livet“. Thesis, Karlstads universitet, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-85725.

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Syftet med denna studie var att undersöka vad socialarbetare inom myndighetsutövning har för färdigheter och möjligheter gällande bemötandet av klienter som befinner sig i sorg eller som har döden närvarande i livet. Vi har använt oss av kvalitativ metod i form av semistrukturerade intervjuer för att besvara våra forskningsfrågor. Resultatet visade att socialarbetare besitter färdigheter såsom empati och självkännedom som de använder vid bemötande av dessa klienter. Socialarbetarens färdigheter kommer från egna erfarenheter. Det framkom att hög arbetsbelastning samt avsaknaden av vidareutbildning och riktlinjer inom organisationen är faktorer som försvårar för socialarbetare att använda sig av sina färdigheter. Faktorer som främjar för socialarbetare att använda sig av sina färdigheter var rimlig arbetsbelastning samt rutiner. Vårt resultat analyserades med hjälp av teorin gräsrotsbyråkrati samt begreppet professionellt bemötande. Detta för att belysa hur socialarbetaren kan använda ett professionellt bemötande och organisationens resurser för att sammankoppla klientens behov med organisationens uppdrag. Det framkom en avsaknad av samtal kring sorg och död bland klienter inom människobehandlande organisationer. Detta överensstämde med avsaknaden om dessa samtalsämnen i det västerländska samhället överlag. Slutligen reflekterade vi över hur ett förändrat samtal om döden skulle kunna leda till att samtalsämnet berörs i större utsträckning inom ramen för socialt arbete. Vi reflekterade även kring hur detta skulle kunna gynna klienter som befinner sig i sorg eller som har döden närvarande. Avslutningsvis berörde vi hur covid-19 pandemin kan komma att påverka detta fenomen.
The aim for this study was to investigate social worker’s capabilities and opportunities for adequately responding to clients in mourning or clients who live in the immediate presence of death. We used a qualitative method and semi-structured interviews. The results showed that social workers have skills such as empathy and self-awareness. These are skills that they use while working with these sorts of clients. These skills have developed from the social workers own experiences. The results also showed that high workload and the lack of further education and guidelines within the organizations complicates for the social workers to use their skills. The results have been analyzed with the theory streetlevel-bureaucracy and the concept of professional approach. This have been used to highlight how the social worker can use a professional approach and the organizations resources to connect clients needs and the organizations missions. We found that a dialog about grief and death among clients were missing as a topic of conversations in the organizations. This corresponded with the general lack of conversations about these topics in the western society. In the end of this study, we discussed how a changed conversation about death possibly could increase the conversations about this topic in the social work field. We also discussed how this could be beneficial for clients in mourning or clients who live in the immediate presence of death. In conclusion we mentioned how the covid-19 pandemic could come to affect conversations about these topics.

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Phelps, James Malet. „The interloper plot in the novels and other works of D.H. Lawrence“. Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336575.

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Champagne, Mario Joseph Serge Gérard. „The French song cycle (1840-1924) with special emphasis on the works of Gabriel Fauré /“. Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122196j.

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Persson, Kristine. „Att möta sorg i arbetet : En kvantitativ enkätundersökning över begravningsrådgivare anslutna till SBF (Sveriges Begravningsbyråers Förbund)“. Thesis, Högskolan Dalarna, Sociologi, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4520.

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This quantitative survey aims to highlight the impact of the meeting with the grief for customer advisers and representatives of funeral homes connected to the SBF (Sveriges Begravningsbyråers förbund). It also aims to demonstrate any differences between the sexes on this subject. Issues include: How does the person experience expectations and requirements in relation to their professional role? Does the person experience a personal impact due to the encounter with grief and death in their profession, in what way and to what extent? What consequences does the expectations, reactions and the possible impact result in for that person? What conditions does the person have to help cope with the professional role? Is there a gender difference in this experience? The theory base, which consists of theories taken from The Managed Heart: The commercialization of Human Feeling by Arlie Hochschild (2003) and descriptions taken from Yrke: begravningsentreprenör. Om utanförskap, döda kroppar, riter och professionalisering by Anna Davidsson Bremborg (2002), has been fundamental in both the preparatory work and the analysis. The population consists of those with client contact at funeral homes connected to the SBF. The questionnaire was answered through an internet page and the contact with the particiants were made via e-mail. The questionnaire consisted of 44 claims which were answered by how well the respondents agreed with them. The responses were then coded and calculations were made of mean and significance of these figures. Comparisons were made on several levels between the different variables in order to find patterns and indications. The results showed trends that the respondents to some extent experienced high demands in their profession, stress connected with the customer interactions and that this to some extent resulted in negative consequences. The results suggests that respondents were expected to and strove to go the "extra mile" to please the customers. The results also showed trends that the respondents enjoyed their work, experienced relatively good conditions in their profession and that the benefits outweighed the sacrifices. The results also showed an interesting pattern of that women, more than men, experience pressures and stress due to the encouter with grief at work, and that the higher education the respondents had the greater the impact. This study resulted in some interesting indications that can be used in further research.

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Ahlgren, Stefan, und Tomas Nestander. „Redo! Alltid redo! : Lärare och lärarstudenters åsikter om bemötande av barn i kris“. Thesis, Umeå University, Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-1022.

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Förr eller senare kommer vi som lärare att ställas inför det faktum att vi måste hantera krissituationer där en eller flera elever behöver omsorg. Vårt syfte med detta examensarbete har varit att försöka beskriva och jämföra erfarna lärares och lärarstudenters åsikter och erfarenheter om bemötande av barn i kris. Vi ville genom vår undersökning ta reda på vad lärare har för beredskap för att möta barn som drabbats av en kris och hur lärare bemöter dessa barn på bästa sätt. Vi har använt oss av kvalitativa intervjuer där vi intervjuat sex lärare med minst fem års yrkeserfarenhet och sex lärarstudenter i slutskedet av sin utbildning. Intervjuerna har tillsammans med den litteratur vi läst gett oss följande resultat: Skilsmässa är den krisorsak för barn som enligt resultatet är den vanligaste. Upplevelser av kriser kan variera mycket för barn beroende på vilken ålder de är i. Signalerna kan ibland vara svaga och svåra att tolka men ofta förändrar barnet sitt sätt att vara på ett märkbart sätt. Ingen kris är den andra lik, därför är det svårt att vara förberedd på att hantera en krissituation då de ser så olika ut från gång till gång. Den viktigaste känslan läraren kan förmedla är trygghet till den som är drabbad. Få av de intervjuade kände sig beredda att möta barn i kris, men lärarna tillade att de inte var rädda för det. Samtliga informanter ansåg att de fått för lite eller ingen kunskap om krishantering under sin utbildning. Alla var överens om att det skulle behövas.

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Neher, Lisa Rose Julianna. „The chamber vocal works of Gabriela Lena Frank“. Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2250.

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The purpose of this essay is to introduce readers to the music of living American composer Gabriela Lena Frank (b. 1972) through her chamber vocal works and to provide a resource to aid in the interpretation and performance of her music. Frank is an internationally recognized composer with a thriving career. However, she is not widely known among singers and teachers of singing and scholarship on her music is quite limited. This study seeks to fill that void by examining Frank’s published works as of January 2016 for solo voice and up to six instruments. These works are Cuatro Canciones Andinas (1999), for mezzo-soprano and piano; New Andean Songs (2008), for soprano, mezzo-soprano, two percussionists, and two pianos; Seven Armenian Songs (2013), for soprano, percussionist, and solo violin; and Honey (2013), for soprano, mezzo-soprano, and piano. Frank’s chamber vocal pieces are excellent additions to the repertoire and notable for Frank’s chamber music aesthetic, choice of diverse texts and languages (English, Spanish, and Armenian), dramatic storytelling, range of musical colors, and idiomatic writing for the performers. Frank’s ongoing exploration of her Peruvian heritage is reflected in two of these works, which draw inspiration from Andean folk music and poetry. This essay provides a brief biography of Frank; original poetic and musical analyses of the four works, exploring the areas of poetry, form, melody and motive, text painting, rhythm, harmony, folk influences, vocal writing, instrumental writing, timbre, range, and tessitura; and a summary of stylistic traits as seen across this sample. Poetic and word for word translations of foreign language texts, pronunciation guidelines for Latin American Spanish and International Phonetic Alphabet transliterations for the Armenian poems are included.

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Olson, Ted. „Recording Review of Spain in My Heart: Songs of the Spanish Civil War“. Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1145.

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Moreno, Claudia Roberta de Castro. „Fragmentação do sono e adaptação ao trabalho noturno“. Universidade de São Paulo, 1998. http://www.teses.usp.br/teses/disponiveis/6/6134/tde-01102014-145636/.

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Este estudo é parte de um projeto mais amplo que investiga as diferenças individuais no processo de adaptação de trabalhadores aos esquemas temporais de trabalho a que estão submetidos. As diferentes estratégias dos trabalhadores para se adaptar ao trabalho noturno têm sido amplamente investigadas com o objetivo de se conhecer modos de lidar melhor com a organização temporal do trabalho. Neste trabalho foi realizado um estudo de uma possível estratégia de adaptação ao débito de sono provocado pelo trabalho noturno em uma população de mulheres: a fragmentação do sono, ou seja, a realização de mais de um episódio de sono ao longo das 24 horas. A princípio, foram identificadas trabalhadoras que se auto-avaliaram como bem adaptadas ao esquema de trabalho. A avaliação da adaptação foi realizada através de um formulário construído a partir dos depoimentos das próprias trabalhadoras acerca do impacto do trabalho noturno. O acompanhamento do ciclo vigília-sono das trabalhadoras, por dez semanas consecutivas, através de protocolos de atividades preenchidos por elas, permitiu identificar aquelas que fragmentavam o sono e posteriormente confrontar esse resultado com a autoavaliação da adaptação das trabalhadoras. Nessa última etapa, a amostra desse estudo consistia de 24 mulheres que trabalhavam em uma indústria farmacêutica de segunda a sexta-feira das 22:00 às 06:00. Na ocasião da pesquisa elas tinham entre 20 e 40 anos de idade. Para verificar a influência da fragmentação regular do sono foi realizado um segundo estudo, em laboratório, onde foi possível controlar a fragmentação do sono. Neste estudo foram avaliados sujeitos submetidos a um regime simulado de emergência de trabalho, envolvendo drástica redução do sono. Esta avaliação foi realizada com voluntários submetidos a uma fragmentação forçada de sono. Os resultados do estudo em laboratório mostraram que a fragmentação regular do sono não causa sonolência maior do que um único episódio de sono. O estudo no campo revelou que para a maioria das trabalhadoras que dormem mais de um episódio de sono ao longo das 24 horas e que se auto-avaliaram como bem-adaptadas, a fragmentação do sono pode ser interpretada como uma estratégia de adaptação. Entretanto, há trabalhadoras que apesar de se auto-avaliarem como bem-adaptadas não fragmentam o sono. Conclue-se, portanto, que não há um único padrão de sono adequado para todos os trabalhadores e a variabilidade individual deve ser levada em consideração antes de propor uma específica estratégia de sono como estratégias de adaptação ao trabalho.
This work is part of a larger project designed to search for individual differences relevant to adaptation of workers submitted to unusual work schedules. The different strategies of adaptation have been investigated in order to improve coping with nightwork. In this present study we report an investigation about sleep fragmentation (more than one sleep episode a day) as a strategy of adaptation to the sleep deficit caused by work schedule in female nightworkers. First of all, female nightworkers who evaluated themselves as well adapted were identified. This evaluation was made through a form based on interviews. The follow-up of workers\' sleep-wake cycle with sleep logs filled out by themselves for ten consecutive weeks permitted the identification of workers who showed sleep fragmentation. This result was compared with the adaptation\' scores obtained from the forms. In this last part of the study the sample was composed by 24 females who worked at a pharmaceutical plant from Monday to Friday from 22:00 to 06:00. They were between 20 and 40 years old. To verify the influence of regular sleep fragmentation on work adaptation a lab study was carried out. In this study we analyzed subjects submitted to a simulation of an emergency work condition with sleep reduction. This evaluation was done with volunteers submitted to a forced sleep fragmentation. The results from this lab study showed that the sleepiness caused by regular sleep fragmentation is not greater than when it is caused by a single sleep episode. The field study showed that sleep fragmentation can be understood as an adaptation strategy for women who both fragmented their sleep and identified themselves as well adapted. However, there were women who in spite of considering themselves well adapted, did not show sleep fragmentation. It can be concluded that there is not an ideal sleep pattern for all of the subjects and that individual variability should be taken in to account before proposing a specific sleep strategy as recommendation to cope with nightwork.

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Wyatt, Susan Beth Masters. „Kurt Weill: a Song Composer in Wartime with Three Recitals of Selected Works of Mozart, Strauss, Bach, Schubert, and Others“. Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277791/.

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During World War II the composer Kurt Weill was in America writing for the Broadway stage. On August 27, 1943, he became an American citizen and was eager to volunteer his talent to the American war effort. Among his many wartime musical contributions are fourteen songs, all with war-related texts, which can be divided into three distinct groups: the American propaganda songs (8), the German propaganda songs (2), and the Walt Whitman songs (4). It is the purpose of this paper to present a comparative analysis of a representative group of these war songs (two from each group) in order to illustrate Weill's musical versatility. The American propaganda songs were written in a purely popular song style; sung by Broadway actors; directed toward an American audience; with texts by the Broadway lyricist Oscar Hammerstein II and the Hollywood movie executive Howard Dietz. The German propaganda songs were written in a cabaret song style; sung in German by Weill's wife, Lotte Lenya; directed toward a German audience behind enemy lines; with texts by the German playwright Bertolt Brecht and the German cabaret writer Walter Mehring. The Four Walt Whitman Songs were written in a classical art song style; sung by classically trained singers; directed toward a general audience; with texts by the nineteenth-century American poet Walt Whitman. After an initial discussion of Weill's early musical training and career in Europe, his exile from Germany, his reception in America, and his contributions to the American war effort, each group of war songs is analyzed musically, textually, vocally, in reference to the audience to whom it was directed, and with regards to vocal performance practice. Comparisons and conclusions are then drawn. Kurt Weill's war songs are valuable for musical study, both in terms of examining his ability to write equally well in various musical styles and as an opportunity to learn more about music and society during the turbulent years' of World War II.

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Dissertationen zum Thema „Song work“

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