Dissertationen: „Songs with music“

1

Hubbard, Colton M. „Tea Songs“. University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116378208.

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2

Chen, Ching-Yi. „A Performer's Guide to John Musto's Song Cycle, Quiet Songs“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1331099604.

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3

Nguyễn, Xuân-Thaʼo Joseph. „Music ministry the inculturation of liturgical vocal music in Vietnam /“. Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.

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4

Lanci, Michael P. „Songs for Joe Hill“. University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin149580760300849.

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5

Sahr, Nate. „Song/Casting: Combining Podcasts and Songs to Create a Hybrid Medium“. Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619174946672814.

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6

Baron, Michael David. „The songs of Franz Liszt“. Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234717504.

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7

Hung, Justin. „Songs about Words“. Digital Commons @ Butler University, 2020. https://digitalcommons.butler.edu/grtheses/523.

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A song cycle for baritone and mixed chamber ensemble, "Songs about Words" consists of five songs for everyday concepts and subjects, and explores deeper themes of communication and identity. The ensemble consists of piano, accordion, tenor saxophone, percussion and double bass. The text was inspired by Pablo Neruda and written by the composer.

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Hood, Errik M. „Teaching the Songs of Ivor Gurney:An Applied Studio Guide to the Utilization of Fourteen Songs“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1448468099.

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9

Fisher-Giorlando, Marianne. „Prison culture : using music as data“. Connect to resource, 1987. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1214249344.

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10

Sigurjónsson, Jóhannes. „Reference Music As Guidelines : Using reference music to create better songs“. Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-73989.

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This essay examines how reference music can be used as a tool to fix weaknesses within my own songwriting and production process. The weaknesses were found by analysing feedback from other students on my own music. Four reference artists were then analysed with the intent of finding solutions to these weaknesses. Four new songs were then written and produced by implementing the solutions from the reference artists into the creative process. The results were mostly positive, as the songs had improved on various issues found in the feedback analysis. However, the method restricted the creative process in some occasions rather than inspiring it. The reasons for this are in part due to the choice of reference artists and which aspects of their music were in focus for the analysis.
I detta arbete undersöker jag hur referensmusik kan användas som ett verktyg för att stärka svagheter i mitt eget låtskrivande- och produktionsprocess. Svagheterna hittades genom att analysera feedback från andra studenter på min egen musik. Därefter analyserades fyra referensartister med syftet att hitta lösningar på dessa svagheter. Fyra nya låtar skrevs sedan och producerades genom att implementera lösningarna från referensartisterna till den kreativa processen. Resultaten var mestadels positiva, eftersom låtarna förbättrades på olika svagheter som hittades i feedbackanalysen. Metoden begränsade dock den kreativa processen i vissa tillfällen snarare än att inspirera den. Anledningarna till detta beror dels på valet av referensartister och vilka aspekter av deras musik som analyserna var inriktade på.

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Jones, Reba Pestun. „An examination of coal mining song repertoire in the Virginia elementary music curriculum with the creation and incorporation of a suggested coal mining musical unit of study /“. < Digital Thesis and Dissertation Collection > Username and password required for access, SU only, 2003. http://www.su.edu/library/digitalthesis/jonesreba.pdf.

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12

Van, Rhyn Chris. „Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers“. Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.

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Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.

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Dahlenburg, Jane Elizabeth. „The motet c.1580-1630 : sacred music based on the Song of Songs /“. Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063407z.

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14

Brown, Garrett Amzi. „Songs in U.S. Presidential Campaigns: Function, Signification, and Spin“. The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492708533163934.

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15

Boston, Kris A. „Stephen Sondheim: Crossover Songs for the Classical Voice Studio“. University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin985625314.

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16

Wood, Kenneth Edward. „An investigation and analysis of selected Victorian art songs /“. Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004204.

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17

Ng, Pong-wai Brenda. „The development in Hong Kong of commercial popular songs in Cantonese /“. Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1675959X.

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Landau, Gregorio. „The role of music in the Nicaraguan Revolution /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9935470.

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19

Bakan, Daniel Lowell. „A song of songs : a/r/tography, autoethnography, and songwriting as music education research“. Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51903.

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This dissertation is an a/r/tographic inquiry in which I explore how songs and stories about songwriting can serve as a means for theorizing new ways of conducting research in music education. I a/r/tographically braid music, lyrics, scholarship and research, autoethnography, and other creative analytical practices to demonstrate how songs and memories can be used as interpretive texts for understanding artistic identity and the nature of being a musician. Through a collaged and multi-modal method of inquiry, I show how music and its renderings, i.e., recordings, lyrics, videos, memories, and lived shared expressions (e.g., performance) can hold and uncover new ‘knowings’ about music making, the self, and society. Using a bricolaged métissage approach, I explore how and why the ethnographic study of autobiographical material and artistic renderings through (and about) song can broaden understandings of the lived experiences of musicians, music learners, and teachers. Supported by Pinar’s re-conceptualist theory of currere, hermeneutic epistemologies, and praxial approaches to music education, this dissertation exemplifies performative autoethnography as research through music-making. I ultimately arrive at two interwoven outcomes: 1) song may function simultaneously as the method, results, and interpretation of research; and 2) the lived experiences and ‘musicings’ of musicians may be considered as a form of artful scholarship. Digital audio and video files of six original songs are attached to this dissertation not only as data in support of the research, but also as a representation and report of findings through storied/scholarly renderings in lyric, prose, image, and music. Supplementary video material is available at: http://hdl.handle.net/2429/51863
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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Morcom, Anne Frances. „Hindi film songs and the cinema“. Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268674.

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This thesis explores the relationship of Hindi film songs with Hindi cinema from the 1950s, especially emphasizing the present day. It is based on fieldwork completed in Bombay from 1998-2000 and the analysis of film songs and their picturizations. The main question addressed is: 'How far can film songs be seen as an independent tradition of popular music and how far are they a part of their parent films and Indian cinema?' Chapter 1 surveys previous scholarship on film songs and introduces their cinematic study. Chapter 2 deals with the production process of film songs, identifying the role of various personnel in their creation including the music director (composer), lyricist and singer(s). Chapter 3 addresses the musical style of film songs and its development in the light of both their cinematic and popular music roles. Chapter 4 turns to the use of Western music in film song from the perspective of meaning. Is Western music used in the same way in Hindi films as in Hollywood films, and if so, how, if music is not a universal language? Is the presence of Western music in film songs just due to hegemony? Song and background score material is analysed in its dramatic context, and Indian and Western music theory and interview material drawn on to answer these questions. Chapter 5 looks at the commercial life of film songs, addressing the question of whether songs sell films or films sell songs through an examination of the marketing and profitability of film songs in various eras. Chapter 6 discusses the reception of film songs, their popularity, how audiences come into contact with them, and their appropriation by audiences. Adorno's profile of mass music as alienating is revisited with reference to film song.

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Chang, Debra Wei Kwen. „Songs of the wind“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332464/.

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Songs of the Wind is a five-movement composition for reader, chamber choir, and chamber orchestra. The work is approximately twenty-five minutes in duration. The title describes the programmatic nature of the piece, which depicts an animistic ritual invoking the wind as a deity. The texts are drawn from translations of American Indian poetry as well as original poems by the American Indian scholar Hartley Alexander.

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Kreider, Paul Kevin. „The art songs of Daron Hagen: Lyrical dramaticism and simplicity with an interpretive guide to "Rittenhouse Songs" and "Resuming Green"“. Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/288968.

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This document examines lyrical and dramatic aspects of the songs of composer Daron Hagen. The study shows how Hagen's uses of articulation, melody, form, dynamics, harmony, text painting, word painting, and tonality enhance the dramatic elements of the poems without sacrificing lyricism. The research began with performances by this writer of the works of Hagen and continued with interviews and further performances. Discussion of the lyrical and dramatic elements of Hagen's vocal works forms the body of the document and illustrations facilitate study of the works. An interpretive guide for two song groups will assist vocal performers to understand these songs and possibly lead to improved interpretive practices. A complete listing of the composer's vocal works concludes the document.

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Ballinger, Rebecca. „Sacred songs of Dvořák, Menotti, Ravel and Wolf“. Kansas State University, 2012. http://hdl.handle.net/2097/13747.

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Master of Music
Department of Music
Amy Rosine
This report examines the sacred works of four composers that were intended for performance in a secular environment, rather than for any portion of a liturgical service. It will discuss the theoretical, stylistic and performance considerations of each work, as well as biographical information about each composer, their compositional style, and how the work was initially developed. These works include the Biblické písně, Op. 99 of Antonín Dvořák, selections from the Möricke Lieder and Spanisches Liederbuch of Hugo Wolf, Maurice Ravel’s Deux mélodies hébraïque, “Oh, Sweet Jesus” from Gian Carlo Menotti’s’ the Saint of Bleecker Street and the quartet from his Amahl and the Night Visitors.

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Walsh, Brian Michael. „Structure, function, and process in the early song cycles and extended songs of the Canadian rock group Rush /“. The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486546889380388.

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25

Eckenroth, Karen Louise. „"It is a song that I have made": A performer's perspective on ten early songs of Samuel Barber“. Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/284070.

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Samuel Barber is one of America's most popular composers of the solo song. His interest in this genre began in 1917, at age seven when he composed his first song, titled "Sometime". This interest was to last a lifetime, with his total song output numbering 106 (48 published and 58 unpublished); comprising over half of his more than two hundred compositions. In 1994 G. Schirmer, Inc. published a collection of ten early songs written by Barber between the years 1925 and 1937. Prior to the availability of these pieces, Barber's Opus 2--"The Daisies", "With Rue My Heart Is Laden", and "Bessie Bobtail"--were the only published songs reflecting his earliest compositional style. These ten new songs provide insights regarding this early style, and they display musical components, such as quartal and quintal harmonies, elements of church modes, counterpoint, and extensive word-painting, which Barber uses and solidifies in later works. These early songs are a delightful addition to the solo song repertoire. The vocal lines are flowing and effortless, emotions portrayed within the songs are always well balanced, and the accompaniments, in addition to supporting the vocal line, serve to set the tone of each piece. The variety of technical demands varies and many of the songs are accessible to young singers. Most importantly, they offer a perception into Barber's growth as a composer making them an invaluable resource to anyone interested in the development of the American Art Song.

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Kruger, Jaco Hentie. „A cultural analysis of Venda guitar songs“. Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.

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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.

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Graefe, Emily. „Charles Ives and Transcendentalism in the 114 Songs“. Thesis, Boston College, 2004. http://hdl.handle.net/2345/486.

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Thesis advisor: Jeremiah McGrann
The effect of transcendentalism on American composer Charles Ives (1874-1954) is examined in this study. Certain pieces in Ives' 114 Songs collection are musically analyzed to better understand Ives' interpretation of three main tenets of transcendentalism (the individual, the past, and nature). Scholarly criticism and a historical background of transcendentalism are discussed as well
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: Music
Discipline: College Honors Program

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Lin, Pei-Ying. „Development of curriculum materials to teach American children about the culture of Taiwan through Taiwanese children's songs“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4315.

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Thesis (M.A.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Includes bibliographical references.

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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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Posner, David M. „Reviving a lost art : piano music of Russian-Jewish origin /“. Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.

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Lien, Anthony Marcus. „Against the grain : modernism and the American art song, 1900 to 1950 /“. For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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Webb, Adam Michael. „Art songs for tenor : a pedagogical analysis of art songs for the tenor voice“. Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3401.

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The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice. This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process. The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.

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Tarikci, Abdurrahman. „Analysis Of Turkish Art Music Songs Via Fractal Dimension“. Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611567/index.pdf.

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Forty songs are randomly selected from four randomly selected maqams. Songs are restricted to be in sofyan usü
l (sofyan rhythmic form) to check the statistical significance. Next, fractal dimensions of the these songs are calculated by using two different method and two different scattering diagrams. In the first method, fractal dimensions are calculated via two different box sizes. As for second method, successively decreased box sizes are used. In addition, standard deviation and mean values of the fractal dimensions are calculated to check the relation between fractal dimension and maqam. T test and F test are applied to check the statistical significance. After these calculations, it is verified that fractal dimension can be used as an information source concerning the Turkish art music songs which are nonlinear dynamical systems. Moreover, it is showed that maqams can have their own fractal dimension for low resolutions. On the other hand, it is seen that for high resolutions all songs have almost same fractal dimension.

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Manderson, Desmond. „Songs without music, aesthetic dimensions of law and justice“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq30435.pdf.

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35

Beard, Ellen Leslie. „Rob Donn MacKay : finding the music in the songs“. Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20991.

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This thesis explores the musical world and the song compositions of eighteenth-century Sutherland Gaelic bard Rob Donn MacKay (1714-1778). The principal focus is musical rather than literary, aimed at developing an analytical model to reconstruct how a non-literate Gaelic song-maker chose and composed the music for his songs. In that regard, the thesis breaks new ground in at least two ways: as the first full-length study of the musical work of Rob Donn, and as the first full-length musical study of any eighteenth-century Scottish Gaelic poet. Among other things, it demonstrates that a critical assessment of Rob Donn merely as a “poet” seriously underestimates his achievement in combining words and music to create a whole that is greater than the sum of its parts. The study also illustrates how widely melodic material circulated in eighteenth-century Scotland through aural transmission, easily crossing between languages and between instrumental and vocal music. The thesis includes a musical biography, a review of sources and commentary on Rob Donn, an introduction to relevant theoretical concepts in ethnomusicology and related fields, and a survey of eighteenth-century Scottish music, followed by several chapters analyzing the music of one hundred songs by topic (elegies; social and political commentary; love, courtship and weddings; satire and humor; and praise, nature and sea songs). The study shows that Rob Donn borrowed tunes for 67 of these songs from earlier sources (45% from Gaelic song, 25% from Scots song, 12% from English or Irish song, and 18% from instrumental tunes). It then provides evidence that he composed the melodies of 33 songs, examining in detail how he adapted earlier musical models and created musical settings to reinforce aspects of his poetic message. It also analyzes the musical features of all 100 songs, providing charts summarizing their vocal range, musical meter, scales and tonality. The thesis is accompanied by two appendices, one containing 121 musical settings of the 100 songs, and the other containing their complete texts with English translations (most translated here for the first time).

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36

Anderson, Quiliano Nineza. „Kundiman love songs from the Philippines| Their development from folksong to art song and an examination of representative repertoire“. Thesis, The University of Iowa, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3726807.

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In the Philippines, a type of love song known as the Kundiman had existed since the early 19^th century. But in the early 20^th century Kundiman had developed into art song. The term Kundiman comes from the Tagalog phrase “kung hindi man” or “if it were not so”. Written in the Tagalog language, these folksongs were subtly patriotic but typically disguised as love songs. Filipinos, in their long struggle against an oppressive Spanish regime, saw it as a tool that would ultimately unite Filipino revolutionaries to wage war against the Spaniards in 1896 during the Spanish-American War.

The composer Francisco Santiago (1889-1947) is sometimes called the “Father of Kundiman Art Song”. While his masterpiece is considered to be his Concerto in B flat minor for pianoforte and orchestra, one of his most significant piece is his song “Kundiman, (Anak-Dalita)”, the first Kundiman art song. Santiago regarded the Kundiman art song as something “that expresses the lofty sentiment of love, and even heroism in a melancholy mood”. Given the cross-fertilization of Spanish and Filipino cultures in the 19^th century, Kundiman art songs were typically a blend of melodic material from native folksong and European music traditions. The result is a song characterized by smooth flowing lines and beautiful melodies. The piano accompaniments are typically full in texture, sometimes containing countermelodies, sometimes merely harmonizing with the vocal line in thirds and sixths. One other significant early composer of Kundiman art songs was Nicanor Abelardo (1893-1934). His songs, together with those of Santiago’s became models for other Filipino composers such as Constancio De Guzman (1903-1982) and Miguel Velarde, Jr. (1913-1986) in the decades following Abelardo’s death.

The purpose of this essay is to shed some light on this unique genre of song, and provide the tools necessary to study and perform these representations of Filipino culture and history. To do this, I have provided brief background information on the origins of Kundiman art song. I have also provided a guide to pronunciation, grammar and the idiosyncracies of the Tagalog dialect. Finally, this essay contains a performance guide for 20 representative Kundiman art songs, including original texts, literal and prose translations, International Phonetic Alphabet (I.P.A.) transcriptions, and suggestions for interpretation and style.

In researching and analyzing these songs I have gained an understanding of the aesthetic appeal of Kundiman art songs. More importantly, these songs are not widely known in the classical world. But because of their unique connection to Filipino history and culture, they deserve serious attention. These songs would indeed make a great addition to a recital program.

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Tonsing, Johanna Gertrud. „Searching for the "Good Song" - Determining the quality of Christian songs within the polarities of worship“. Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/40212.

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This thesis tries to answer the question what Christians should be singing in worship and why. The situation in many congregations is one of conflict around music and worship styles. The question is how these can be bridged and how worship leaders can be guided to make responsible choices about what is sung in Sunday worship. It is argued that what is sung, strongly influences the theology and faith of congregants. The thesis locates the discipline of hymnology within a hermeneutical approach to practical theology and tries to develop a theory to answer the question how to determine quality in Christian songs. The current discussions in practical theology and hermeneutics are examined for their relevance to hymnology, particularly some of the insights of Habermas, Gadamer and Ricoeur. Here particularly the idea of “dialogue” and “fusion of horizons” becomes relevant for bridging the divides in the conflicts around worship music. The dissertation examines biblical and church historical answers to the question of whether and what Christians should be singing. It becomes clear that the answers have varied widely during the course of church history, sometimes swinging between extremes. The next chapter looks at songs in the context of the worship service, their function within various parts of the service, and particularly looks at the dialectical poles of worship which should be kept in balance. Musical perspectives are discussed looking at ways to help people not formally trained in music to evaluate tunes. This theoretical section leads to a catalogue of criteria for “Good songs”: These are criteria for quality, for “Good Text”, such as biblical and theological value, how easily it is understood, whether it takes human experience seriously and its poetic value. Criteria for “Good Tune” include its level of difficulty, how heavily it depends on accompaniment, and its balance between the familiar and the interesting and new. The third category of criteria evaluate the match between text and tune in mood, rhythm and climax. The last category looks at the balance in the song between different polarities, such as, amongst others, the balance of past and present, cognitive and emotive elements, between challenge and affirmation, and between universal and particular emphases. This list of criteria is then tested on three songs each of four different songwriters: two traditional and two contemporary: Paul Gerhardt, Charles Wesley, Graham Kendrick and Noel Richards. In each case a background is given, an overview of their work as a whole and a detailed analysis of each song. In the end the criteria themselves are evaluated as to their usefulness and user-friendliness. Suggestions are then made how these criteria can guide worship leaders in their choices of songs for the Sunday service.
Thesis (PhD)--University of Pretoria, 2013.
gm2014
Practical Theology
unrestricted

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38

Lin, Yanyan. „The Art Songs of Huang Zi: A Selective Study“. The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594938239554979.

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39

Kruckeberg, Lynell Joy. „Federico Mompou: a style analysis of thirty-five songs“. Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3486.

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Federico Mompou (1893-1987) was a Catalan composer known primarily for his piano compositions. In addition to his piano works, Mompou also composed thirty-seven songs for voice and piano, a ballet, a few choral works, and a guitar suite. Mompou's songs and piano pieces were well-received by critics and audiences in France, Spain, and even the United States during his lifetime, but since the mid-1970s, majority of his songs have been overlooked by Western performers and scholars. Mompou's songs, composed between 1915 and 1971, are settings of Catalan, Spanish, and French texts. They are characterized by their simplicity, expressiveness, and evocative style. The poetry represents a variety of subjects that range from expressions of simple, childlike pleasure, to those of a highly reflective and emotional mind. Federico Mompou's songs represent an important contribution to Catalan art song of the twentieth century. The songs are deserving of performance and study in any voice studio because they contain a variety of technical, linguistic, and interpretive challenges for a wide variety of singers. The purpose of this doctoral essay for limited distribution is to provide a style analysis of thirty-five songs of Federico Mompou. The analysis divides the songs into three groups based on technical difficulty, progressing from the least difficult to the most difficult. Information about each song will include date of publication, language, poet, poem and translation. Prose analysis of each individual song is based on Jan LaRue's Guidelines for Style Analysis. Musical examples demonstrate important aspects of each individual song.

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Snydacker, Sarah Elizabeth. „The new American song: a catalog of published songs by 25 living American composers“. Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1265.

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The purpose of this dissertation is to create a catalog of the published, solo vocal songs of 25 living American composers. Through this project, visibility will be given to a significant amount of contemporary literature that is currently unknown and / or underused by many singers and voice teachers today. Exposure to the literature in this project will encourage singers and teachers to give deserving attention to a wealth of contemporary American song literature, and will help to stimulate the study, practice and performance of other contemporary songs and composers. I have selected 25 living American composers. The composers represent a variety of compositional styles, and the songs vary in level of difficulty. The songs chosen are examined based upon criterion for vocal study at the collegiate level, and the entire repertoire is appropriate for traditional classical vocal training. Many of these composers' songs are readily available in public and collegiate libraries across the country. There are some composers, however, whose songs are currently not available in libraries, but are deserving of attention. The unpublished songs of the selected composers are not included because the purpose of this project is to increase accessibility. The composers for this dissertation include: Dominick Argento, Daniel Asia, Robert Baksa, Seymour Barab, Jack Beeson, William Bolcom, John Bucchino, Tom Cipullo, John Corigliano, John Frantzen, Zina Goldrich and Marcy Heisler, Ricky Ian Gordon, Daron Hagen, John Harbison, Jack Heggie, Lee Hoiby, Richard Hundley, Anne Kilstofte, Lori Laitman, Libby Larsen, John Musto, Thomas Pasatieri, Andre Previn, Gene Scheer, and Richard Pearson Thomas. The body of the dissertation consists of a brief biography of the individual composers followed by analyses of the composers' music. Each published song is analyzed according to a set of criterion for vocal study at the collegiate level. The annotations include: title, poet, publisher and date, dedication, vocal range, tessitura, recommended voice type, level of difficulty of the vocal and piano accompaniment, possible uses, brief musical and textual description, and other pertinent information for the study and performance of the music. This dissertation will encourage the study, practice and performance of contemporary American music. The annotated catalog will include vital information for the quick selection of songs, and the information I compile will be invaluable to singers and voice teachers searching for contemporary American literature. The composers included in this project will also benefit from the exposure of their work. There are, of course, many more composers whose songs are deserving of inclusion in this project. Annotated catalogs of larger scope or of differing perspectives should be created as further study.

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ALFELD, ANNA POULIN. „Unsung Songs: Self-Borrowing in Amy Beach's Instrumental Compositions“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1217521725.

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42

Baltagi, Ibrahim H. „Relationships among folk song preferences of grade five students“. Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149040252.

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Chiu, Remi. „Motet settings of the Song of Songs ca. 1500-1520“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99361.

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This thesis investigates early sixteenth-century motet settings of texts taken from the Song of Songs. By way of contextualization, I will explore the Christian history of Song of Songs exegesis from the third century to the twelfth. I will also consider generic properties of the renaissance motet---contemporary definitions of the genre, performance context, types of texts used, and repertory dissemination---and make a case that both the Song of Songs and the motet occupy a sort of "intermediate" position between the secular and the sacred world, participating in both the earthly and the spiritual.
Several motets---Tota pulchra es by Ludwig Senfl, Tota pulchra es by Nicolaus Craen, Nigra sum sed formosa by Johannis Lheritier, and the anonymous Vulnerasti cor meum from Petrucci's Motetti de la Corona I print---will be analyzed through the lens of the historical Christian exegesis and generic considerations of the motet. I interpret diverse musical parameters---among them, texture, quotation of pre-existent material, motivic structuring, cadential manipulation, mode and modal commixture---as some of the ways in which the composers responded to their Song of Songs texts.

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Ginocchio, John F. „Music style preference : a ranking of musical styles and comparison by age, gender, ethnicity, music training, and rural, suburban, or urban upbringing“. Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1336616.

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The purpose of this study was to review the findings of Leblanc (1979) utilizing the most common styles of popular music in today's media. Seven styles of popular music, traditional jazz, and Romantic classical music were ranked in order of preference; subject responses were compared by age, gender, environment of upbringing, and amount and type of music training. The sample consisted of 332 fifth graders and college non-music majors. Subjects completed a Personal Information Form, listened to a recording of 19 musical examples representing the styles being studied, and recorded their preference for each on the Music Preference Inventory.Results indicated an overall decline in preference in comparison to Leblanc (1979). Preference responses indicated that fifth graders and college non-music majors ranked the music styles differently, although both age groups ranked pop rock music among the most preferred styles and country, traditional jazz, and Romantic classical music as the least preferred styles. Females recorded significantly higher overall music preferences than males and differed in their preference for individual music styles. Preferences for individual styles also varied depending on the environment in which subjects were raised. Overall music preference was significantly higher among subjects with more music training, and instrumental biases were found based on specific types of music training.The results of this study strongly suggest that popular music styles are the most preferred music styles. Furthermore, variables such as age, gender, and environment of upbringing influence preference for individual music styles in different ways. However, increased music training and specific types of music training positively influence overall music preference and increase preference for non-popular styles.
School of Music

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Saunders, Jessica Anne. „Songs of the Kalevala: art song inspired by the Finnish national epic“. Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5622.

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The Kalevala, first published in 1835 by Elias Lönnrot, is the Finnish national epic and was fundamental in formalizing the Finnish language. It is a collection of stories Lönnrot collected over many years, pieced together to create a coherent epic. The stories in the Kalevala stem from an oral tradition, in which singing and music was integral. The stories in the epic contain many different characters, with Väinämöinen and his quest in to find a wife at the forefront. Other major characters discussed include Kullervo, Lemminkäinen, and Luonnotar. Extensive research exists about the history of the Kalevala itself, as well as its impact on music in Finland in the areas of pop music, symphonic music, choral music, and opera. However, little scholarship exists, regarding how the texts from the Kalevala have been incorporated into 19th and 20th century art song. The lack of research about the Kalevala in art song is due partly to the fact that no catalogue of related songs exists. Also, works based on the Kalevala are hard to obtain, as many are only available in manuscript form, or are found only in the Finnish National Archives. This essay aims to bridge the research gap on art song inspired by the Kalevala, while evaluating the works available in the context of their incorporation of the folk singing tradition that would have been used in the early performance of these Kalevala texts. Songs analyzed include works by Gabriel Linsén, Emil Kauppi, Jean Sibelius, Otto Kotilainen, and Erkki Melartin.

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Lau, Man-chun. „A study of Hong Kong popular music industry (1930-2000) 1930 zhi 2000 nian jian Xianggang liu xing yin yue gong ye de bian qian /“. Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B4389608X.

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Weikel, Anthony L. III. „Brahms’s Four Serious Songs: Arranged for Trombone and String Orchestra“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437755386.

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Levyatov, Yoni. „A Collection of Ten Schubert Songs Transcribed for the Piano“. Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236420.

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Music Performance
D.M.A.
A Collection of Ten Schubert Songs Transcribed for the Piano Yoni Levyatov Doctor of Musical Arts Temple University, 2012 Doctoral Advisor Committee Chair: Dr. Charles Abramovic The objective of this project is the creation of a collection of ten songs by Franz Schubert, freely transcribed for solo piano: 1) "Gute Nacht" D.911 2) "An die Laute" D.905 3) "Memnon" D.541 4) "Wilkommen und Abschied" D.767 5) "Greisengesang" D.778 6) "Todesmusik" D.758 7) "Der Goldschmiedsgesell" D.560 8) "Das Fischermädchen" D.957 9) "Das Lied im Grünen" D.917 10) "Der Strom" D.565 These are written bearing in mind the general history of piano transcriptions as originated (in the modern sense) by Franz Liszt, the greatest of all transcribers for the piano, as well as other figures, such as Feruccio Busoni and Leopold Godowsky. The primary reason behind Liszt's idea of transcribing several Schubert song cycles, as well as singular lieder, was to popularize those works, and thus make them available to the common 19th century amateur, who was quite at home at the piano and usually wished to be able to reproduce favorite pieces with his own two hands. or in a four-hand collaboration. Liszt was also interested in raising awareness of these works, which were less popular and treated less seriously than they are today. At present such transcriptions may be done not only for the reasons described above, but also as a modern stylization, utilizing the many pianistic and compositional devices that have emerged since the 19th century. Some of the songs transcribed in my collection deviate considerably from the original accompaniment textures. Schubert, particularly in the strophic songs, tends to use consistent figures that hardly change with each repetition. The transcription medium allows an expansion of that, as well as use of many colorful and expressive pianistic idioms to reflect the text and the different stages of plot development. A rather extreme example of transcription taken to the point of re-composition that I discuss and use as a reference is the Schubert's Winterreise-Eine komponierte Interpretation (1993) by Hans Zender - a piece in which the composer explores the textual and musical possibilities in orchestrating his interpretation of the score for a tenor and a small orchestra. A similar treatment of Schubert, but for solo piano, as opposed to an orchestra, is one of the novelties in this project. The song that has been transcribed with a particular reference to Zender's work is Gute Nacht, which opens both Zender's and Liszt's transcriptions, following Schubert's original. Another significant point of reference in this project is taken from Liszt's transcription of "Das Fischermädchen" " from the "Schwanengesang" D.957. It is one of only two lieder in my collection also existing in another transcription which has been a part of the common piano repertoire. Liszt's treatment stands somewhat in between what would be a more common and literal transcription of the day in the 1840s and Zender's psychological re-composition and my transcription pays an homage to that. The implications of this project may bring a wider recognition to the validity of the transcription genre, and an expansion of the modern piano transcriptions repertoire, which is somewhat limited due to its unpopularity among current composers.
Temple University--Theses

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Fu, Lok-yi Alice. „Contemporary Cantopop reception of crossover music in Hong Kong /“. Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39634334.

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Thesis (M. Phil.)--University of Hong Kong, 2008.
Includes Chinese version of questionnaire (leave 132-133), transcript of interviewees in Chinese (leave 134-141) and Chinese texts of translated songs (leave 142-154). Also available in print.

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Carpenter, Aubrey W. „Songs from the Willow Tree: Staging Collective Inspiration for Creative Songwriting“. Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/365.

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The songwriting process, inspiration to song, can take many forms. This project explores a highly structured approach, using themes derived from reported individual experience to direct the creation of musical ends addressing common experience.

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Dissertationen zum Thema „Songs with music“

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