Dissertations / Theses on the topic '190409 Musicology and Ethnomusicology'
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Hewitt, Donna G. "Compositions for Voice and Technology." Thesis, University of Western Sydney, Penrith, 2006. https://eprints.qut.edu.au/9386/1/HewittPhD2007_Compress.pdf.
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The PhD consists of a portfolio of electro-acoustic compositions and is accompanied by a scholarly dissertation. The portfolio of works explores the development of real-time electro-acoustic composition techniques using microphone captured audio. The portfolio focuses particularly of the voice as a sound source and aims to bring together the authors background as a popular vocalist with her 'music concrete' influenced electro-acoustic compositional work. The portfolio culminates in the development of a HCI (Human Computer Interface) called the eMic (extended mic-stand interface controller), which allows the performer to control sound parameters in real-time via common popular music performance gestures.
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Davidson, Robert A. "Folio of compositions with critical commentary." Thesis, University of Queensland, 2001. https://eprints.qut.edu.au/6034/1/6034_v1.pdf.
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Folio of original music compositions and critical commentary. Thesis PhD completed 2001: University of Queensland, School of Music. The thesis is contained within 2 volumes: [v.1] Folio of compositions and critical commentary -- [v.2] Folio of compositions.
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Kirkwood, Sandra Jane. "Frameworks of culturally engaged community music practice in rural Ipswich." Thesis, Griffith University, 2009. https://eprints.qut.edu.au/132103/2/132103.pdf.
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This study is a critical reflection on two music projects that I conducted in my home area of Ipswich, Australia, prior to undertaking this research. The music projects involved participatory action research to investigate the music heritage and culture of the rural Ipswich region. The purpose of this study is to review and analyse the creative processes that I used in the rural Ipswich music projects in order to develop suitable practice frameworks for similar projects in future. The first music project was a collaborative investigation of the music history of Purga in rural Ipswich (2003-2005). Local people and those who used to live in the area were invited to come back to share memories of the music from the area with one another. People collaborated creatively: This allowed me to write The Purga Music Story and Harold Blair (2005), an inter-generational community education package. In 2003, we established the Purga Music Museum as a meeting place where the music heritage and culture of our neighbourhood is performed and displayed. The second music project (2006) was a study of contemporary music in rural Ipswich that resulted in community consultation and the development of a Music Action Plan for the area. I continued facilitating community music in rural Ipswich, as the curator of the Purga Music Museum, until 2008. Both music projects presented different challenges in the establishment of processes that would be effective for the needs and interests of people from various cultural groups. The work was fraught with complex decisions and ethical dilemmas about representation and music cultural heritage management because our neighbourhood previously contained the Purga Aboriginal Mission (1915-1948). The findings therefore relate to the struggles of the ‘Stolen Generation’-- Aboriginal and Torres Strait Islander people who were taken away from their families and forced to live in government-controlled residential situations. New, respectful approaches had to be found, conducive to the health and well-being of all concerned. For this reason, participatory action research methods were developed and a ‘Community of Discovery’ approach was used. Throughout this study, I investigate issues that arose as people told their music stories, and passed on music heritage and culture from one generation to the next. The key question is “What are appropriate frameworks of culturally engaged community music practice for rural Ipswich?” This study also draws on findings from the music projects to address the sub-questions, “How did community music practice function in the past in rural Ipswich?” “What is the current situation regarding contemporary community music practice in rural Ipswich?” and “What can be done to enhance future community music practice for rural Ipswich?” Aspects of music and health practice complement each other in this study. As a dual qualified music and health professional, I draw on expertise from both of these areas. Ethnographic methods were used to record and review the findings from each music project. The analysis is grounded in review of literature and other sources, creative display and performance, analysis of music history, community consultation, and critical reflection on my own community music practice. Finally, this evidence-based process of professional reasoning leads to the development of appropriate practice frameworks that transform the way that I intend to deliver services in future, and will hopefully inspire others. The thesis has five parts. The context and rationale for the research are outlined in Part 1. This is followed by description of the two music projects in Part 2. Part 3 is an exploration of how my music practice is situated in relation to scholarly literature (and other sources) and outlines the chosen theoretical constructs or models. This prepares for critical analysis and discussion of specific issues that arose from reflection on practice in Part 4. The conclusions of the research, presented in chapter 9, outline the creative processes, underlying principles, and the philosophy of my practice. The study concludes with an epilogue, which is a consideration of the present situation and suggested future directions for service provision and research.
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Ukpanah, Ime Dan. "The music of Nigeria's Akwa Ibom State : a critical perspective and evaluation, with special reference to Ebre, Ekpo and Uta traditions." Thesis, Queen's University Belfast, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333853.
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Armstrong, Keith M. "Towards an Ecosophical Praxis of New Media Space design." Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.
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This study is an investigation in and through media arts practice. It set out to
develop a novel type of new media artistic praxis built upon concepts drawn from
the disciplines of scientific and cultural ecology. The rationale for this research was
based upon my observation as a practising new media artist that existing praxis in
the new media domain appeared to operate largely without awareness of the
ecological implications of those practices.
The thesis begins by explaining key concepts of ecology, spanning the arts and the
sciences. It then outlines the thinking of contemporary theorists who propose that
the problem of ecology is a critical issue for the 21st century, suggesting that our
well-documented ecological crisis is indicative of a more general crisis of human
subjectivity. It then records an investigation into particular strategies for artistic
praxis which might instigate an active engagement with this problem of ecology.
The study employed a methodology based in action research to focus upon the
development and analysis of three new artistic works, '#14', 'Public Relations' and
'transit_lounge'. These were used to explore diverse theories of ecology and to
hone a series of pointers towards Ecosophical arts/new media praxis. This journey
constitutes an emergent theory for new media space design.
The thesis concludes with a toolkit of tactics and approaches that other arts/new
media practitioners might employ to begin working on the problem of ecology.
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Schwartz, Zachary. "Alternate Minimalisms: Repetition, Objectivity, and Process in the Age of Recording." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/165.
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This thesis examines the core concepts of early minimalism and the ways that they were influenced by recording as a medium of musical creation. The first chapter considers early minimalism’s historical lineage as the narrative has been passed down by music scholars, noting over-arching trends and problems of exclusion and misunderstanding inherent within it. Having established the myriad of concepts at the core of the early minimalist movement, the second chapter examines the recording medium’s effect on art music performance, noting trends in repetition, objectivity, and process that are represented within minimalism itself. With these ideas in mind, the idea of “post-minimalism” is interrogated, proposing that a music for the concert hall is not the natural development of the early minimalists’ expansive mission. In the third chapter, analysis of one iconic late-twentieth century musical style, techno music, demonstrates that it is fundamentally of the same artistic spirit as the early minimalists and an alternate manifestation of Minimal art. Ultimately, early minimalism and techno are “alternate minimalisms” of the age of the recording, referencing and embodying the musical consciousness of the twentieth century.
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Harrison, Ryan C. "Resonance: Collaborative Explorations of the Contemporary Percussionist." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1597482410922158.
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Brinkman, Andrew. "Exploring the Structure of Germanic Folksong." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1590774494540657.
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Nelson, James. "Hillbilly Music & Early Live Radio Programming in Bowling Green & Glasgow, Kentucky: Country Music as a Local Phenomenon." TopSCHOLAR®, 1994. https://digitalcommons.wku.edu/theses/3151.
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In this study, the author examines the development of country music in the area surrounding Bowling Green and Glasgow, Kentucky, from approximately 1930 to 1960 and its relation to the newly emerging medium of radio. Emphasis is placed on several performers whose careers were linked to the radio stations which began to broadcast in Bowling Green and Glasgow during the 1940s.
In the past, country music scholarship has tended to focus on phonograph records as a source of material for study and as the primary means of musical transmission. As a result, the careers of many of the lesser known artists were overlooked simply because they never made a record. The writer looks at country music as a local phenomenon with live radio broadcasts and personal appearances as the primary mode of transmission. Data were collected from tape recorded interviews and written sources, including various archival sources - old newspapers, fan magazines, and assorted ephemera - and used to outline the careers of several performers associated with WLBJ and WKCT in Bowling Green and WKAY in Glasgow.
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Yeagle, Kalia. "Devil in the Strawstack, Devil in the Details: A Comparative Study of Old-Time Fiddle Tune Transcriptions." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3743.
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This thesis asks what transcriptions of old-time fiddle tunes might tell us about their underlying purposes and the nature of transcription. How could differing approaches to transcription reflect the intentions of the author, and what are those intentions? What does this suggest about how aural information is prioritized? Through a comparative analysis of three transcriptions of the same recording—Tommy Jarrell’s “Devil in the Strawstack”—this thesis examines how musical information is prioritized and how transcribers have adapted their methods to better reflect the nuances of old-time music. The three transcriptions come from Clare Milliner and Walt Koken (The Milliner-Koken Collection of American Fiddle Tunes), Drew Beisswenger (Appalachian Fiddle Tunes), and John Engle. The analysis of these transcriptions suggests new frameworks for interpreting old-time fiddling, further conversations about the possibilities and limitations of transcription, and provides insight into the underlying purposes of transcription.
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Phillips, Olivia H. "Marine Melodies: Traditional Scottish and Irish Mermaid and Selkie Songs as Performed by Top Female Vocalists in Contemporary Celtic Music." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/622.
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Mermaids and human-seal hybrids, called selkies, are a vibrant part of Celtic folklore, including ballad and song traditions. Though some of these songs have been studied in-depth, there is a lack of research comparing them to each other or to their contemporary renditions. This research compares traditional melodies and texts of the songs “The Mermaid,” “The Grey Selchie of Sule Skerry,” and “Hó i Hó i” to contemporary recordings by top female vocalists in Scottish and Irish music.
The texts and melodies I have identified as “source” material are those most thoroughly examined by early ballad and folklore scholars. The source material for “The Grey Selchie of Sule Skerry” is a 1938 transcription by Otto Andersson. The source of notation and text for “The Mermaid” is the ballad’s A version from the Greig-Duncan Collection. The melody of “Hó i Hó i,” collected by folklorist David Thomson and published in 1954, serves as the third source version. Modern recordings included in the study are “The Mermaid” by Kate Rusby, “The Grey Selchie” by Karan Casey with Irish-American band Solas, and “Òran an Ròin,” a variant of “Hó i Hó i,” by Julie Fowlis.
This study compares the forms, melodic contours, and texts of these variants, examining ways that contemporary recordings have maintained the integrity of traditional songs and ballads from which they are derived while adapting them to draw in a contemporary audience. The thesis illustrates the continued and evolving presence of mermaids and selkies in Scottish and Irish song.
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Murph, Megan Elizabeth. "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/118.
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In this dissertation, I analyzed Max Neuhaus’s (1939-2009) and R. Murray Schafer’s (b. 1932) commentary and work regarding noise, its control, and its relationship with the environment from the 1960 to the 1980s. Both Neuhaus and Schafer as well as those more directly involved with noise abatement research and policy were responding to the challenges and possibilities that noise posed in the latter twentieth century. In this project, I delved into these substantial links and argued that responding to and engaging with noise abatement policies was a key impetus to much of their work, which scholarship has yet to critically examine. Inspired by the listening strategies that Neuhaus and Schafer set forth, I also considered ways in which music educators and social activists might approach sound, becoming aural advocates or activists when working in their communities.
The works selected for analysis reflected contemporaneous studies held in the USA and Canada investigating the psychological and physiological impact of noise on humans, animals, and their landscape. Just as these investigations grew into the 1970s, new attention developed towards acoustic ecology and public sound art, both fields dealing with the relationship between sounds, living beings, and the environment. Neuhaus’s works analyzed include the Listen series (1966-76), his New York Times op-ed piece titled “BANG, BOOooom, ThumP, EEEK, tinkle" (1974), and the Emergency Vehicle Siren Redesign project (1978-1989). These Neuhaus projects provided an alternative to the movement towards acoustic ecology put forward by his contemporary, Schafer. Analyses of Schafer and the World Soundscape Project’s (WSP) publications included Ear Cleaning (1967), The Book of Noise (1970), and A Survey of Community Noise Bylaws in Canada (1972).
Featured were primary sources from the Max Neuhaus Papers (Columbia University Rare Book and Manuscript Library), newspaper reviews, and clippings. Also included were interviews with artists/associates of Neuhaus from his performance career (Phil Orenstein) and his Sirens project (Ray Gallon, Owen Greenspan, Herr Lugus, Julia Prospero, and Wolfgang Staehle) as well as Schafer's fellow WSP collaborator, Hildegard Westerkamp.
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Vickers, Nicole. "Feel It In Your Body : Hybridization of Musical Habitus in Swedish Cultural-Educational Tourism to Ghana." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-239424.
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On the surface the practice of African musics and dances in Sweden seems to be evidence of otherization and exoticization of African cultures. However, those Swedes of non-African background who do African musics and dances are genuinely engaged with the practice in the sense that they participate wholeheartedly and seem to both value and feel positive outcomes from their participation. This thesis explores how the body meets new ‘other’ musics and acquires new musicking practices, and how this is influenced by the body’s musical habitus as well as its own individual life experiences and emotional context. Additionally I look at the body’s role as an integral part of music, rather than as external to it. To illustrate this I use a case study of a group of Swedes on a cultural-eduational tourism trip to Ghana and my own first- hand experience with them learning choreographed dance based on traditional movements and rhythms, and Ewe polyrhythmic drumming. I show how discourses of difference resulting from historical contact, and previous individual experiences influence the encounter with new music, and how the body through social interactions perceives and acquires new musical practices, integrating them with known musical practices to form a kind of hybrid or new musical practice.Examensarbetet ingick i en Masterexamen i humaniora med inriktning musikvetenskap.
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Thurston, Donna. "Irish music in Wellington : a study of a local music community : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2010. http://hdl.handle.net/10063/1258.
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Ludden, Yawen. "CHINA’S MUSICAL REVOLUTION: FROM BEIJING OPERA TO YANGBANXI." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/19.
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This study seeks to investigate the modern derivative of Beijing opera, known as yangbanxi, through macro and micro approaches. The first part of the thesis surveys the development of Beijing opera under the historical context and in its social, political, and cultural perspectives. The second part, taking a microscopic perspective, undertakes an in-depth analysis of the compositions that were solely created by composer Yu Huiyong. First, it assays the application of Yu’s theory to his compositions of various Beijing opera arias. Second, it analyzes Yu’s instrumental music in compositional dimensions such as material, structure, and techniques, considering the larger implications of Yu’s approach. Third, it explores the highly acclaimed opera Azalea Mountain as a case study, integrating compositional analysis and sociopolitical perspective in order to give a relatively full picture of Yu’s final work as sole composer.
The analysis also focuses on three aspects of the yangbanxi. The first aspect is the role of composers, in which Yu Huiyong was largely responsible for shaping the musical language and influencing the direction of Beijing opera. The second aspect is the role of politics, focusing on Jiang Qing, who had a clear vision to transform Beijing opera along revolutionary lines and the artistic and political wherewithal to implement that transformation. The third aspect is the role of culture in shaping society, with an emphasis on yangbanxi, as the artistic centerpiece of the Cultural Revolution, and special consideration is given to its role in creating a new mass culture.
Beijing opera, as a living art form, had been undergoing a process of modernization throughout the first half of the twentieth century, but it was Yu Huiyong who clearly articulated what needed to be done to make the traditional art form relevant to modern audiences. In particular, the most significant achievement of yangbanxi was its music development, which achieved a new height in artistic development thanks to Yu Huiyong’s fully constructed music theory and newly established music and performance system. As the main composer, designer, theorist, and organizer of yangbanxi, Yu Huiyong made the greatest contribution to these developments. His academic research laid the theoretical framework of the further development of opera music, and his hands-on practice and music innovation provided valuable experience for the younger generation.
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Sandoval-Cisternas, Enrique. "A CRITICAL AND PERFORMANCE EDITION OF AGUSTIN BARRIOS’S CUECA: COMPARATIVE ANALYSIS OF FORM, NOTATION, AND PERFORMANCE PRACTICE OF BARRIOS’S WORK TO TRADITIONAL CHILEAN CUECAS FROM THE BEGINNING OF THE TWENTIETH-CENTURY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/120.
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Agustin Barrios's guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios's works have proliferated, many of these transcriptions of the composer's own recordings. However, the publication of differing transcriptions has led to a lack of authoritative editions, creating a confusing situation for performers. Therefore, this research intends to highlight the importance of making critical editions of Barrios's works based on folk music, using the Cueca as an example. This research offers an analysis and comparison of Chilean cuecas from the first half of the twentieth-century--the timeframe in which Barrios was in contact with this genre--to Barrios's Cueca. Second, it proposes a critical/performance edition of Barrios's work taking into account both the performance practice of traditional Chilean cuecas, and the two primary sources of this work: a handwritten manuscript and the composer's own recording. This research does not analyze nor compares the Argentinian and Bolivian versions of the cueca.
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McCluskey, John M. "Music as Narrative in American College Football." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/57.
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American college football features an enormous amount of music woven into the fabric of the event, with selections accompanying approximately two-thirds of a game’s plays. Musical selections are controlled by a number of forces, including audio and video technicians, university marketing departments, financial sponsors, and wind bands. These blend together in a complex design that offers audible and visual stimulation to the audience during the game’s pauses. The music chosen for performance in these moments frequently communicates meaning beyond entertainment value. Selections reinforce the game’s emotional drive, cue celebrations, direct specific audience actions, and prompt behaviors that can directly impact the game. Beyond this, music is performed to buttress the successes of the home team, and to downplay its failures. As this process develops over the course of the game, the musical selections construct a sonic narrative that comments on the game’s action, enhancing or suppressing audience members’ emotional reactions to the events on-field, and informing their understanding of the game’s developments. By preparing for and responding to in-game situations, music creates a coherent narrative out of football’s unpredictable events.
This project demonstrates the use of musical narrative in American college football via close consideration of case studies of games representing five of the most prominent college athletic conferences, the Atlantic Coast Conference, the Big 10, the Big 12, the Pac 12, and the Southeastern Conference. These sources include interviews with college football’s musical agents, including sound operators, band directors, and producers, as well as documentation of the games’ on-field developments and the music that accompanies them. Finally, this project utilizes of musical narrative as a new means of critically considering the power lines of race and gender in college football culture.
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González, González Sergi. "Evolució del paisatge sonor del seguici festiu de la festa major de Santa Tecla a Tarragona." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/669654.
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La Festa Major de Santa Tecla de Tarragona ha esdevingut, durant els darrers trenta anys, un fet social que cap tarragoní es vol perdre. La ciutat es paralitza del dia 14 al 24 de setembre, sent el moment àlgid el 23 als voltants de les 21.00h, quan finalitza la processó en honor a la santa.
Els orígens de la festa se situen a principis de segle XIV i s’ha mantingut de manera més o menys inalterada fins a l’actualitat. És el 1321, quan les autoritats civils i eclesiàstiques conviden als gremis de la ciutat a participar, amb les seves banderes i les seves danses, de la processó, gestant d’aquesta manera el seguici festiu de Tarragona.
Amb aquesta llarga trajectòria històrica no és d’estranyar la importància que en l’actualitat té el seguici tarragoní, principalment com un signe d’identitat i pertinença a un col·lectiu, a la vida urbana de la ciutat i a les fortes implicacions socials que porta associades. Amb tota aquesta perspectiva es crea també un marc ideal per l’estudi de les relacions intrínseques que es generen entre l’espai i el so; en aquest cas el nucli urbà i la difusió dels diferents registres sonors generats pel seguici tarragoní.
Anàlisi musical, paisatge sonor, context social i context històric dels fets musicals acaben confluint tots junts en aquesta investigació. S’han atomitzat i fracturat els diferents aspectes sonors implicats per poder fer una anàlisi, reflexiva i profunda, des d’una doble aproximació en metodologies diferents però complementaries: musicològica i etnomusicològica.The Santa Tecla Festival of Tarragona has become, over the last thirty years, a social event that no person who lives in Tarragona wants to miss out on. The city is brought to a standstill between 14 and 24 September, the climax being on the 23rd at about 9pm when the procession in honor of the saint ends. The origins of the festival date from the beginning of the fourteenth century, and it has been more or less unchanged until today. From 1321 the civil and ecclesiastical authorities invited the guilds of the city to participate, with their flags and their dances, in the procession, thus creating the festive procession of Tarragona. Given this long historical trajectory, the importance today of the Tarragona procession is not surprising, mainly as a sign of identity and belonging to a group, a major contribution to the urban life of the city with all the strong social implications involved. This longue-durée perspective provides an ideal framework for the study of the intrinsic relationships that are generated between space and sound; in this case, the urban nucleus and the diffusion of the different sonorities generated by the Tarragona procession. Musical analysis, soundscape, social and historical context of musical events mesh together in this research. The different sonorous aspects involved have been fragmented and fractured in order to make a detailed and reflexive analysis the adoption of a double approach in different but complementary methodologies: musicological and ethnomusicological.
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Caro, Repetto Rafael. "The musical dimension of Chinese traditional theatre: An analysis from computer aided musicology." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/665357.
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Music in jingju, one of the most representative genres of Chinese traditional theatre, is created according to a series of orally transmitted principles. This thesis aims at deepening the understanding of one of them known as shengqiang, which accounts for the melodic material. To this goal, it proposes a novel approach based on computer aided musicology. A corpus of machine readable scores for 92 jingju arias is gathered, covering 899 melodic lines in the two main shengqiang used in jingju, named erhuang and xipi. These lines are grouped into 24 categories according to the principles of jingju music system, and comparative analysis is performed in each category, obtaining a series of melodic schemata which represent their melodic identity. Automatically extracted statistical and quantitative data support and expand the information provided with these schemata. The corpus, the developed code, and the resulting plots and data are available in a companion webpage.La música del jingju, uno de los géneros más representativos del teatro tradicional chino, es creada según una serie de principios transmitidos oralmente. El objetivo de esta tesis es avanzar en la comprensión de uno de estos principios conocido como shengqiang, que proporciona el material melódico. A tal fin, se propone un método innovador basado en musicología con apoyo computacional, que supone la creación de un corpus de 92 partituras legibles por máquina de arias de jingju, que contiene 899 líneas melódicas en los principales shengqiang de este género, erhuang y xipi. Estas líneas, agrupadas en 24 categorías según los principios del sistema musical del jingju, son analizadas comparativamente, obteniendo esquemas melódicos que representan su identidad melódica. Esta información se apoya y amplía con datos estadísticos y cuantitativos extraídos automáticamente. El corpus, el código desarrollado y las figuras y datos obtenidos son accesibles en la página web de la tesis.
La música del jingju, un dels gèneres més representatius del teatre tradicional xinès, és creada segons una sèrie de principis de transmissió oral. L'objectiu d'aquesta tesi és avançar en la comprensió d'un d'aquests principis conegut com a shengqiang, que hi proporciona el material melòdic. Amb aquesta finalitat, es proposa un mètode innovador basat en musicologia amb suport computacional, que suposa la creació d'un corpus de 92 partitures llegibles per màquina d'àries de jingju, que conté 899 línies melòdiques en els principals shengqiang d'aquest gènere, erhuang i xipi. Aquestes línies, agrupades en 24 categories segons els principis del sistema musical del jingju, són analitzades comparativament, obtenint-hi esquemes melòdics que representen la seva identitat melòdica. Aquesta informació es recolzada i ampliada amb dades estadístiques i quantitatives extretes automàticament. El corpus, el codi desenvolupat i les figures i dades obtingudes són accessibles a la pàgina web que acompanya la tesi.
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Shao, Luyin. "A STUDY OF ACCULTURATION IN CHINESE-MONGOLIAN ER’RENTAI FOLK OPERA." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/94.
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Er’rentai, or Mongolian dance and song duets, is a genre of folk opera in the Inner Mongolian Autonomous Region. Er’rentai performances can be categorized into two styles—the “western-style” and the “eastern-style.” The aim of this thesis is to explore the acculturation in Chinese-Mongolian er’rentai genre in the following ways. First, I address the historical background of the western-style er’rentai. Then, I draw on fieldwork with Huo Banzhu, a famous er’rentai musician, to introduce contemporary state of er’rentai's development. Finally, I employ musical analysis to demonstrate the borrowings of Mongolian music and culture in the formation and transmission of Chinese-Mongolian er’rentai.
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Furlong, Alison Marie. "Resistance RoomsSound and Sociability in the East German Church." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431091605.
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Ruiz, Mestre Hermelindo. "GUITAR ARRANGEMENTS OF SELECTED DANZAS OF JUAN F. ACOSTA, WITH NEW CONSIDERATIONS OF HIS MUSIC AND MUSICAL LIFE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/125.
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Juan Francisco Acosta (1890-1968) was a prolific composer, band conductor, and educator from Puerto Rico who created 1,256 original compositions. Even though his activities and influence were integral to the musical life of Puerto Rico in the twentieth century, many details of his life and works remain unknown.
This project centers on Acosta’s contribution to the Puerto Rican tradition of the danza—a dance-based genre originating in the nineteenth century—through the study and arrangement of five of Acosta's danzas. Although Acosta composed most danzas for piano, he adapted them for performances by the municipal bands that he led in various towns. This practice of modifying his works for different instruments, as well as the importance of the guitar in Latin America, underpins the author’s choice to arrange his piano music for varied types of guitar combinations, including solo, duo, trio, and quartet. The five works are Bajo la sombra de un pino, Mercedes, Eres una santa, Dulce María, and In memoriam.
The guitar arrangements of these five danzas are preceded by important information on the composer within the Puerto Rican music world, with emphasis on the intersections of the band and danza traditions. To enhance the study of these works, this document discusses basic stylistic features, including a comparison of forms, rhythms, and dance characters, and relates Acosta's treatment of the danza puertorriqueña to approaches of his Puerto Rican contemporaries. This document also includes performance guidelines to introduce Acosta's danza style to student and professional players.
Based on primary biographical and musical sources, this study presents a foundation for a clearer understanding of the life and works of Acosta upon which further research, analysis, and criticism can be conducted. The arrangements offer a fresh look at new guitar repertoire using the peculiarities of rhythms and traditions of Puerto Rican and Carribean heritage. The arrangements also serve a pedagogical purpose by adding to the existing repertoire of ensemble music for the classical guitar.
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Verron, Damien. "" De Leitrim à Sligo " : des sessions de musique traditionnelle instrumentale à danser irlandaise : systématique, interactions musique/environnement." Phd thesis, Université Jean Monnet - Saint-Etienne, 2012. http://tel.archives-ouvertes.fr/tel-00939408.
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Instants et espaces investis par la musique, les sessions sont actuellement en Irlande un marqueur d'expression culturelle.En surface, celles-ci peuvent être définies en tant que regroupement prévu ou spontané de plusieurs musiciens dans le but de faire de la musique et de passer un agréable moment ensemble. Toutefois, un travail d'enquête réparti sur sept années de recherches dans le nord-ouest irlandais a révélé qu'en profondeur, les sessions représentent un phénomène socioculturel complexe, phénomène social autant que musical, fait musical autant que social, édifice symbolique mixte tissé d'interactions dont la combinatoire à chaque fois renouvelée implique un jeu de relations entre facteur individuel et les stratégies collectives qui, radicalement, affectent l'ensemble de la structure de l'évènement.Comprendre le fonctionnement d'une session revient alors à poser un certain nombre de questions ayant pour finalité de révéler la manière dont les deux pôles du social et du musical se trouvent, en même temps que distincts, inextricablement liés, à partir d'une procédure de mise en série, il est proposé d'apprécier les liens entre structure et contexte à travers l'analyse comparée d'un corpus de 26 pièces musicales, collectées dans le cadre de 7 situations de sessions distinctes. Il s'agit d'observer si 1)les spécificités sonores immanentes d'une performance musicale en session dépendent des rapports entretenus par les musiciens et leur environnement ; et si 2) des indices musicologique tangibles de cela existent, en même temps que suffisent à rendre compte des différents processus interactionnels auxquels on les suppose liés - l'idée en question étant bien ici celle d'une possible incarnation des faits interactionnels lesquels, figés en quelque sorte dans la musique, s'inscrivent dans le produit symbolique à l'instar pourrait-on dire du fossile prisonnier de la roche. Le sonore, comme objet formerait alors le témoin matériel d'une réalité symbolique mixte, la musique, aux contours restant toutefois à définir sur bien d'autres plans.
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Mayaud, Isabelle. "Sciences de la musique sans frontières ? : Contribution à une sociologie du processus de primitivisation." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080007.
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Cette thèse analyse la division moderne des domaines des sciences de la musique et la hiérarchisation des répertoires musicaux qui lui est corrélative. La recherche s’appuie sur une enquête socio-historique menée à partir du cas français et sur plusieurs sources courant du début du XVIIème au milieu du XXème siècle. Elle mobilise des ressources manuscrites et imprimées (documents administratifs, archives savantes et muséales, actes de congrès et autres imprimés issus des Expositions universelles, archives du secteur de l’édition, pièces documentant la collecte et la conservation d’instruments de musique, de chansons et d’enregistrements sonores) qui sont traitées à l’aide de plusieurs méthodes (analyse lexicale, sociologie des textes, bases de données, ethnographie historique). L’enquête met en lumière une configuration de patrimonialisation de la musique pilotée par l’État-nation français, qui participe d’un processus de longue durée de différenciation du social par la musique. Des opérations de collecte et de conservation des objets de musique sont impulsées par le Second Empire et confortées par la Troisième République. Elles concourent à assigner certains répertoires, portés par des populations vivantes, à une anhistoricité – un en-deçà de l’histoire. Ce partage est analysé comme un système de domination symbolique institué par plusieurs administrations (Instruction publique, Commerce et Industrie, Beaux-Arts, Colonies), produit et reproduit par différent·e·s agent·e·s mandaté·e·s par l’État (Professeur·e·s, académicien·ne·s, conservateurs et conservatrices, dirigeant·e·s territoriaux)In this dissertation, I analyse how, in the modern period, the different scientific domains dealing with music were divided, and how, at the same time, musical repertories were organised into a hierarchy. This research, focused on the French case, is based on a socio-historical enquiry and on several sources dating from the beginning of the seventeenth to the mid-twentieth century. Those sources are both manuscript and printed, and range from administrative documents, scientific and museum archives, conference proceedings and other printed sources related to the Universal Exhibitions, to archives from the publishing sector and other pieces related to the collection and curating of musical instruments, songs and audio recordings. The following methods were mobilised : lexical analysis, textual sociology, databases and historical ethnography. The enquiry emphasizes a configuration of the process of making music a part of national heritage by the French State, which is also a long-term process of social differentiation through the music. Collecting and curating operations of musical objects were initiated by the Second Empire and consolidated by the Third Republic. These operations have contributed to make certain repertories anhistorical, kept in a zone below history. This separation is analysed as a symbolic domination system, which was enacted by several administrations (Public Instruction, Trading and Industry, Fine Arts, Colonies), produced and reproduced by different agents commissioned by the State (teachers and professors, academicians, curators, territorial leaders)
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Melendez, Elisa M. "For Those About to Rock: Gender Codes in the Rock Music Video Games Rock Band and Rocksmith." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3685.
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This dissertation explores gender codes within the intersection of two American pop culture staples, video games and rock music, by conducting a feminist analysis of two video games (Rock Band and Rocksmith). Both video games and rock music have had their share of feminist academic critique: Musicologists point out how lack of canonical inclusion, gendered attitudes towards instruments, and messages from supporting media create an unwelcome environment for women to pursue a rock music career. Game studies scholars have examined similar attitudes, including a lack of women represented in both the video games and the studios that create them.
Through a mix of creator and player interviews, participant observation, content analysis, and autoethnography, I look at the intersection of these two literatures (the rock music video game) to see how gender is hard-coded into the game, and what opportunities, if any, exist for subversion of societal and industry gender norms. Through not just looking at the game as text, I present a more “thick description” of a video game that takes into account the creators of the games, the players that play them, and a researcher that occupies multiple identities within the space. I argue that, in an effort to replicate an authentic rock musician experience in a video game, Rock Band and Rocksmith often replicate a lot of these gendered messages. The games’ text and set list emphasize a male-centric rock music canon. Rocksmith’s original whiskey-soaked visual design and marketing skew heavily towards an older male demographic. However, resistances to these codes exist in both the players who defy expectations by showing up to perform and compete, as well as the creators who actively work to make these games more inclusive via changes to future games as well as inclusive hiring practices, marketing, and music sourcing (with varying degrees of success).
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Saidel, Deborah J. "Women in Music: Letting a Long Story Be Long Contemplating Women’s Sonic, Musical, and Spiritual Experiences in Prehistory." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5635.
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Situated within deep history, this study explores the auditory and spiritual lives of Paleolithic women. It considers their personal agency in mediating the spiritual power of sound and how doing so contributes to a multifaceted musicality. The theoretical framework involves a wide spectrum of topics, from ways of rethinking the writing of history and reckoning with time, to sound studies and the study of acoustics in ancient sites, to a critical examination through a feminist lens of normative disciplinary scholarship in anthropology and archaeology, religious studies, and musicology. I explore potential audio-visual-lithic relationships for their implications for deepening an understanding of the spiritual aspects of Paleolithic life. Drawing from this interdisciplinary literature, integrative discussions are constructed which when considered collectively, not only provide different types of role models and different criteria pertaining to women's experiences of music-making, but also facilitate the emergence of a more nuanced understanding of Paleolithic spiritual practices. In this women-centric narrative innumerable generations of women's participation as spiritual healers within the shamanic musical paradigm are acknowledged and valued, broadening the parameters of women's cultural heritage and spiritual experience. This expansion can help women today turn away from a compensatory music history perspective that is oriented toward figuring out how to fit into a prescribed androcentric narrative of Western art music and turn towards a more holistic narrative in which women can better consider their lineage(s) on their own terms. It fosters re-conceptualizations of women's musical and spiritual identities by reorienting the timeline, contexts, and definition of women's experiences of music-making as sound-producers and sound-interpreters. This project is intended to provide one possible starting point for new conversations about women in music regardless of one's positionality. From a more inclusive gynocentric vantage point, the toxic self-perpetuating loop which has affected how musicology has thus far been shaped, namely through the undervaluing of women’s musical experiences and the ways that they think and feel about music, is being contested. Ultimately, it is a matter of ownership.
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Keeler, Matthew. "BESSIE SMITH: AN AMERICAN ICON FROM THREE PERSPECTIVES." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1130967483.
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Curtet, Johanni. "La transmission du höömij, un art du timbre vocal : ethnomusicologie et histoire du chant diphonique mongol." Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00949955.
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Cette thèse est une étude ethnomusicologique à dimension historique portant sur la transmission globale du höömij en Mongolie. Pour expliquer l'évolution de cette technique vocale, sont explorés les légendes, les conceptions autochtones, l'histoire des années 1950 au début des années 2010 et la mise en patrimoine pour l'avenir.La première partie montre comment le chant diphonique prend forme dans sa culture. Perçu comme un art du timbre par ses détenteurs, il entretient des relations avec la nature, ainsi qu'un ensemble de techniques vocales et instrumentales issues des contextes rituel et pastoral. Ces fondements du höömij sont ensuite examinés à la lumière de l'histoire de la Mongolie. Entre les périodes soviétique etcontemporaine, la deuxième partie brosse les changements survenus dans la pratique, entre la scène et l'enregistrement. À côté de l'usage rural, se développe une nouvelle forme professionnelle. Tous ces apports ont façonné le chant diphonique mongol dans son état actuel. La troisième partie étudie la transmission à travers l'enseignement et la patrimonialisation. Les maîtres évoluent entre deux pôles : un village de l'Altaï perçu comme le lieu des origines, et une université d'Ulaanbaatar, qui académise la pratique et diffuse son modèle au niveau national. Tout cela participe au processus de patrimonialisation du höömij, desa constitution en emblème musical sous la période soviétique à son inscription sur la liste du Patrimoine Culturel Immatériel de l'Unesco. Le höömij mongol apparaît dans toute sa contemporanéité
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Khodier, Nesma Magdy VCUQ. "The Future of Arabic Music: No sound without silence." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4170.
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For centuries, Arabic music has been intrinsically linked to Arab culture and by extension bonded to the environmental landscape of the region, reflecting their emotions, moods, and behaviors. Numerous technological advancements in the latter half of the twentieth century, have greatly affected the rich legacy of Arabic music, significantly impacting the natural progression of traditional Arabic musical genres, scales, and instrumentation.
This thesis serves as an introduction to generative methods of music production, specifically music generated through gestures. Through generative music, and its unique ability to map gestures to different musical parameters, music can be produced using computer algorithms.
The outcome of this thesis aims to demystify the intricacies of recent technological advancements to enable the musician and the audience to incorporate responsive technology into their ensembles. This approach aims to further evolve Arabic music, using the concepts of Arabic music creativity while addressing international accessibility through integration.
The intention of this thesis is to bridge between the contemporary and the traditional Arabic audiences and provides insight into a possible future of Arabic music based on its own fundamental principles.
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Senger, Saesha. "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/150.
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This dissertation explores issues of gender politics, market segmentation, and taste through an examination of the contributions of several artists who have achieved Adult Contemporary (AC) chart success. The scope of the project is limited to a period when many artists who figured prominently in both the broader mainstream of American popular music and the more specific Adult Contemporary category were most commercially viable: from the mid-1980s through the 1990s. My contention is that, as gender politics and gendered social norms continued to change in the United States at this time, Adult Contemporary – the chart, the format, and the associated music – was an important, if overlooked or even trivialized, arena in which these shifting gender dynamics played out. This dissertation explores the significance of the Adult Contemporary format at the end of the twentieth century through analysis of chart performance, artist image, musical works, marketing, and contextual factors. By documenting these relevant social, political, economic, and musical factors, the notable role of a format and of artists neglected by scholars becomes clear.
I explore these issues in the form of lengthy case studies. Examinations of how Adult Contemporary artists such as Michael Bolton, Wilson Phillips, Matchbox Twenty, David Gray, and Mariah Carey were produced and marketed, and how their music was disseminated, illustrate record and radio industry strategies for negotiating the musical, political, and social climate of this period. Significantly, musical and lyrical analyses of songs successful on AC stations, and many of their accompanying promotional videos highlight messages about musical genre, gender, race, and age. This dissertation ultimately demonstrates that Adult Contemporary-oriented music figured significantly in the culture wars, second and third wave feminism, expressions of masculinity, Generation-X struggles, postmodern identity, and market segmentation.
This study also illustrates how the record and radio industries have managed audience composition and behavior to effectively and more predictably produce and market music in the United States. This dissertation argues that, amid broader social determinations for taste, the record industry, radio programmers, and Billboard chart compilers and writers have helped to make and reinforce certain assumptions about who listens to which music and why they do so. In addition, critics have weighed in on what different musical genres and artists have offered and for whom, often assigning higher value to music associated with certain genres, socio-political associations, and listeners while claiming over-commercialization, irrelevance, aesthetic insignificance, and bad taste for much other music.
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Lawson, Jenna Michele. ""You're pretty good for a girl": Roles of women in bluegrass music." 2011. http://trace.tennessee.edu/utk_gradthes/995.
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This thesis explores the past and current roles that female bluegrass musicians achieve within the music industry in the United States. Using sociological concepts by Judith Butler, Simon Frith, Mavis Bayton, and, importantly, Thomas Turino’s ideas of participatory and communal versus performative and individual, I demonstrate women’s complex musical, social, and cultural positions in bluegrass culture.
While women continue to make strides in achieving recognition in the bluegrass genre, society still hinders them from finding complete acceptance alongside male musicians. As bluegrass music is based on patriarchal foundations set by its creator, Bill Monroe of the Blue Grass Boys, female bluegrass musicians constantly struggle to variously actualize and resist this gendered model. Even as bluegrass women achieve success through manipulation of the traditional rules set before them, they continue to struggle against patriarchal foundations and women’s historical association with the voice.
Through historical research, personal observations, and in-depth interviews with three female bluegrass musicians, I show that even as these women find acceptance within their own bands, they recognize the unequal musical acknowledgement they receive. With regard to communal and individual performance realms, women, unlike men, have trouble fulfilling positions in both areas. In order to achieve success, some bluegrass women embrace their sexuality and present an overtly feminine image to their audiences.
Notions of tradition, authenticity and hybridity help frame my discussion of women’s roles. While the power of tradition and authenticity hinder women’s progress in the genre, concepts of hybridity allow them to branch out from conventions set down by first generation male bluegrass performers like Bill Monroe and the Stanley Brothers.
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Beltran, Alexander S. "Live to Play: Musical Labor, Branding, and the Percussive Marketplace." 2019. https://scholarworks.umass.edu/masters_theses_2/819.
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This thesis undertakes an examination of the branding and sponsorship practices of the Vic Firth Drumstick Company, and explores some of the ways that percussion music broadly, and percussionists specifically, may be impacted by the Vic Firth Company’s strategic marketing and sponsorship efforts. The thesis investigates some of the specific methods Vic Firth uses to interact with percussionists and consumers, presenting the methods and the motivations behind them as compatible with neoliberal economic ideas and policies. Vic Firth’s branding strategies reflect myriad economic factors facing individual percussionists; emphasis on personal branding and artistic authenticity, the necessity of entrepreneurial skills to create economic viability, and the desire for personal connection, networking, and alliance with other percussionists are all part of the zeitgeist the company is attempting to tap into.
By examining some of the specific ways Vic Firth crafts and curates their brand, including the creation of signature sticks and mallets, a tiered sponsorship program, aggressive media production, and direct marketing to percussionists through social media, I bring into focus the scope of Vic Firth’s brand and its potential effects on the larger percussive and musical landscape.
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Cairns, Elliott Scott. "The Berliner Phonogramm-Archiv and the Emergence of Comparative Musicology." Thesis, 2020. https://doi.org/10.7916/d8-zdhf-d491.
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This dissertation examines the early history of the Berliner Phonogramm-Archiv (Berlin Phonogram Archive) and its role in the institutionalization of comparative musicology. The Berliner Phonogramm-Archiv was established in 1900 by psychologist Carl Stumpf in order to collect and preserve the phonographic recordings of non-European musics that would serve as the primary research materials for the then nascent discipline of comparative musicology. I situate the formation of the Phonogramm-Archiv and the emergence of comparative musicology within the historical contexts of the German cultural sciences and colonialism, and argue that both archive and discipline were informed as much by this immediate intellectual and political background as they were by the arrival of sound recording technologies in Germany. I explore how the other cultural sciences, primarily anthropology and ethnology, served as a model for comparative musicology’s methodological and epistemological framework, as well as for the strategies employed for expanding the Phonogramm-Archiv’s collection. As a cultural science, comparative musicology was governed by the tenet of scientific objectivity, and in sound recording, Stumpf found a means with which it was possible to engage with non-European musics objectively. Yet the scientific method also required the comparison of many different examples in order to determine laws through induction, which necessitated the collection of recordings of as many different musics as possible. In this dissertation, I demonstrate how the Phonogramm-Archiv’s mission to amass recordings and the comparative musicological project these recordings facilitated were both enabled by and dependent on the German colonial apparatus.
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Fugate, Bradley. "The contemporary countertenor in context: vocal production, gender/sexuality, and reception." Thesis, 2016. https://hdl.handle.net/2144/17736.
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This dissertation highlights the importance of vocal registration/production in the ongoing discussion of how the material qualities of the singing voice transmit socially constructed meaning. Using the modern-day countertenor as an example, I show how falsetto singing can act as a marker for gender/sexuality. The first chapter of the project explains the anatomy and physiology of the singing voice, particularly as it applies to the falsetto register and the contemporary countertenor. Then, a brief look at how singing and gender fit within the burgeoning field of voice studies ensues. Chapter 2 inspects theories of vocal gender, identity, and sexuality in regards to vocal embodiment and applies them to the voice, singing, and the contemporary countertenor. Chapter 3 looks at the reception theories of Hans Robert Jauss and Wolfgang Iser in order to pinpoint ways in which social norms can be inscribed on the voice, especially that of the countertenor Klaus Nomi. The last three chapters apply the theories purported in the first half of the dissertation to the contemporary countertenor in three countries–the United States, England, and Japan. Examining the use and appreciation of the countertenor in these different societies provides examples of how the falsetto register, singing, and norms of gender/sexuality are connected in the different social contexts. The epilogue projects how this type of academic inquiry can extend to other types of singing and societies.
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Elsila, Mikael. "Music behind bars liberatory musicology in two Michigan prisons : a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts (musicology-ethnomusicology) ... /." 1995. http://books.google.com/books?id=vUjjAAAAMAAJ.
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Duke, Bethany Kay. "Palatial soundscapes : music in Maya court societies." Thesis, 2014. http://hdl.handle.net/2152/25824.
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Music is a powerful force. It highlights social hierarchies and relationships. It is a means by which the ordinary everyday can be transformed into the sacred. It has the ability to change our daily routine. How though, was music used, and in what ways did it function in the courtly society of the ancient Maya? In Classic Maya iconography we frequently find scenes of dance performance, ritual, or palace scenes depicted with musicians. Rarely however, are musicians the central focus of the action taking place. Were Maya musicians simply a background ‘soundtrack’ to the primary action unfolding or were they an integral part of Maya courtly life?This thesis conducts an iconographical analysis of the representations of music, musical instruments, and musicians among the Maya along with the consideration of archaeological evidence. The evidence considered comes primarily from the iconography of musicians and musical instruments depicted on several painted ceramic vessels but also takes into consideration iconography found in the murals of Bonampak and the paintings at Naj Tunich Cave, as well as archaeological evidence that appears in the form of preserved instruments at sites such as Pacbitun and the Copan Valley.
For the ancient Maya, music was segmented. This is seen in the types of instruments and their groupings as portrayed in Maya iconography. These groupings denote differing categories of musical forms and functions which pertain to particular settings, such as interior palace settings as compared to exterior public settings.In exploring these images, many characteristics common to the depiction of musicians in interior palace settings become apparent that are not see in depictions of musicians in exterior public settings. First, the musicians are depicted kneeling, seated, or standing still. Second, they are located furthest from the most prominent figure. Third, acoustics do not affect instrument choice. Fourth, the form of attire varies more greatly in interior settings than in exterior settings. Finally, the order of instruments remains as standard as those in exterior settings. These scenes provide further evidence of instrument specialization and musical segmentation in Maya music and emphasize the significance music held in Ancient Maya Culture.text
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(6634379), Jeffrey A. Wimble. "SURVIVAL TECHNOLOGIES: AFRICAN-AMERICAN MUSICAL MODERNISMS." Thesis, 2020.
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This dissertation focuses on a variety of African-American musical expressions of the later twentieth century, situating them along a continuum of musical modernism that constitute various modes of survival technology, inextricably connected to the cultures from which they arise. My application of the term survivaltechnologies denotes two primary aspects: musical “technologies” in the sense that the term is commonly understood to refer to the construction of musical instruments and recording instruments both old and new, but also “technologies” in the sense of the term employed by Murray and Dinerstein: as modes of knowledge and strategies of resistance. My use of survival technologiesas the conceptual underpinning that unifies my research entails bringing these two aspects together, and the two senses of the term converge especially when African-American musicians use musical instruments and tools in new, unexpected ways, as frequently happens throughout the history of African-American music in the twentieth century. I analyze how African-American musicians’ use of electric guitars, amplification, synthesizers, analog sequencers, studio effects, turntables, samplers, drum machines, and digital audio workstations constitute a uniquely African-American mode of musical knowledge and practice that is improvisational, heuristic, non-linear, and constantly aware of the past while simultaneously re-imagining the future. I link this analysis to works by twentieth-century literary authors and theorists in order to examine how African-American musicians’ modus operandi, varied and distinct as they are, are nonetheless consistent not only across divergent musical styles and eras, but also function inseparably from other arts and broader cultural contexts.
Throughout this project, written words interact with musical recordings. I strive to “hear” written texts (literature and literary criticism) and to “read” sound texts (recordings), highlighting the resonances between “literary texts” and “sound texts.” The Chicago blues style of Muddy Waters interacts with Richard Wright’s literary documentary of life on Chicago’s South Side, 12 Million Black Voices,to highlight how old rural black vernacular “folk” expressions could serve as the basis of a new urban African-American modernism. Likewise, the electronic experiments of Herbie Hancock, which innovatively combined European modes of music creation and African diasporic musical concepts, interacts with Henry Louis Gates Jr.’s The Signifying Monkey to highlight how African-American modernism entails Signifyin(g) on European precedents as well as precedents in African-American art. Additionally, the historically informed jazz of Wynton Marsalis interacts with T. S. Eliot’s ideas of tradition in order to highlight how artistic conceptions of the past inform African-American modernist expressions today, such as jazz and sampled electronic music. Finally, Detroit techno music interacts with the musical and cultural criticism of Theodor Adorno to highlight how African-American modernism uses survival technologies to construct visions of the future that resist what Adorno called the “culture industry.”
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(7467362), Renee D. Gaarder. "Made in America: The Federal Music Project in the Midwest." Thesis, 2019.
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The 1930s to 1940s saw an upsurge in nationalism and the quest to define American identity. The federal government sponsored and sanctioned a specific nationalist narrative within the programs of the Works Progress Administration, later renamed Works Projects Administration. Very little attention has been paid to the Federal Music Project (FMP) yet this program was an integral part of constructing American identity both nationally and regionally. In conjunction with popular music, and at times in opposition to it, the FMP formed the “soundtrack” of American life.
Although the messages were not as overt as those in other programs, such as the Federal Writers’ Project or Federal Theatre Project, the Federal Music Project played a large part in disseminating American ideals and identity, primarily through classical music, and to a lesser extent, popular, folk, and indigenous forms of music. The Federal Music Project strove to uncover, and at times create, America’s “genuine” musical heritage. The ideals of the New Deal took root in the musical expression of the FMP and impacted the development of American identity both musically and socially. It was not merely a relief program for those on its rolls; it was intended as an education program for the nation. Amid the push and pull of politics, war, and class conflict, American musicians forged and defined a unique style of music that was accepted by the American public.
The dissertation focuses on the FMP activities in the Midwest, or Region IV. Focusing on the Midwest as a region demonstrates how the FMP was interpreted and practiced and allows for a conversation with other the reginal studies of the FMP. Three case studies of Indiana, Illinois, and Michigan provide a more detailed analysis of the activities and contributions of each state, and thus the region, offering depth over breadth. Each of these states had dedicated and active symphonies, teaching projects, community outreach, radio broadcasting, and music therapy projects.
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Chanunkha, Robert Amos. "Music education in Malawi : the crisis and the way forward." Thesis, 2005. http://hdl.handle.net/2263/28200.
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Policy goals stipulated by the Ministry of Education of the post-colonial government of Malawi advocate music education and inclusion of indigenous music in education. In spite of such stipulations, music education is non-practical and the integration of indigenous music in education is unsatisfactory. This thesis attempts to address these issues while focusing on the meaning and purpose of music to Malawians. The thesis begins by tracing the history of music in classroom education in Malawi from 1875 to the present with an attempt to investigate the factors that have contributed to the current crisis in music in schools. This historical-ethnographic study sets out to demonstrate that the ideals and practices of foreign religions as well as Western education denied indigenous music of Malawians a place in classroom education as well as inside and outside the church or the mosque. The thesis strives to portray the consequences of this denial on issues of purpose, outcome, content, methodology and support for music education; trends in indigenous music in ethnic societies; policy goals and statements of music education in the Malawian education; and attitude towards music and music education. Adopting the approaches of both musicology and ethnomusicology, the thesis discusses the role played by indigenous music in ethnic societies and the rationalised views of this music as provided by the musically informed native Malawian practitioners. This discussion further demonstrates how indigenous music structures reflect the social realities of Malawians such as the sharing of resources and theories of life. The thesis argues musical issues that would be the basis for remedying the crisis in music education. A philosophical proposition for modern music education, and the significance of indigenous music in classroom education are argued. An introduction to music education that promotes the use of indigenous music in study and performance is suggested. Sources relied on in the thesis include published and unpublished studies of music and music education; audio/video recordings; and field research undertaken to obtain information about existing indigenous music and their knowledge systems known in Malawian ethnic societies, but not yet covered by existing publications.Thesis (DMus)--University of Pretoria, 2006.
Music
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Almeida, Igor do Nascimento Lima de. "Música experimental : conceitos, formas, contextos e limites : contributos para uma percepção alargada." Master's thesis, 2017. http://hdl.handle.net/10400.14/22819.
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A aplicação do conceitoexperimental em contextos musicais tem sido objeto de grande controvérsia a partir do momento em que John Cage introduziu o termomúsica experimental no mundo da produção sonoro-musical.
Uma busca aprofundada sobre o tema sublinha o aspecto predominante da não uniformidade de definições, da inexistência de consensos alargados e da pluralidade de interpretações quanto ao termo. Desta diversidade de problemáticas originadas nos mais diversos setores (nomeadamente: acadêmicos, jornalistas, produtores musicais, programadores de eventos relacionados, editores musicais, entre outros), nasce a motivação fundamental desta investigação.
Considerando a literatura especializada e a produção teórica existente, infere-se que os fatores sociais e tecnológicos têm operado como grandes motores de ruptura e abertura face à estrutura formal da música e simultaneamente como agentes ativos no aparecimento das vanguardas musicais. Observando as características predominantes dos estilos, da instrumentação utilizada (modificada, expandida e elaborada), do processo e do resultado, nota-se a diversidade dos métodos e das finalidades artísticas, e as contradições geradas pelo uso do termomúsica experimental, que parece-nos ser comumente empregue comometa-gênero musical.
A este termo atribui-se uma provocação às formas e aos paradigmas da música tradicional e da música de concerto, principalmente aquela iniciada na transição dos séculos XIX e XX.Considera-se que as Revoluções Industriais mudaram a forma, a compreensão, as dinâmicas sociais e as relações do homem com o ambiente, e por consequência com a própria arte.A partir dos eventos tecnológicos, compreendemos a chamada nova música, profetizada por Luigi Russolo (1913) no seu manifesto futurista The Art Of Noise.
Sucedem-se os desenvolvimentos nos laboratórios de experimentação sonora e nos centros de pesquisa, principalmente os franceses, alemães, ingleses e norte-americanos, que ajudaram a intensificar a produção musical e a exploração empírica através do acesso facilitado aos instrumentos eletrônicos, bem como a escrita sobre um vasto conjunto de questões técnicas e filosóficas oriundas destas novas realizações.
Desde então, surgiram e continuam a surgir mutações variadas nas perspectivas sonoras, nas formas e nos fundamentos do desenvolvimento da criaçãoexperimental. Estas mutações causam dificuldade no entendimento do conceitoexperimental atrelado aos sons e dos limites de sua aplicação. Identifica-se, pois, a pergunta central desta investigação: Onde começa e acaba a boa aplicação do termo música experimental?The application of the concept ofexperimental in musical contexts has been the subject of great controversy since John Cage introduced the termexperimental music in the world of sound-musical production. An in-depth search on the subject underlines the predominant aspect of non-uniformity of definitions, the lack of broad consensus and the plurality of interpretations regarding the term. From this diversity of problems originated in the most diverse sectors (academics, journalists, music producers, programmers of related events, musical publishers, among others),comes the fundamental motivation of this investigation. Considering specialized literature and the existing theoretical production, one can infer that social and technological factors have operated as major engines of rupture and opening given the formal structure of music and simultaneously as active agents in the emergence of musical vanguards. Observing the predominant characteristics of the styles, of the instrumentation used (modified, expanded and elaborated), of the process and of the result, one can notice the diversity of the methods and the artistic ends, and the contradictions generated by the use of the term experimental music, which seems to be commonly employed as music meta-genre. To this term is attributed a provocation to the forms and paradigms of traditional music and concert music, especially that begun in the transition of the nineteenth and twentieth centuries. It is considered that the Industrial Revolutions changed the form, the understanding, the social dynamics and the relations between man and the environment, and consequently the own art. From the technological events, we understand the so-called new music, prophesied byLuigi Russolo (1913) in his futurist manifesto The Art Of Noise. Developments have been made in sound-testing laboratories and in research centers, especially the French, German, English and North American, which have helped to intensify music production and empirical exploration through easier access to electronic instruments as well as writing on a wide range of technical and philosophical issues arisen out of thesenew achievements. Since then, varied mutations have emerged and continue to emerge in the sonorous perspectives, in the forms and foundations of the development of experimental creation. These mutations cause difficulty in understanding the concept of experimental linked to sounds and the limits of their application. The central question of this investigation is therefore identified: Where does the application of the term experimental music begin and end?
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Hadji, Asmâa. "Les musiques tziganes mises en scène : construction mémorielle et réappropriation de soi." Thèse, 2015. http://hdl.handle.net/1866/12567.
Full textAbstract:
Ce mémoire de maîtrise porte principalement sur la question de la réappropriation historique et musicale des Tziganes dans le docu-fiction Latcho Drom (1993) de Tony Gatlif.
Dans un premier chapitre, il s’agit de comparer l’histoire écrite sur les Tziganes avec leur mise en image afin de déterminer comment le cinéaste apporte dans le langage audiovisuel de Latcho Drom un total renouveau dans le discours dominant. Dans cette perspective, l’appareil cinématographique se révèle être un médium de revendication et de réappropriation de l’être tzigane et de son histoire.
Dans un deuxième chapitre, il est question de démontrer avec des études basées sur l’ethnomusicologie comment les musiques tziganes, sont rapidement assimilées au patrimoine culturel des sociétés européennes. Latcho Drom qui traduit avec justesse des expressions musicales très encrées de la vie de ces communautés, s’inscrit en contradiction avec la conception territorialiste de musicologues et ethnomusicologues qui refusent d’accorder à la musique tzigane légitimité et autonomie.
Dans un troisième chapitre, il s’agit de déterminer comment le cinéaste cherche à faire entrer son spectateur dans un rapport de proximité avec les communautés de Latcho Drom afin de susciter en lui reconnaissance et empathie.The main focus of this Masters thesis is the historical and musical re-appropriation of gypsies in the docudrama, Latcho Drom (1993) by Tony Gatlif. In the first chapter, the literary history of gypsies will be compared to their representation in Latcho Drom, in order to demonstrate how Gatlif challenges the dominant discourse with a totally new perspective through his unique use of audio-visual language. In this way, the camera is rendered a medium of empowerment for the gypsy community through a re-appropriation of their people and history. In the second chapter, a series of studies in ethnomusicology will be used to demonstrate how gypsy music (mainly because it is nomadic and not transcribed) is rapidly assimilated into the cultural heritage of European societies. Latcho Drom accurately reflects the musical expression inherent in the life of these communities while being at odds with certain methods of preserving oral music traditions (the “urgency of ethnomusicology”) and the territorial notion espoused by musicologists, who refuse to recognize gypsy music as legitimate and autonomous. The third chapter will discuss how the filmmaker invites the spectator into intimate rapport with the musical communities of Latcho Drom, arousing in him/her a sentiment of gratitude and empathy.