Dissertations / Theses on the topic 'Art and Music in Britain'
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Hendrickson, Laura M. "Against photography : the idea of music in Pre-Raphaelite visual reform." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318327.
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Stewart, Lynn Leslie. "Our people are like gardens" : music, performance and aesthetics among the Lolo, West New Britain Province, Papua, New Guinea." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/30917.
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Relationships among the Aesthetic, culture, and music are problematic- Frequently considered as epiphenomenal to culture, music and the arts are typically seen as adjuncts to ceremonial activity- This dissertation examines the nature of the Aesthetic, music and performance in the context of the Lolo, Araigilpua Village, West New Britain Province, Papua New Guinea, in an attempt to develop a definition of the Aesthetic applicable for cross-cultural research and to discover the ways in which the Aesthetic and culture articulate.
For the purposes of this dissertation, the Aesthetic is defined as that facet of religion focused on responses to extraordinary powers thought to maintain what are considered to be proper relationships between human members of a community and extraordinary powers. Three forms of aesthetics, social, performance, and musical, are taken as the means and methods of directing interactions between man and extraordinary powers.
At present, the Lolo are engaged in a process of secularisation resulting primarily from the introduction of Christianity, Western medicine and money. This dissertation examines the relationship between the Aesthetic and social life, and addresses the impact of changes to the Aesthetic.Arts, Faculty of
Anthropology, Department of
Graduate
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Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.
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From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process.
Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.
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Newton, Michael John. "GCSE music : year nine and ten students' perceptions and enrolment intentions in relation to music education rationale and government educational policy." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0126.
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The international drive among western countries to shift from industrial to knowledge economies has focussed considerable attention on education. United Kingdom government educational policy, influenced by the global knowledge economy, has shifted responsibility for learning work skills from the workplace to schooling and post-compulsory education. Government policy emphasises the importance of education's role in preparing students with the skills, knowledge and understanding required to enhance the United Kingdom's competitiveness in the global market. In contrast to the work-related emphasis of the wider educational context, music education emphasises the enrichment of experience. The value of music education is related to people's needs, and the functions it performs in their lives. Music education should be transformative, creative, enriching and relevant. Participation in music education is motivated by the intrinsic satisfaction of making music, rather than the extrinsic need for work-related competencies and qualifications. Music education competes for students with other subjects in the educational marketplace when the music curriculum ceases to be compulsory at age fifteen. Therefore, it is important to understand how students relate not only to music education, but also to the wider work-related educational context in which their subject participation choices are made. Therefore, the purposes of this study are twofold: (1) to establish an overview of how students perceive music education and the factors that influence their enrolment intentions, and (2) to establish an overview of how students perceive music within the wider context of education. Statements were chosen that were considered representative of the rationales for education presented by the government and the music education community. Questionnaires and interviews were developed using the statements, and were ii administered to a random sample of Year Nine and Ten (GCSE Music and non - GCSE Music) students Music was not a relevant subject for most students. However, the perceptions of a small percentage of students (mainly Music students) did find music education relevant in the ways the literature suggested it should be. The most common influences on enrolment were perceptions of ability and enjoyment (or lack of). Despite the strong emphasis on work-related skills and qualifications in the wider educational context, students generally agreed that Music was a subject better suited to enhancing life and lifestyle than career options. However, reflecting the wider educational context, Music was perceived as being more careers/future study orientated than transformative, creative, enriching and relevant.
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Perkins, Tedrow Lewis. "British Pastoral Style and E.J. Moeran's Fantasy Quartet: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, B. Britten, L. Foss, G. Handel, A. Marcello, E. Rubbra, C. Saint-Saens, and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331812/.
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British musical style changed dramatically after 1880 primarily due to factors which may be subsumed under the general heading of nationalism. This change from an essentially Germanic style has been termed the British musical renaissance by many writers on the subject. Within this new musical language, several distinctive substyles arose. One of these, British pastoral style, has been alluded to by Frank Howes and others, but these allusions do not contribute to an understanding of the works purportedly belonging to that style. It is the purpose of this study to define British pastoral style and examine its relation to the British musical renaissance. The method employed for defining style will be that of Jan LaRue's as described in his Guidelines for Style Analysis. What is British pastoral style? Judging from the literature, British pastoral style is a type of British music written between 1900 and 1950 which evokes pastoral images, especially those associated with the British landscape. A stylistic analysis of selected works will define British pastoral style through enumeration and discussion of the style's musical constituents. A more refined definition of British pastoral style is achieved by an in-depth analysis of E. J. Moeran's Fantasy Quartet, which represents a large portion of British pastoral music, that is, works featuring the oboe. Finally, an examination of British pastoral style's relation to the British musical renaissance will reveal reasons for this particular manifestation of British musical style.
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Taylor, Mark A. (Mark Amdahl). "British-Style Brass Bands in U.S. Colleges and Universities." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955014/.
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Since the 1980s, British-style brass bands - community ensembles modeled after the all-brass and percussion bands of Great Britain - have enjoyed a modest regeneration in the United States. During this same period, as many as 23 colleges and universities in the U.S. have founded their own curricular or extra-curricular brass band. The purpose of this research study was: to discover which schools sponsor a brass band currently; to discover which schools formerly sponsored a brass band but have since discontinued it; to describe the operational practices of collegiate brass bands in the U.S.; and to determine what collegiate brass band conductors perceive to be the challenges and benefits of brass band in the curriculum. Data for the study were collected between February, 2015 and February, 2016 using four custom survey instruments distributed to conductors of college and university brass bands. The results showed that 11 American collegiate institutions were sponsoring a brass band during the period of data collection. Additional findings included descriptions of the operations of collegiate brass bands, such as availability of credit, rehearsal time, and instrumentation. Results also included the conductors' reported perceptions that both challenges and benefits are inherent in student brass band participation, and that brass band is a positive experience for students. An additional 3 community-based brass bands, not sponsored by but located near a college or university, were found to include collegiate students among their player personnel. A total of 9 schools formerly sponsoring brass bands were found to have discontinued their program. A repertoire analysis of 733 titles of compositions performed by both active and formerly active brass bands revealed that bands performed original works for brass band nearly as often as transcribed or arranged works.
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Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.
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Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.
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Greenhalgh, Michael John. "A critical edition, with introduction and commentary, of the libretto texts of Montagu Slater and Benjamin Britten's Peter Grimes." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:e7341552-afc2-4c6f-b7de-9339c85e304b.
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A definitive text of the libretto of Benjamin Britten's opera Peter Grimes is here presented. The process by which it was created is revealed in detail. All the extant versions are collated and significant differences between them displayed. For the first time the scenarios written by Britten and his partner Peter Pears and the first surviving draft versions of scenes by the librettist Montagu Slater are published in full. Additions to the draft and final libretto texts and revisions throughout this process by Slater, Britten, producer Eric Crozier and, in the final scene, poet Ronald Duncan, are clarified and a critique provided. Marked differences in stage directions between the libretto texts and music scores are shown and versions selected or created which offer the best indicative detail for performance practice. The edited text is similarly enriched by the inclusion of performance indicators from various sources added by Britten, Pears and the work's first conductor, Reginald Goodall. The edition is introduced by three 'Perspectives' sections which consider (1) Britten's relationship with Slater and working practice with librettists; (2) the relationship of the work to its original source, George Crabbe's poem The Borough, the difference in the portrait and treatment of the character Peter Grimes and the reasons for the difference; and (3) the particular contribution and features of Slater's writing. Thereafter follow an account of the rationale, principles and practice of the edition and introductions to every scene in which the use of source material, the evolution of the text, the plot development and performance issues of the scene, the presentation of characters and the set are delineated, the latter with reference to photographs of the original set hitherto unpublished.
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Sharp, Neil. "Modernity, art and art education in Britain, 1870-1940." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285129.
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Morris, Carl. "Sounds Islamic? : Muslim music in Britain." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/49338/.
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Young Muslims in Britain are increasingly required to navigate an unsettled social, religious and cultural landscape. These complex dynamics encompass a range of factors: from sectarianism and the global marketplace of Islamic knowledge, through to the influence of diverse ethnic communities, the ubiquity of popular culture, and late-modern discourses relating to spirituality and religion. Religious practice, identity formation and social/cultural relationships are therefore a continual process of (re)negotiation, with young Muslims often adopting highly reflexive and pragmatic approaches to this uncertainty. Emerging from this turbulent context is a vibrant Muslim music culture. This thesis provides an ethnographic account of this music culture – through engagement with both musicians and fans – whilst furthermore analysing the deeper significance of Muslim cultural production in contemporary Britain. The observations and arguments throughout are based on extensive fieldwork that took place over a period of approximately two years. A number of methodological strategies were employed: these included interviewing, participant observation and various online research methodologies (including an online survey). While the ethnographic account provided in this thesis is an original and timely contribution to the study of Muslims in Britain, there are broader theoretical implications to emerge. In particular, the original concepts of ‘Islamic Music’ and ‘Islamicallyconscious music’ are developed to better understand how Muslim musicians varyingly emphasise both their individual subjectivity and a more collectivist sense of religious belonging. By examining the development of a distinct British Muslim public sphere, it will therefore be claimed that Muslim musicians are using cultural production as a vehicle to simultaneously contest, negotiate and develop ideas of Muslim practice and collectivity in contemporary Britain.
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Fowler, Alan. "Constructivist art in Britain, 1913-2005." Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433954.
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Nott, James. "Popular music and the popular music industry in interwar Britain." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324242.
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Charlesworth, J. J. "Art criticism : the mediation of art in Britain 1968-76." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1803/.
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This thesis studies the changes in the nature of critical writing on contemporary art, in the context of the British art world across a period from 1968 to around 1976. It examines the major shifts in the relationship between the artistic production of the period and the forms of writing that addressed it, through those publications that sought to articulate a public discourse on art in a period where divergent accounts regarding the criteria of artistic value, and the terms of critical discourse, came increasingly into conflict. This thesis takes as its main subject a number of publication venues for art-critical writing of the time, and their responses to the rapidly changing scene of artistic production. It examines the forms of writing that attended emerging artistic practice and the theoretical and critical assumptions on which that writing depended, highlighting those moments where critical discourse was provoked to reflect self-consciously of the relation between discourse and artistic practice. By tracing the repercussions of the cultural and political revolts of the late 1960s, it examines how the orthodoxies of art criticism came to be challenged, in the first instance, by the growing influence of radical artistic practices which incorporated a discursive function, and by leftist social critiques of art. It explores how, in the first half of the 1970s, radical and political artistic practice was promoted by a number of young critics, and sanctioned by its presentation in public art venues. Examining the history of magazines such as Studio International and a number of smaller specialist and non-specialist magazines such as the feminist Spare Rib and the left-wing independent press, it attends to how debates over the cultural and social agency of art began to draw on continental theoretical influences that put into greater question the role of subjective experience and the nature of the human subject. It examines how this shift in the relation between practice and discourse manifested itself in the editorial and critical attitudes of publications both from within the field of artistic culture, and from a wider context of publications embedded in the radical political and social currents of the early 1970s. It gives particular attention to the careers of a number of prominent critics, while situating the later reaction against alternative artistic practices in the context of the politically conservative turn of the end of the decade.
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Burrows, Donald. "Handel's Church Music - Modern Performances in Britain." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37227.
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Percival, James Mark. "Making music radio : the record industry and popular music production in the UK." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/362.
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Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio programmers and record industry pluggers, and an ethnographic investigation into the use of specialist music radio programming by alternative pop and rock artists in Glasgow, Scotland. The research has four main conclusions: music radio continues to be central to the record industry's promotional strategy for new commercial recordings; music radio is increasing able to mediate the production practices of the popular music industry; that mediation is focused through the social relationship between music radio programmers and record industry pluggers; cultural practices of musicians are developed and mediated by consumption of specialist music radio, as they become part of specialist music radio.
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Ferraro, Mario. "Contemporary opera in Britain, 1970-2010." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1279/.
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This study of contemporary opera in Britain considers first, the theoretical aspects of the creation of an opera, then moves to a survey of British opera companies and their productions of modern opera over the past 40 years. There follows a detailed study of three works produced in Britain during this time, all of which are of particular significance to this composer: Maxwell Davies’s The Lighthouse, Saariaho’s L’amour de loin, and Birtwistle’s The Minotaur. The final chapter concerns the production of my own opera, The Moonflower (2011). The study was informed by established theories about opera and its history; an examination of scores, libretti and programme booklets for some operas produced in Britain, 1970 – 2010; direct contact between the author and composers, co-creators, and the works themselves (including attendance at many recent operatic productions in London), and the analysis of excerpts from the three contemporary operas mentioned above, while investigation of opera companies active in the period aimed to identify some possible trends in programming. The creation and performance of the author´s own opera was the culmination of this investigation; it illuminated many of the issues raised above, concerning the process of composing, designing and staging an operatic work in the early twenty-first century.
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Golding, Rosemary. "What shall we do with music? Music and Academia in Victorian Britain." Thesis, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506224.
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Mokhtabad-Amrei, Seyed Abdolhossein. "Iranian contemporary art music." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.
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Cleveland, Chad L. "The music of art /." Online version of thesis, 2009. http://hdl.handle.net/1850/11203.
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Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.
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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.
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An, Yu Lee. "Music Publishing in London From 1780 to 1837 as Reflected in Music Publishers' Catalogues of Music for Sale: A Bibliography and Commentary." Thesis, University of Canterbury. Music, 2008. http://hdl.handle.net/10092/4197.
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This study documents and analyses the music-selling and publishing industry in London from 1780 to the end of the Georgian period as reflected in publishers' catalogues of music for sale. It assembles the histories and activities of these music publishers in relation to the society they served. Catalogues inform us quite precisely not only of the activities of music publishers, but also the role they played in accommodating, influencing, expanding and educating the contemporary musical taste. In addition, catalogues provide documentary evidence of compositions in issues no longer extant, and even of some works themselves at least by the lesser-known composers. Nearly 600 catalogues in over 1100 states, issued by over 100 London music-publishing firms from 1780 to 1837 have been gathered from the British Library, London; the Bodleian Library, Oxford, and Cambridge University Library, Cambridge. Arguably, publishers' catalogues are among the sharpest yet least appreciated mirrors of changes in musical taste. This study attempts to bring them into the foreground, place them in their proper historical perspective and establish their role in musicological research.
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Wong, Wendy H. W. "Paul Wittgenstein in Great Britain." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33743/.
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Most of the existing research on Paul Wittgenstein (1887–1961) focuses on his performing career in central Europe as a left-hand pianist and his commissions from the most prominent composers of the 20th century such as Richard Strauss and Maurice Ravel, and his favourite composer, Franz Schmidt. His British performing career and the compositions Ernest Walker, Norman Demuth and Benjamin Britten composed for and dedicated to him, however, remain relatively unexplored. By examining a variety of primary sources that are disclosed here for the first time, this thesis offers the first scholarly research into Wittgenstein’s performing activities in Great Britain in the 1920s–50s and his British commissions in order to fill a major research gap in Wittgenstein studies. Chapter 1 explores Wittgenstein’s self-recognition as a member of the Viennese aristocracy and the shaping of his musical identity, conception and taste, followed by an overview of the related primary sources that are currently located in Hong Kong and the United Kingdom, a detailed summary of his performing activities in Great Britain and a discussion of the British reception of him as a left-hand pianist. Chapter 2 focuses on Walker and the three compositions he wrote for piano left-hand, two of which he composed before meeting Wittgenstein and one after, and the pianist’s attitude towards them. Chapter 3 brings to light the much-neglected composer Demuth and the two works he composed for Wittgenstein and discusses possible reasons why the pianist never performed them. Chapter 4 examines Wittgenstein’s first and only official British commission, the Diversions, Op. 21 by Britten, and investigates the interaction between composer and pianist in the compositional process and their differing conceptions of the work.
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Jones, Kimberley Morse. "The New Art Criticism in Britain 1890-95." Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405477.
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Cloonan, Martin John. "Banned! : Censorship of popular music in Britain; 1967-1992." Thesis, University of Liverpool, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385433.
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Ibbett, David Roger. "Towards an integrated art music." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6485/.
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This thesis consists of a portfolio of compositions in acoustic and electronic media with an accompanying commentary. The central theme of these works is the development of new strategies for the integration of diverse sound sources, styles and performance aesthetics. Key topics include the fusing of dramatic structures from classical and popular music, the blending of acoustic and electronic instruments, performance strategies for electroacoustic music with live musicians, how concert music can engage with the idea of “the mix” from commercial music, the creation of sound worlds that interpolate between conventional ‘musical’ ingredients and environmental sound.
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March, Neil. "Developing an urban art music." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/11458/.
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The focus of my thesis is on the development of an Urban Art Music; urban in the sense that it reflects the character and events emanating from my experience of post-globalization urban society. The Commentary demonstrates how my approach has evolved and changed substantially from a starting point of deploying very specific and challenging but, to some extent, theoretically-based compositional techniques through to my current approach which is more spectrally-influenced and focuses on the utilization of physically recorded sounds from my urban environment as direct and indirect compositional source materials. I describe various means by which I have attempted to capture features of this society within the construction of musical works, whether by using contrasting strands of movement and stasis to reflect events and behaviours or by physically recording and manipulating actual urban sounds so that snapshots of my immediate environment play a direct part in shaping the music. Originality has remained important throughout the period of this work too. As such, I have tried to remain consistent in postulating a musical language that is ethereal in quality, perhaps reflecting both the vagueness of how events truly play out in current urban society and the sense of detachment and suspended reality I sometimes feel when relating and responding to a complex, unpredictable world; one I sometimes struggle to understand but nonetheless try, in an abstract sense, to comment on through my music. The contents are divided into three distinct parts. Part One seeks to explain how and why I compose music and elaborates on the socio-political aspects. Part Two focuses on the forms, structures and techniques that are the foundation of my music and highlights those specific pieces which demonstrate important, frequently deployed features. Part Three is a series of commentaries on the individual compositions included in the portfolio.
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Skevk, Therese. "Art and Music Profile School." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135474.
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Willgoss, Richard Adrian. "Creativity in Art Music Composition." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20586.
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This thesis investigates what it means to call art music composition creative. Research into the concept of creativity has taken place mostly in science-based disciplines and is reviewed for its relevance. Discussions on what may constitute the foundations of creativity in music are conducted. Musical creativity is not bounded by normativity, consistency, truth-boundedness, optimization or effability for its recognition and is largely aesthetic. Current research methods are mainly explanatory, objective and analytic, and necessarily fall short in understanding musical creativity. It thereby undermines the validity of these methods when used to justify one’s understanding. The undermining invariably takes place by disrupting logical and reasonable expectations. The significance of this research is that it attempts to find and describe essences of the subject matter, the effect of which actually disrupts grounds for finding essences in the first place. It no longer seeks to explain creativity in musical composition. This thesis argues that creativity in art music composition is better understood through philosophical phenomenology than through analysis, where evidence as experience and description naturally includes aesthetic considerations. What composers say is made potentially helpful to understand their musical creativity. They are approached using an interview technique where problem solving, truth-boundedness, optimization and reasonable causality are set aside as essential precepts. Responses are interpreted intuitively to reveal essences present. Trains of thought that reveal essential properties in interview content are intuited. They show that communication is a prominent essence to motivation for being creative. Perceptual attitudes and experiences are often provoked by disruption to sonic expectation. Creativity in art music composition then becomes a generic initial step in the way it communicates and inspires through playing with musical expectation.
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Peak, Anna. "THE MUSIC OF THE SPHERES: MUSIC AND THE GENDERED MIND IN NINETEENTH-CENTURY BRITAIN." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/96510.
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EnglishPh.D.
This interdisciplinary study examines how nineteenth-century British ideas about music reflected and influenced the period's gendering of the mind. So far, studies of Victorian psychology have focused on the last half of the century only, and have tended to elide gender from the discussion. This study will contribute to a fuller picture of nineteenth-century psychology by demonstrating that the mind began to be increasingly gendered in the early part of the century but was largely de-gendered by century's end. In addition, because music was an art form in which gender norms were often subverted yet simultaneously upheld as conventional, this study will also contribute to a fuller understanding of the extent to which domestic ideology was considered descriptive or prescriptive. This work makes use of but differs from previous studies of music in nineteenth-century British literature in both scope and argument. Drawing throughout on the work of contemporary music historians and feminist musicologists, as well as general and musical periodicals, newspapers, essays, and treatises from the long nineteenth century, this dissertation argues that music, as a field, was increasingly compartmentalized beginning early in the century, and then unified again by century's end. This division and re-unification reflected changing conceptions of the mind, and coincided with the waxing and waning of domestic ideology. Analyzing a range of literary texts, both canonical and non-canonical, in this context demonstrates that music was portrayed increasingly negatively over the century as it became harder and harder to contain the increasing threat that music posed to traditional gender norms, a threat based in a view of music that began to imply mental equality between men and women. This implication was embraced by some, particularly homosexuals, and feared by others, who tried to rescue traditional norms by displacing gender ambiguity onto foreigners and Jews. Thus, the rise and fall of domestic ideology as well as end-of-century changes in the manifestation of xenophobia and anti-Semitism are related not only to industrialism and Evangelicalism and other historical events but also to changing ideas about the gender of the mind, reflected in and influenced by changing ideas about music.
Temple University--Theses
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Gollannek, Eric Frederick. ""Empire follows art" exchange and the sensory worlds of Empire in Britain and its colonies, 1740-1775 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 427 p, 2008. http://proquest.umi.com/pqdweb?did=1625773591&sid=9&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Jamoul, Lina. "The art of politics : broad-based organising in Britain." Thesis, Queen Mary, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435088.
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Vickers, Tony. "Visualising the landvaluescape : developing the case for Britain." Thesis, Kingston University, 2009. http://eprints.kingston.ac.uk/20232/.
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Landvaluescape is, conceptually, economic reality. It varies spatially and temporally and can be represented as a response surface, in a manner similar to physical landscape. In this research the author looked at how practical and useful it might be, in Britain now, compared to when "the dynamics of land values" (Howes, 1980) was last studied, in a pre-computer age. This study looked at the collection and use of property market related data for production of digital images revealing the economic landscape of Britain, in 'The Information Age'. The conceptual framework was developed through literature research on valuation, spatial analysis methods and geoinformation polity. A Policy Delphi was used to test this framework and issues that arise around the operation of markets in property and public information, then to develop possible courses of action by Government. Overseas examples of value mapping were investigated and, in collaboration with local authorities in Oxfordshire, data were assembled to demonstrate value mapping for the modelling of property tax options. Howes concluded that large-scale Value Mapping, although impractical then, was likely to become extremely useful to property markets and governments. The hypothesis to be tested was that spatial analysis and valuation techniques and the land use I geodata policy context have changed in thirty years sufficiently to make Value Mapping in Britain viable, so as to justify immediate and coherent steps being taken to overcome any institutional, technical and policy (including tax policy) barriers that might exist. The conclusion is that, at the present time, despite maturity of spatial analysis techniques and developments in automated valuation and property data modelling, the policy and institutional environment is not yet conducive to the necessary property tax or land information market reforms. A business case for Value Maps exists but remains hard to convert into effective demand for products. The unique position of Britain as a developed nation with neither a 'cadastre' nor a comprehensive ad valorem property tax means that the business case is largely dependent on market-led initiatives in spatial information - including land use and value - collection and integration. Significant business benefits would result from a fundamental re-engineering of property market information processes but the policy drivers are diffuse. Climate change is most likely to be the driver that triggers a British Value Mapping programme.
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Gaines, Adam W. "Work of Art : the life and music of Art Farmer." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.
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Ranyard, Marie Phyllis. "Transcontextual mechanisms in contemporary art music." Thesis, City University London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264241.
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Harrison, Jack Pascal. "Thoughts on art and country music." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314211662.
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Groscost, Donald. "Music and art : an analogical approach /." Online version of thesis, 1987. http://hdl.handle.net/1850/10432.
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Robinson, Chelseigh. "Music and Art: Exploring Cross-Pollination." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/115.
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As a music student who was always more attracted to the “academic” side of music rather than the performance side, I have come to hold a great respect for music history. This interest only grew when I got the opportunity to study music for a semester in Edinburgh, Scotland. Being surrounded by so much history, both musical and artistic, only fed my passion. I began to notice many similarities between the development of music and art both during lectures at the university and in my leisure time in galleries. I noticed that composers and visual artists in the same time period would hold similar beliefs or thoughts, therefore similarities could be found between the two art forms. Oftentimes, I would come across a composer whose compositional techniques were directly influenced by an artist and/or vice versa. I became interested in this type of cross-pollination in music and soon began to ask myself the question “Have the development of art and music always been influenced by each other? How many composers were inspired by art?” When it came time to begin my honors thesis, I decided to address this topic. So, I chose to explore this type of cross-pollination in music and, in conjunction with this research, create my own musical composition based on a work of visual art of my own choosing. Specifically, I wanted to look more carefully at the technique composers had used historically to connect their pieces of music with particular pieces of visual art. I therefore chose several art-influenced compositions to examine how the music expresses the art.
In the first chapter of my thesis, I discuss the problem of turning spatially existing art into a temporally existing composition and explore several compositions in which the composers chose to construct a musical narrative as an approach to this challenge. In the second chapter, I revisit the problem of turning art into music but instead explore a different set of compositions that overcome this issue using a ‘snapshot’ technique. In the third chapter, I take a look at ekprasis as a technique used to translate abstract art into music and focus on how one composition in particular expresses the artwork. The fourth chapter is a journal discussing the art I have chosen, the stages in my compositional process, and how I used what I learned from my research to create my own composition. I have included the score of my composition as the fifth chapter.
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Bauer, Petra. "The reception of E.T.A. Hoffmann in 19th century Britain." Thesis, Keele University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301193.
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Hemingway, Andrew. "Landscape imagery and urban culture in early nineteenth-century Britain /." Cambridge (GB) : Cambridge university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35573738q.
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Wardleworth, Dennis. "Building the modern corporation : corporate art patronage in interwar Britain." Thesis, Southampton Solent University, 2002. http://ssudl.solent.ac.uk/628/.
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This thesis examines art and architecture commissioned by three large-scale industrial corporations in Britain in the interwar period 1919-1939. The companies studies are the Anglo-Persian Oil Company, later to become British Petroleum (BP), Imperial Chemical Industries (ICI) and Unilever. The main focus of attention is on the headquarters office buildings constructed in London and their sculptural decoration. Attention is also paid to artwork used by Unilever on the covers of its in-house magazine 'Progress' and in its advertisements. A laboratory built by ICI near Manchester is also considered. The form and meaning of the works of art are examined using evidence of the relationships between the artists and the patrons, those within the companies who commissioned the works, as it is documented in the archives of the companies. Evidence is also taken from the published histories of the companies, the response of critics as revealed in contemporary publication, and the recent history of the appropriate genres and of the individual artists. Art history is currently undertaking a reappraisal of 20th century British art rejecting the view that the significant art was either, on the one hand, that which belonged to some canon of modernist work, or, on the other, only that which remained true to some view of what was traditionally British. This thesis makes a contribution to that re-appraisal. The approach of examining the mechanisms of patronage has not been applied extensively before to this period and place. In the process much new material about individual artists has been uncovered. In addition by suing the large-scale corporation as its framework, the study has thrown light on one of the major social changes of the period, the growth of a new professional class. This new class, whose habitat was the large bureaucracy, was developing an ideology of rationality and progress by technology which was to help shape 20th century attitudes and 20th century art.
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Monks, Sarah. "Marine art and the public sphere in Britain, 1739-1795." Thesis, Courtauld Institute of Art (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401690.
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Anderson, Virginia de Vere. "Aspects of British experimental music as a separate art-music culture." Thesis, Royal Holloway, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408200.
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Bruseker, A. "No neutral fantasy : women, gender and music in Britain 1880-1920." Thesis, University of Liverpool, 2016. http://livrepository.liverpool.ac.uk/3001633/.
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This study examines the relationship between an English music hall performer, Vesta Tilley, and her largely female working-class audience through the lens of the Barthesian concept of the Neutral. The primary sources investigated include published autobiographies, but also an important collection of scrapbooks held by the Worcester Archives and Archaeology Service, containing extensive newspaper clippings as well as letters written by fans. An examination of these texts was undertaken alongside genealogical research to add greater depth to the lives of the historical actors investigated here. This analysis shows that Vesta Tilley’s gender performance as a male impersonator, and the success she had in this role, was due to her constant self-positioning and re-positioning as Neutral. This was largely accomplished by appropriating a hybrid gender identity, one which was both male and female. The texts also demonstrate that the Neutral was equally employed by her working-class female audience members to embrace and reproduce the pleasure that the music hall performance brought them. They prioritised the pleasure of the evening entertainment, and ensured the reproduction of these values in their own lives, and also across generations. Far from theoretical, the words written by these women – performer and audience – demonstrate the radicality of the Neutral, and also how radical they themselves were in a time usually understood to restrict the autonomous pleasure of women. Consequently, while Barthes concluded that the Neutral was merely a fantasy, the investigations here demonstrate that it was instead a strategy, a way for those in marginal positions to ‘get away with’ personal autonomy.
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McHale, Katherine Jean. "Ingenious Italians : immigrant artists in eighteenth-century Britain." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13854.
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Italian artists working in eighteenth-century Britain played a significant role in the country's developing interest in the fine arts. The contributions of artists arriving before mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence of a larger number of Italians from mid-century is seldom acknowledged. Increasing British wealth and attention to the arts meant more customers for immigrant Italian artists. Bringing with them the skills for which they were renowned throughout Europe, their talents were valued in Britain. Many stayed for prolonged periods, raising families and becoming active members in the artistic community. In a thriving economy, they found opportunities to produce innovative works for a new clientele, devising histories, landscapes, portraits, and prints to entice buyers. The most successful were accomplished networkers, maintaining cordial relationships with British artists and cultivating a variety of patrons. They influenced others through teaching, through formal and informal exchanges with colleagues, and through exhibition of their works that could be studied and emulated.
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Frackenpohl, David J. (David John). "Analysis of Nocturnal op. 70 by Benjamin Britten." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500442/.
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Nocturnal op. 70 is one of the most important large-scale works written for guitar in the twentieth century. Brief biographical data and some background information on Nocturnal show how it exemplifies Britten's compositional approach. The focus of the analysis is on three structural aspects: the rhythmic, the intervallic, and the aspect of underlying pitch patterns. The rhythmic analysis discusses the distortion of rhythmic patterns by the use of compression, expansion, elisions, syncopation, and rhythmic dissonance. The pitch set analysis discusses the intervallic character of the work, identifying and correlating set types as they form networks of relationship. The reductive analysis discusses the underlying connections of focal pitches in the linear material of Nocturnal. The conclusion then correlates the results of the preceding analyses, discussing the large-scale unfolding of the form in Nocturnal.
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Deepwell, Catherine Naomi. "Women artists in Britain between the two world wars." Thesis, Birkbeck (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282800.
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Kroeter, Chloe Melinda. "Art and activism : promoting change through British periodical illustration, 1893-1914." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648341.
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Shasore, Neal Ethan. "Architecture and the public in interwar Britain." Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:37b6f51a-8b0e-4e29-96d5-ba478251913b.
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This thesis explores how the practice and profession of architecture was increasingly understood and discussed in terms of the public in the first half of the twentieth century through six case studies. In the age of universal suffrage, architects began to recognise that, in order for the profession to flourish, the built environment would have to respond to the demands of public opinion and publicity, and that design would need to appeal to the 'man in the street' if the profession was to establish its position in the new culture of democracy. 'Architecture and the Public in Interwar Britain' thus challenges the view that the mainstream of interwar British architecture was parochial and backward looking, and seeks to reintegrate the stories of many well-known but academically neglected projects and controversies into twentieth century architectural history, which remains dominated by attempts to nuance the privileged narrative of the growth and 'triumph' of Modernism and the International Style. Instead, I argue that architecture is better conceived as a broad discourse involving a number of agents of diverse positions and attitudes struggling with common critical and professional challenges. The first section of the thesis considers architecture in the Imperial Metropolis. After offering a re-reading of 66 Portland Place, the headquarters of the RIBA, through the lens of professional anxieties in the interwar years, it considers two controversial rebuilding projects: Regent Street and Waterloo Bridge. The thesis then considers architecture and publicity in the suburbs, offering close readings of factories along the new arterial roads out of London, in particular the Guinness Brewery and Gillette Factory amongst others. The final section of the thesis unpicks the idea of the civic centre in interwar Britain through the contrasting examples of Southampton Civic Centre and lastly Norwich City Hall.
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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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Shaw, G. "Sights of battle, art and war in Britain, c.1885-1919." Thesis, University of Nottingham, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489696.
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This study examines paintings of battle produced in Britain between c.1885 and 1919, drawing for examples on works produced for exhibition at . the Royal Academy, in private galleries and under the official artists' schemes during the First World War. Much of the material examined in this study has received little previous art historical attention; in particular, paintings produced between 1902 and 1919 by artists active in the military genre from the nineteenth century are considered. The primary focus is upon how war was pictorialised; conventions in iconography and narrative constructions are identified and explored, as are the difficulties faced by nurtists in representing the subject of battle. Central to this is how the technology of war and the nature of battle developed across the period, and what pictorial strategies were adopted in response. Across most of the prriod past conflicts prevailed as the dominant subject, and representations ttf historical as well as contemporary battles are included in this analysis. The relationship between the practice of battle painting and the illustrated press was important; this will be examined in detail. Connected to this is the criterion of witness authority, which is shown to be problematic. Images of battle functioned in the construction of the wider memory of war; how this opprntrd pictorially and through display is examined, especially across the dimpn810ns of public or private, regional or national and civilian or military.