Dissertations / Theses on the topic 'Cross-cultural music'
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Tian, Mi. "A cross-cultural analysis of music structure." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24782.
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Music signal analysis is a research field concerning the extraction of meaningful information from musical audio signals. This thesis analyses the music signals from the note-level to the song-level in a bottom-up manner and situates the research in two Music information retrieval (MIR) problems: audio onset detection (AOD) and music structural segmentation (MSS). Most MIR tools are developed for and evaluated on Western music with specific musical knowledge encoded. This thesis approaches the investigated tasks from a cross-cultural perspective by developing audio features and algorithms applicable for both Western and non-Western genres. Two Chinese Jingju databases are collected to facilitate respectively the AOD and MSS tasks investigated. New features and algorithms for AOD are presented relying on fusion techniques. We show that fusion can significantly improve the performance of the constituent baseline AOD algorithms. A large-scale parameter analysis is carried out to identify the relations between system configurations and the musical properties of different music types. Novel audio features are developed to summarise music timbre, harmony and rhythm for its structural description. The new features serve as effective alternatives to commonly used ones, showing comparable performance on existing datasets, and surpass them on the Jingju dataset. A new segmentation algorithm is presented which effectively captures the structural characteristics of Jingju. By evaluating the presented audio features and different segmentation algorithms incorporating different structural principles for the investigated music types, this thesis also identifies the underlying relations between audio features, segmentation methods and music genres in the scenario of music structural analysis.
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Oppenheim, Michael Hale. "Cross-cultural pedagogy in North Indian classical music." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43062.
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This thesis is an investigation of pedagogy in North Indian classical music. Historical, cultural, and philosophical elements of pedagogy in the Hindustani musical tradition are addressed in an overview of music education in traditional Indian contexts, the twentieth century, and in cross-cultural contexts. Themes include orality in Indian culture, the traditional guru-shishya parampara, the role of nationalism in twentieth century educational reforms, and the impact of technology in the latter half of the twentieth century. Trends in music education in India are then compared and contrasted with the state of education in Indian music in cross-cultural contexts in the West. From this data a model of the essential elements of Indian pedagogy is synthesized. This model accounts for pedagogical devices utilized to impart musical information as well as methods of transmitting cultural and social values. This model is applied to the experiences of five North American students of Hindustani music interviewed during the research process for this thesis.
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Balkwill, Laura-Lee. "Perception of emotion in music a cross-cultural investigation /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0035/MQ27332.pdf.
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Schaus, Lam E. "Implementing multicultural music education in the elementary schools' music curriculum." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111519.
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The study examined the benefits of implementing multicultural music education into an elementary school's music curriculum. Conducted in a region with a culturally diverse student population, the study surveyed in-service music teachers and elementary students' parents on their perceptions of multicultural music education. Meanwhile, a set of experimental classes focused on Chinese music was taught to a diverse class of Grade 5 students to study their reactions and learning outcomes when studying non-Western music. Results indicate that (a) multicultural music needs to be better implemented in Ontario's music curriculum, (b) students receive non-Western music with enthusiasm, and (c) if taught responsibly, learning music from non-Western cultures can expand individual students' musical and cultural horizons, help eliminate stereotypes and discrimination in society, and possibly elevate the status of music education in schools.
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Palmer-Quay, Dianne M. "Developing indigenous hymnody an annotated bibliography for cross-cultural workers /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Gaines, Joseph Harry. "Music as socio-cultural behavior : implications for cross-cultural education. A case study /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10858209.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1989.Typescript; issued also on microfilm. Sponsor: William C. Sayres. Dissertation Committee: Mara̕ E. Torres. Bibliography: leaves 143-162.
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Q, Claire Elizabeth. "Machine learning analysis of the cultural and cross-cultural aspects of beauty in music." Thesis, Aberystwyth University, 2013. http://hdl.handle.net/2160/e04430bd-f38f-4f67-a914-351159fb5b97.
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Can machine learning algorithms be trained to recognise beauty in music? To what extent is human recognition of beauty in music cultural, or crosscultural? Music is prevalent in all human cultures. Music information retrieval is a growing eld in which computational techniques have been applied to many musical problems such as genre recognition and measuring musical similarity. Computational ethnomusicology is rarer because the acquisition of non-Western music is di cult. Beauty in music has been little investigated with scienti c methods, though there are some examples on which this thesis builds. The e ect of timbral and 12-step chroma audio features, and a wide variety of di erent machine learning algorithms techniques were tested, with the combination of all the MARSYAS features and Support Vector Machines performing well. Predicting beauty was rst investigated with a small Last.fm set and later with a larger world music survey with Singaporean participants. Beauty was predicted based on a small selection of Last.fm tags with good accuracy. Beauty ratings from the survey, conducted in Singapore, were predictable by machine learning using similar methods. Predicting the geographical origin of world music from audio features was attempted. Some promising results emerged, and novel methods for predicting points on the surface of the Earth were developed. An investigation into the link between beauty ratings and location was conducted. The Singaporean beauty ratings were predicted from audio content, geographic content and a combination of both, showing strong correlations between longitude, distance, and timbral features with the beauty ratings, which were statistically very closely linked with distance from Singapore. From this beauty in music is concluded to be culturally related and timbre is shown to be a good pointer to cultural differences.
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Athanasopoulos, Georgios. "Scoring sounds : the visual representation of music in cross-cultural perspective." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7799.
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This thesis argues that a performer’s relationship with a musical score is an interaction largely defined by social and cultural parameters, but also examines whether disparate musical traditions show any common underlying tendencies regarding the perceived relationship between musical sound and visual representation. The research brings a novel, cross-cultural perspective to bear on the topic, combining a systematic, empirical study with qualitative fieldwork. Data were collected at five sites in three countries, involving: classically-trained musicians based in the UK; traditional Japanese musicians both familiar and unfamiliar with western standard notation; literate Eastern Highlanders from Port- Moresby, Papua New Guinea; and members of the BenaBena tribe, a non-literate community in Papua New Guinea. Participants heard short musical stimuli that varied on three musical parameters (pitch, duration and attack rate) and were instructed to represent these visually so that if another community member saw the marks they should be able to connect them with the sounds. Secondly, a forced-choice design required participants to select the best shape to describe a sound from a database. Interviews and fieldwork observations recorded how musicians engaged with the visual representation of music, considering in particular the effects of literacy and cultural parameters such as the social context of music performance traditions. Similarities between certain aspects of the participants’ responses suggest that there are indeed some underlying commonalities among literate participants of any cultural background. Meanwhile, the overall variety of responses suggests that the association between music and its visual representation (when it takes place) is strongly affected by ever-altering socio-cultural parameters.
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Barradas, Gonçalo. "A Cross-Cultural Approach to Psychological Mechanisms Underlying Emotional Reactions to Music." Doctoral thesis, Uppsala universitet, Institutionen för psykologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-314870.
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Music plays a crucial role in everyday life by enabling listeners to seek individual emotional experiences. To explain why such emotions occur, we must understand the underlying process that mediates between surface-level features of the music and aroused emotions. This thesis aimed to investigate how musical emotions are mediated by psychological mechanisms from a cross-cultural perspective. Study I manipulated four mechanisms by selecting ecologically valid pieces of music that featured information relevant for each mechanism. The results suggested that listeners’ emotions could be successfully predicted based on theoretically based manipulations of target mechanisms. However, Study I featured only listeners from a single culture, neglecting the possible role of contextual and individual factors. Study II investigated the prevalence of emotions, mechanisms, and listening motives in a web survey featuring listeners from both individualist and collectivist countries. Results indicated that patterns of prevalence of emotions and mechanisms were quite similar across cultures. Still, Study II found that certain emotions such as nostalgia and the mechanism episodic memory were more frequent in collectivist cultures. In contrast, sadness and the mechanism musical expectancy were more frequent in individualist cultures. Study II also suggested that listening motives were country-specific, rather than subject to the individualism-collectivism dimension. Study III explored how particular mechanisms are manifested within a collectivist cultural setting with great potential for deeply felt emotions: fado music in Portugal. Interviews with listeners provided in-depth information on how the cultural context might shape listening motives and emotions. The results revealed that listeners strived for musical experiences that would arouse culturally valued emotions. Music-evoked nostalgia and contextual factors were regarded as important and contributed to an enhanced sense of wellbeing. Study IV tested the influence of lyrics on the emotions induced by Swedish and Portuguese pieces of music. The results revealed cross-cultural differences in how lyrics influenced emotions. The differences were not related to the music’s origin, but to the listener’s origin, suggesting that the impact of lyrics depends on the cultural background of the listener. In conclusion, the thesis suggests that cultural factors serve as moderators of effects of biologically based mechanisms for emotion induction.
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Williams, Katherine A. "Valuing jazz : cross-cultural comparisons of the classical influence in jazz." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12622/.
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‘Valuing Jazz: Cross-cultural Comparisons of the Classical Influence in Jazz’ re-examines the interaction of Western classical music and jazz, focussing particularly on developments in North America and Britain in the twentieth century. This dissertation acknowledges and builds on the existing connections that have been drawn between classical music and jazz—both those that underscore the musical differences between the two idioms in order to discredit the latter, and those that acknowledge similarities in order to claim cultural legitimacy for jazz. These existing studies almost universally use outdated evaluative criteria, and I seek to redress this by using contemporary classical-music practices and discourses as my point of reference. By adopting a range of methodologies to investigate both intra- and extra-musical trends, this dissertation offers a thorough and balanced exploration of the topic. Each chosen avenue for exploration is explained with reference to parallel developments in North America, in order to provide a context within accepted jazz history and to highlight the different ways in which jazz developed in Britain. The phenomena under consideration include the emergence of a school of jazz criticism and scholarship that adopted systems of analysis and evaluation from established studies of classical music (Ch. 1); physical characteristics of jazz performance venues and the changing styles of audience reception within (Ch. 2); the adoption by jazz composers of ideologies and musical features from classical repertoire (Ch. 3); and the development of educational establishments and pedagogical systems that mirrored those already present in the classical-music world (Ch. 4). Although by no means exhaustive, these chapter topics provide a range of jazz narratives that provide a clear picture of the degree to which the development of jazz in America and Britain has been conditioned by the practices and characteristics of classical music.
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Xu, Yifan. "Globalization of Millennial's' Music Consumption: A cross-national music taste study of undergraduate students in China and the U.S." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420741275.
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Jameson, Benjamin Thomas. "Negotiating the cross-cultural implications of the electric guitar in contemporary concert music." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/417404/.
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Despite its ubiquity in rock and popular music, use of the electric guitar has only become commonplace within ‘classical’ concert music in recent decades. This increased prominence is partly due to the expanded sonic possibilities that the instrument offers, but also reflects composers’ greater willingness to engage with popular music practices. Use of the electric guitar in concert music often involves some form of encounter between contemporary compositional approaches and popular forms of cultural expression, presenting creative possibilities and challenges to composers, performers, listeners and scholars alike. This research project investigates the cross-cultural implications of employing the electric guitar in concert music through theory, analysis and composition. Case studies of electric guitar works by Tristan Murail and Laurence Crane provide an opportunity to consider how popular music scholarship relating to the electric guitar might figure in analysis of concert music featuring the instrument. These analyses informed the composition of four new works within the included portfolio (provided as scores with accompanying audio/video documentation) that feature the electric guitar or draw upon its related musical idioms, with a specific focus on rock and heavy metal styles.
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Boyle, Mary Louise. "A cross-cultural investigation of music and emotion in Egypt and Northern Ireland." Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.705647.
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The thesis reports cross-cultural studies in Egypt and Northern Ireland investigating the relationship between music and emotion, including both felt and expressed emotions, and focusing on the emotions happiness, sadness and love. The aim of the research was to test the extent to which certain types of musical features are universally related to certain emotional reactions or certain emotional expressions. In the first study, participants in Belfast and Cairo took part in a task where they heard excerpts from pieces from both Western-European and Arabic traditions associated with happiness, sadness and love in each tradition. There were three conditions in the study, each with six different instrumental excerpts (Western Love, Western Happy, Western Sad, Arabic Love, Arabic Happy, Arabic Sad). Jn the second study, again using a computerised task, the Belfast and Cairo participants heard songs from Western-European classical, Arabic (tarab and Sufi) and Indian raga traditions thought to induce strong emotional responses. There were three conditions in the study, each with four different excerpts (Western-European classical, tarab, Sufi and Indian raga). Participants were assigned to one of the three conditions, and, after hearing each excerpt, they reported the emotions they felt while hearing the songs (using discrete and dimensional measures). In both studies, musicians and non-musicians were involved to account for the effect of musical training on felt and expressed emotions. It was predicted that certain musical features would express and cause particular emotions, that a relationship also exists between felt and expressed emotions, and that familiarity would be a major factor in determining felt and expressed emotions. It was also hypothesised that certain musical features can cause intense reactions to music, causing people to 'feel moved.' It was predicted that culture would influence these relationships, although some relationships may be prevalent despite participants having different cultural backgrounds.
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Schön, Ragnar. "A cross-cultural listener-based study on perceptual features in K-pop." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-178018.
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Recent research within the Music Information Retrieval (MIR) field has shown the relevance of perceptual features for musical signals. The idea is to identify a small set of features that are natural descriptions from a perceptual perspective. The notion of perceptual features is based on the ecological approach to music, that is, focussing on sound events rather than spectral information. Furthermore, MIR research has had an overemphasis on Western music and listeners. This leads to the question of whether the concept of perceptual features is culturally independent or not. This was investigated by having listeners of two distinct cultural backgrounds (Swedish and Chinese) rating a set of eight perceptual features: dissonance, speed, rhythmic complexity, rhythmic clarity, articulation, harmonic complexity, modality and pitch. A culturally specific dataset consisting of Korean pop songs was used to provide the stimuli. This was a subset of a larger set of songs from a previous study selected based on genre and mood annotations to create a diverse dataset. The listener ratings were evaluated by a variety of statistical measures, including cross-correlation and ANOVA. It was found that there was a small but significant difference in the ratings of the perceptual features speed and rhythmic complexity between the two cultural groups.
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Cheng, Ling-Yan. "Cross-media and cultural study of music in Hong Kong film and Cantonese opera." Thesis, University of Liverpool, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.569123.
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This thesis focuses on the cross-media adaptation of films and Cantonese opera performances in Hong Kong, a former British colony located at the Southern border of China, This especial status of Hong Kong gradually constituted its peripheral position, in which Hong Kong struggled to survive-between Mainland China and the British colonial governments. Issues of diasporic consciousness, floating identity, and freedom of creativity are closely associated with the creation of experimental Cantonese operas in the 1950s and the contemporary Hong Kong cinema. With extensive fieldwork and archival research carried out in Hong Kong, Singapore, and China, an in-depth investigation is made to study various adaptations between films and Cantonese operas in Hong Kong after the Second World War and its Japanese occupation. Through analysing the influence of Western films on the new Cantonese opera productions and their later film versions, the changes in music made in the adaptation process demonstrate the close connection of Southeast Asia and Hong Kong, as well as the freedom of creativity Hong Kong benefited from its marginal position at the time. The adaptation practices in contemporary Hong Kong cinema are significant to the studies of the social and political circumstance of Hong Kong prior to its return to China in 1997. An attempt is made to examine how the reappearance of Cantonese opera in 1990s films contributed to the reaffirmation of local identities. A Mainland Chinese film featuring Peking opera in political turbulence is cited as cross-reference to the concurrent Hong Kong cinema. The crucial changes made in the film adaptation, and the censorship experienced by the production in its homeland and Taiwan, clearly suggest Hong Kong's identity as 'other' to Chinese. In conclusion, I argue the cross-media and cross-cultural adaptations of Cantonese opera and Hong Kong films demonstrate the hybrid identity of Hong Kong, which in turn signifies its refusal to assimilation into Chinese culture as it assumed quasi-colonial status.
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Kotsopoulou, Anastasia. "A cross cultural study of the use and perceived effects of background music in studying." Thesis, University College London (University of London), 2002. http://discovery.ucl.ac.uk/10007411/.
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Research suggests that music affects people's behaviour and performance. These effects may be mediated by a range of factors. The present study attempts to explore students' perceptions of the use of, and the effects of, music on their studying taking account of cultural differences (English, American, Japanese and Greek students), age (12-13, 16-17, 20-21 year olds), gender and musical involvement (playing a musical instrument or not). These factors were explored in a survey using rating scales with students from each nationality- Significant differences were found between nationalities in relation to the music students listened to, when they chose to listen, for what kinds of studying, and in their perceptions of the effects that the music had on them and on their studyinK The findings suggested that students' nationality, age, gender and musical involvement affected not only the music that they listened to, and their decision to listen to it while they were studying, but also the perceived effect that music had on them and their studying_ A second experimental study examined the effects on adult learners of two different kinds of background music (arousing or calming), or no music on performance on a logical reasoning task and a realistic comprehension task No significant differences were found in the performance ofthe three groups on the logical reasoning task, or in the reading task The significance existed in the responses of the students to questions about the effects of the music on their performance_ Those in the arousing music group reported difficulty in concentration and the need to adopt coping strategies
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Pope, Lindsay (Choral conductor). "Beyond the Binary: The Intersection of Gender and Cross-Cultural Identity in Reena Esmail's Life and Choral Works." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505203/.
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Beyond the Binary explores the intersection of gender with cross-cultural identity in composer Reena Esmail's professional life and choral music. This intersection manifests in her musical style, which accesses the resonant spaces between Western and Indian classical music. I argue that it is through the convergence of Esmail's gender identity with her cross-cultural identity that her compositions challenge gender norms and break down perceived barriers between East and West, inviting her listeners into an intersectional feminist space. This project synthesizes musicological, theoretical, and ethnographic methods, and is meant as a starting point for choral musicians and scholars to consider cultural difference and its impact on choral music. What begins as a consideration of social themes within Esmail's life and work culminates in a practical musical analysis and performance practice guide to aid conductors in preparation of Esmail's music. The compositions discussed are I Rise: Women in Song (2016), Take What You Need (2016), TaReKiTa (2016), Tuttarana (2014), and This Love Between Us: Prayers for Unity (2016).
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Joo, Hwajoon. "Yoon-Seong Cho's Jazz Korea a cross-cultural musical excursion /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6089.
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Apostolaki, Artemis. "Working memory for music, pitch labels and solfège : a cross-cultural study of university students' aural and cognitive skills." Thesis, University of Hull, 2012. http://hydra.hull.ac.uk/resources/hull:10117.
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Henderson, Flora. "Contemporary composition for shakuhachi and western instruments : timbral gesturality in the analysis of cross-cultural music." Thesis, SOAS, University of London, 2015. http://eprints.soas.ac.uk/23680/.
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Schippers, Huib. "Teaching world music in the Netherlands, 1983-2003 a cross-cultural investigation into concepts, ideas and practices of music transmission in culturally diverse environments /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2004. http://dare.uva.nl/document/76360.
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Gimenez, Amoros Luis. "Transnational habitus : Mariem Hassan as the transcultural representation of the relationship between Saharaui music and Nubenegra records." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017819.
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This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul ¹- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. I collaborated with her as a composer and performer on her last album, El Aaiun egdat (Aaiun in fire), in 2012² and gained first hand insight into the relationship between Mariem and Nubenegra. This thesis reflects on this relationship and my role in facilitating this encounter.
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Gonzalez, Roger Oriol. "iLatin jazz! : a syncretic journey from Spain, Cuba, the United States and back." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29931/.
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The creative work, ¡Latin Jazz! is a 50 minute radio documentary to be broadcast on ABC Classic FM. It looks at the evolution of Latin jazz from Spain, Cuba and the United States. It examines the social effects on the style and specifically on the syncretic movement between the countries. The documentary traces my travel to Madrid, Spain and looks at Latin jazz through a deconstruction of the style, musical examples and interviews with prominent artists. Artists interviewed were Chano Domínguez, a Spanish flamenco jazz pianist, Bobby Martínez an American saxophonist, Alain Pérez a Cuban bassist and Pepe Rivero a Cuban pianist. The exegesis supports the radio documentary by examining the style in more depth, and is broken into three main sections. First it traces the historical relationship that occurred through the Ida y Vuelta (To and Fro), the similarities and influences through the habanera, the decíma and the religion of Santería. This is followed by specific musical elements within Latin jazz such as instrumentation, clave, harmony and improvisation, whilst the third section looks at the influences of the new syncretic movement back to Spain.
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Gonzalez, Roger Oriol. "¡Latin jazz! : a syncretic journey from Spain, Cuba, the United States and back." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29931/1/iLatin_Jazz%21_A_radio_documentary_by_Roger_Gonzalez.mp3.
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The creative work, ¡Latin Jazz! is a 50 minute radio documentary to be broadcast on ABC Classic FM. It looks at the evolution of Latin jazz from Spain, Cuba and the United States. It examines the social effects on the style and specifically on the syncretic movement between the countries. The documentary traces my travel to Madrid, Spain and looks at Latin jazz through a deconstruction of the style, musical examples and interviews with prominent artists. Artists interviewed were Chano Domínguez, a Spanish flamenco jazz pianist, Bobby Martínez an American saxophonist, Alain Pérez a Cuban bassist and Pepe Rivero a Cuban pianist. The exegesis supports the radio documentary by examining the style in more depth, and is broken into three main sections. First it traces the historical relationship that occurred through the Ida y Vuelta (To and Fro), the similarities and influences through the habanera, the decíma and the religion of Santería. This is followed by specific musical elements within Latin jazz such as instrumentation, clave, harmony and improvisation, whilst the third section looks at the influences of the new syncretic movement back to Spain.
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Polymeropoulou, Marilou. "Networked creativity : ethnographic perspectives on chipmusic." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2c16d1ac-10c8-4493-b624-ebe5be41c9f4.
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This thesis examines creativity as manifested in an online and transnational network of musicians who compose chipmusic, a kind of electronic music characteristic of 1980s early home computers and videogame sounds. The primary argument is that creativity in chipmusic worlds is networked, meaning that it is dispersed across various activities that are labelled as creative: chipmusic-making, technology-hacking practices that underpin the music, digital cultural practices such as use of social media, online releases, crowdsourcing, staged and screened performances, and any other activity related to chipmusic. The thesis examines the ways in which networked creativity is mediated in the chipscene from an interdisciplinary methodological viewpoint informed by ethnomusicology, anthropology, and sociology. Although the chipscene is geographically dispersed across more than thirty countries worldwide, the chipscene network is well-connected. Communication and music circulation practices of chipmusicians are enabled by the internet. This thesis primarily discusses chipmusic culture that suggests a rich context where creativity discourse is as intensely diverse as the chipscene itself, in which it is embedded. In looking at the creative process and performance practices, I employ a mixed methods approach based on ethnographic research methods and social network analysis, to examine how intrinsic and extrinsic aspects of chipmusic-making, such as ideology, cultural values, network infrastructure, chiptune poetics and aesthetics, distribution of creative roles, authenticity, differentiation, genre dynamics, and intellectual property issues, shape creativity.
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Germiquet, Nicole Madeleine. "Religious musical performance as an articulation of transformation : a study of how the Tsonga Presbyterians of the Presbyterian Church of Mozambique negotiate their indigenous Tsonga and Swiss reformed church heritages." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020836.
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The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.
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Wang, Jing. "Cultural and technical perspectives on Winter landscape." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12212.
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For flute, piano, erhu, and Max/ISP interactive computer music system. Duration: ca. 15:00. System requirements: Adobe Acrobat Reader. Includes notes for performance. Includes bibliographical references (p. 94-96).
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Chapman, James Norman. "Afro No-Clash : composing syncretic African/Western music : eleven compositions and the frameworks for their systematic analysis." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16694/1/Jim_Chapman_Thesis.pdf.
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This PhD consists of an artistic work (an album of music) and an exegesis. The album contains eleven works for a variety of ensembles, including an eight-piece pop fusion group, a string quartet, an eleven-piece a cappella ensemble, a five-piece contemporary classical ensemble and a six-piece percussion ensemble. Each of these works embraces a blend of African and Western techniques and aesthetics. These works are the result of a compositional praxis which is closely integrated with a theoretical framework that I develop in the exegesis. The purpose of the exegesis is to provide a framework from which to understand the compositions. Perspectives such as postcolonialism are immediately engaged because of the fact that two distinct world cultures are referenced by these compositions. Similarly, the musical aesthetics of the two source cultures are examined because I need to understand the ways that the value systems are expressed in musical terms, and how they might interact in cross-cultural composition. Examination of the literature reveals that there has been a trend in recent decades towards cultural analysis of cross-cultural music but very little work has been done on the technical analysis of such works (Utz 2003). A preliminary list of issues is developed from a survey of ten relevant composers’ works and these issues are categorised into three analytic dimensions: the contextual (cultural), aesthetic and technical. African “musics” and musical cultures are discussed with regard to issues of Western interpretation (Agawu 2003) and appropriate representation, social and cultural preferences and aesthetic values. Likewise Western musical culture is examined in order to understand its colonial impact, its stylistic consistency and ideas that have emerged about aesthetic preferences and the interpretation of meaning (Cone 1972; Kivy 2001). Four frameworks are developed to address each of these analytical dimensions. The first deals with cultural identity and the appropriation of musical ideas, the second with the sensitivity of certain materials. The third framework enables the examination of the aesthetic preferences for each of the cultures involved and the fourth framework provides a taxonomy and vocabulary of terms for use in analysis of the structural and other technical features of cross-cultural Western/African musics. These four frameworks are applied to the eleven compositions that I have completed for this project. I identify distinct approaches to appropriation, aesthetic preferences, the predominance of rhythmic structure and the performative embodiment and narrative transformational processes in my compositions. I conclude by categorising the technical and stylistic preferences embodied in my work, and identifying possible future directions for my compositions and the development of the analytical frameworks.
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Chapman, James Norman. "Afro No-Clash : composing syncretic African/Western music : eleven compositions and the frameworks for their systematic analysis." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16694/.
Full textAbstract:
This PhD consists of an artistic work (an album of music) and an exegesis. The album contains eleven works for a variety of ensembles, including an eight-piece pop fusion group, a string quartet, an eleven-piece a cappella ensemble, a five-piece contemporary classical ensemble and a six-piece percussion ensemble. Each of these works embraces a blend of African and Western techniques and aesthetics. These works are the result of a compositional praxis which is closely integrated with a theoretical framework that I develop in the exegesis. The purpose of the exegesis is to provide a framework from which to understand the compositions. Perspectives such as postcolonialism are immediately engaged because of the fact that two distinct world cultures are referenced by these compositions. Similarly, the musical aesthetics of the two source cultures are examined because I need to understand the ways that the value systems are expressed in musical terms, and how they might interact in cross-cultural composition. Examination of the literature reveals that there has been a trend in recent decades towards cultural analysis of cross-cultural music but very little work has been done on the technical analysis of such works (Utz 2003). A preliminary list of issues is developed from a survey of ten relevant composers’ works and these issues are categorised into three analytic dimensions: the contextual (cultural), aesthetic and technical. African “musics” and musical cultures are discussed with regard to issues of Western interpretation (Agawu 2003) and appropriate representation, social and cultural preferences and aesthetic values. Likewise Western musical culture is examined in order to understand its colonial impact, its stylistic consistency and ideas that have emerged about aesthetic preferences and the interpretation of meaning (Cone 1972; Kivy 2001). Four frameworks are developed to address each of these analytical dimensions. The first deals with cultural identity and the appropriation of musical ideas, the second with the sensitivity of certain materials. The third framework enables the examination of the aesthetic preferences for each of the cultures involved and the fourth framework provides a taxonomy and vocabulary of terms for use in analysis of the structural and other technical features of cross-cultural Western/African musics. These four frameworks are applied to the eleven compositions that I have completed for this project. I identify distinct approaches to appropriation, aesthetic preferences, the predominance of rhythmic structure and the performative embodiment and narrative transformational processes in my compositions. I conclude by categorising the technical and stylistic preferences embodied in my work, and identifying possible future directions for my compositions and the development of the analytical frameworks.
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Streng, Isabelle Huang. "A Study of the Relationship Between Traditional Peking Opera and Contemporary Western Percussion Music in Mu Kuei-Yin in Percussion by Chien-Hui Hung." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1353086339.
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Wong, Marina Wai-yee. "Elementary teachers' expressed beliefs and observed practices of music education in Vancouver and Hong Kong, a descriptive, exploratory study." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0017/NQ46451.pdf.
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Park, In-Ryang. "Encouraging motivation using songs and cooperative learning to improve intercultural understanding." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1754.
Full textAbstract:
The purpose of this study is to explore the students' motivation using songs and cooperative learning to improve intercultural understanding and to achieve communicative competence. The target level is the English as a Foreign Language (EFL) intermediate level students in South Korea.
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Brinkhurst, Emma. "Music, memory and belonging : oral tradition and archival engagement among the Somali community of London's King's Cross." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7994/.
Full textAbstract:
This thesis focuses on the transmission and role of poetry and song within the Somali community in London’s King’s Cross, which has developed since 1991 as Somalis have fled from violence in their homeland. I explore the relationship between past and present, continuity and change within Somali oral artforms, and the role of song and poetry in transmitting cultural knowledge. I also consider the potential of sound archives – specifically the British Library’s World and Traditional Music section, which neighbours the Somali community in King’s Cross – to support the continuation of oral tradition and impact upon individual and collective memory processes within diasporic communities. I demonstrate the ongoing role of poetry and song in mediating and communicating relationship with place and negotiating multiple subjectivities among Somalis in the diaspora, presenting examples of Somali community members in King’s Cross renewing, constructing and expressing sense of belonging to different locales and group identities through composing, listening to, discussing and performing song and poetry. With “proactive archiving” (drawing on Edmonson’s “proactive access” 2004: 20) at the heart of my methodology, I elucidate the relationship between song as an archival form and the place and practice of ethnomusicology sound archives, demonstrating the challenges and benefits of engaging diasporic communities with archival recordings. I consider the dynamism of the Somali oral network and the ongoing mobility and change experienced by Somali residents of King’s Cross, which stands in notable contradistinction to the permanence and fixity of the British Library, and I call for a move forward from the notion of proactive archiving to one of sustainable archiving – an approach that would empower community members to record and archive their personal musical heritage in a systematic and ongoing way.
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Hsu, Chu-Fang, and 許主芳. "Cross-Cultural Comparisons of Lyrics in Romantic Music." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/33867364594131274575.
Full textAbstract:
碩士國立臺灣師範大學
管理研究所
102
We used Grounded theory to discover the cultural phenomenon in comparing West and Eastern romantic lyric. We want to know that whether the cultural creativity product would serve as mirror which reflect the cultural symbolic. Mostly finding support previous studies’ assumption, while, we also found that there are some evidence which would overturn our original knowledge. For example, there are increased differences in individualism-collectivism, power distance, short-long term and indulgence-restraint. While, there’s decreased difference in uncertainty avoidance.
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Chen, Yi-Wei, and 陳怡瑋. "Cross-Cultural Music Emotion Recognition by Adversarial Discriminative Domain Adaptation." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/gted2w.
Full textAbstract:
碩士國立臺灣大學
電信工程學研究所
106
Annotation of the perceived emotion of a music piece is needed for an automatic music emotion recognition system. To date, the majority of music emotion datasets are for Western pop songs. A music emotion recognizer trained on such datasets may not work well for non-Western pop songs due to the differences in acoustic characteristics and emotion perception that are inherent to cultural background. Although the problem was also found in cross-cultural and cross-dataset studies, little has been done to learn how to adapt a model pre-trained on a source music genre to a target music genre of interest. In this paper, we propose to address the problem by an unsupervised adversarial domain adaptation method. It employs neural network models to make the target music indistinguishable from the source music in a learned feature representation space. Because emotion perception is multifaceted, three types of input features related to timbre, pitch, and rhythm are considered for performance evaluation. The results show that the proposed method effectively improves the prediction of the valence of Chinese pop songs from a model trained for Western pop songs.
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Human, Rene Irene. "Towards generic cross-cultural standards in theassessment of African musical arts." Thesis, 2013. http://hdl.handle.net/2263/32390.
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This research contextualizes the measurability of African musical arts (including music,
dance, drama, poetry and costume art as an integrated whole), through the introduction of a generic evaluation system, which can be implemented outside its culture of origin as recontextualized
authenticity. An assessment system is developed, entitled, The Generic Crosscultural
Assessment Framework for African Musical Arts. The Framework illustrates that: the
cultural-educational void between African/indigenous/informal and international/formal
music education can be crossed; the development of a reliable, valid and objective evaluation
system for African musical arts assessment, which can be recognized internationally to the
satisfaction of Western and African cultures, is possible.
African musical arts has only fairly recently begun to be integrated into formal education
systems and music curricula for schools and tertiary institutions. At this stage, there is no
structured curriculum available for African musical arts in schools. The need for structuring a
Framework for contemporary African musical arts assessment, from which a curriculum
could be developed, is clear.
The contextualization of the main problem of the research, namely the measurability of
African musical arts, took place through: exploration of cultural diversity; translation
between cultures; music-cultural integration processes in assessment; cross-cultural dialogue;
the learning, teaching and grading situations in different cultures and systems and the
integration of different ‘voices’ from many disciplines. Globalization and change were
essential concepts in this research.
The choice of the research designs for this thesis was informed by Western as well as African
indigenous music philosophies. A combination of documentary research design (with
literature review, content analysis) and deconstruction theory study designs was conducted
within the qualitative paradigm. The reseach focused on intercultural understanding and
communication, as well as its emic/etic, or insider/outsider approach.
The most important aspects of the research focused, firstly, on Social Studies including
Ethnomusicology, Translation Studies, Inter-Cultural and Cross-Cultural Studies; secondly,
on Educational Studies including assessment standards, philosophies and systems; thirdly, on
African Musical Arts; and finally, on contemplating the syntheses of all above named
outcomes in relation to generic cross-cultural standards.
The emphasis of the thesis is on music-cultural integration processes in assessment of
progressive skills development.Thesis (DMus)--University of Pretoria, 2012.
gm2013
Music
unrestricted
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Musungu, Gabriel Joseph. "Elements of cross-cultural music composition : the creation of Esidialo-- a Samia marriage suite." Thesis, 2010. http://hdl.handle.net/10500/3680.
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Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study.
The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories.
In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based.
The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite.
To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation.
Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns.Art History, Visual Arts & Musicology
D. Litt et Phil. (Musicology)
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Xia, Yu Chun, and 夏鈺淳. "A Cross-Cultural Study of Contemporary Chinese Music──taking‘Divination Tune’in“Eastern Legends‧Intercultural & Pop Music Production”as an Example." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/hem769.
Full textAbstract:
碩士國立臺灣藝術大學
戲劇學系表演藝術碩士班
104
Looking back to the end of the nineteenth century, the whole culture structure, culture, thought, value, believes and cognitive system of China are influenced by the western imperialism, molding the miniature of modern traditional Chinese music. When the society entered to the era of highly developed industry and science technology, Taiwan industry moved from tradition to diversity and also expand global vision. In other words, modern traditional Chinese music inherited from the Chinese culture in many aspects of Taiwan politics, economics, culture, etc. Following by the impact, transformation and blending of the history, it presents the Taiwanese multicultural features. This thesis studies the ‘Divination Tune’ in “Eastern Legends‧Intercultural & Pop Music Production ”, starting from the diachronic view. Discussing the traditional Chinese music and ‘Divination Tune’ --Taiwanese fold music’s diversity of the evolvement through the time makes us withdraw from the theory and concept of the traditional music. In the synchronic notion, trying to think about the modern, diverse and global features of ‘Divination Tune’ in “Eastern Legends‧Intercultural & Pop Music Production ” from intercultural esthetic position. Therefore, by utilizing content analysis and music data analysis, the author studied the chronic transition of the traditional Chinese music and “Divination Tune” and took the development path of the rock music as the background to further understand the feature of the musical elements, evolution, structure and esthetics by the trace of the musical culture. Through the musical structure and deconstruction the formation of ‘Divination Tune’, Taiwanese fold music is analyzed for the evolution of reconstruction and transition with rock music elements and the features and faces after molding. In conclusion, from the position of the intercultural esthetics, further discussion for the localization and globalization features of the music not only analyze the composition of the tradition music, but also assist the author to research with a broader view for the topics of multicultural features and cultural identity which the intercultural music presents.
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Yim, Hoi Yin Bonnie. "Factors influencing young children's engagement in musical activities : a cross-cultural study." 2009. http://arrow.unisa.edu.au:8081/1959.8/83071.
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The aim of this research was to examine developmental, parental and pedagogical factors influencing young children's (aged 4-5 years) engagement levels in group musical activities in child care centres.Thesis (PhD)--University of South Australia, 2009
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Howell, Gillian. "Beyond words: newly-arrived children's perceptions of music learning and music making." 2009. http://repository.unimelb.edu.au/10187/7279.
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This thesis examines the way refugee and immigrant children, newly-arrived in Australia, perceive and describe music learning and music making. Sited in a specialist English Language School for primary school-age new arrivals, it explores the meaning that children from diverse cultural backgrounds and prior schooling experiences ascribe to their music classes and experiences, inviting their perceptions of what they are learning, how they learn it, what aspects of the music program most engage and motivate them, and what sense they make of the music program and its existence at this school.The study also focuses on the methodological issues at play in a research context where multiple languages, culture shock, and pre-adolescent children with unknown pre-migration experiences, coincide with a subject matter that does not lend itself easily to spoken descriptions. These include issues of interpretation and assigning meaning, and the way that different cultural values and expectations can influence participants’ responses. The researcher sought to develop research methods and tools that would effectively elicit the children’s responses, supporting them in the unfamiliar research environment, while remaining sensitive to their preferred ways of communicating.
This is a qualitative multiple case study that focuses on three individual students from diverse cultural and schooling backgrounds, with the school’s music program being the issue or concern upon which they offer their different perspectives. Both within-case and cross-case analysis was utilised, and a phenomenological approach to the inquiry was embedded within the case-study structure and research design. Data were gathered by means of interviews and participant observation, and were analysed and interpreted for emergent categories and themes, and for the additional meanings hidden between what was not said, or within awkward language, using interpretive poetics methods and direct interpretations of individual instances.
Discussion points and conclusions include the significance of the music pedagogy in building shared understanding among culturally-diverse children, the impact of culture shock on children’s perceptions, the importance of social learning contexts for newly-arrived children, and methodological challenges and recommendations for research with a similar cohort of children.
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CHANG, YUH-YIN, and 張玉胤. "A Study of Contemporary Chinese Classical Opera in Taiwan — On the Cross Cultural Interpretation of Music and Drama." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/64x5p7.
Full textAbstract:
博士國立臺灣藝術大學
表演藝術學院表演藝術博士班
107
The core of Opera art is libretto and music. This article explores the cross-cultural thinking of songs and dramas with the study of contemporary Chinese classical opera in Taiwan. The first section discusses the libretto and singing form of the opera. The second part moves on to analyze the cross-cultural phenomenon of Western operas and Chinese classical operas. Finally, the cross-cultural characteristics of Chinese classical operas is interpreted by the three contemporary Chinese classical operas -“A Vow to the Underworld Spring” " the legend of deer hunting" and “The Four Women in Puppet Master Lee Tien-Lu’s Life " construction the humanistic connotation and artistic Value of Contemporary Performing Arts in Taiwan. The purpose of this study is to explore contemporary Chinese classical opera through the discussion of the related literatures and the aesthetic concepts, expecting to broaden the new horizon for the development of performing arts in Taiwan, providing more creative energy and innovation, and look forward to building the aesthetic style and new vision of contemporary Chinese classical opera in Taiwan.
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Sen, Suddhaseel. "The Afterlife of Shakespeare's Plays: A Study of Cross-cultural Adaptations into Opera and Film." Thesis, 2010. http://hdl.handle.net/1807/32186.
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This study considers the ways in which Shakespeare’s plays have been adapted in cross-cultural contexts from the nineteenth century to the present, specifically in Europe and India, through the media of opera and film. I bring into dialogue reception theory, adaptation studies, Shakespeare scholarship, musicology, film studies, and postcolonial theory in order to examine the mechanisms of Shakespeare’s reception in these two culturally diverse regions of the globe, and argue that there are significant parallels between European and Indian adaptations of Shakespeare. Despite the different cultural and political histories of the two regions, Shakespeare’s plays reached out to local audiences only when they were modified in order to make them relevant to the cultural and ideological concerns of the new audiences that were far removed from Shakespeare’s own. Moving away from understanding Shakespeare’s reception either in terms of the dramatist’s “universal appeal” or in terms of colonial instrumentality, as has usually been the case, I argue that such predetermined critical paradigms take away from what in Shakespeare various cultures have found truly valuable, truly affective. Moreover, I argue that the degree of transculturation, both with European and Indian adaptations, is greater when Shakespeare is adapted in media that involves performance, than when he is adapted in a purely verbal medium, such as translations. This process of indigenization through performance, one that I have termed “performative transculturation,” has opened up fresh avenues of cross-cultural exchange over the ages. The works I examine in detail are Ambroise Thomas’ opera Hamlet, Giuseppe Verdi’s opera Otello, Ishwarchandra Vidyasagar’s Bhrantibilash, a prose adaptation of The Comedy of Errors, and Vishal Bhardwaj’s films Maqbool and Omkara, based on Macbeth and Othello respectively.
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Xue, Jing. "Travelling with Tan Dun’s music: The Banquet Concerto for piano, chorus and orchestra." Doctoral thesis, 2020. http://hdl.handle.net/10773/28465.
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With the development of global cultural exchange, a large number of Chinese music works are approaching the international and global world, while also paying more attention to local cultural exchange. The Banquet Concert is one of these works, created by Chinese composer Tan Dun. During the process of research on the Banquet Concert, a number of issues emerged that deserve to be investigated. The Banquet Concert was developed from the soundtrack of a Chinese film based on the context of ancient China. So this creation was, on the one hand, influenced by the range of classical Chinese cultures, including history, ancient poems and martial arts actions, on the other hand, supported by the presentation of an old oriental history in the new form of western music. Tan Dun transformed this soundtrack into the form of a Piano Concert and had been performing around the world from 2011. At the time of the Concert performance, the audience enjoyed western symphonic music along with footage from the classic Chinese film, experiencing a perfect combination of traditional Chinese culture and western classical music. Based on these characteristics, several issues arise to be resolved, including the cultural exchange between eastern and western culture, the relationship between music and image, the interaction between performance and body movement, and so on.
This dissertation begins with theoretical research that contains several aspects. The first is to discover the theoretical framework of the concept of travel. The second theoretical orientation is linked to the relationship between music and image, which focuses mainly on the relationship between film and music. In addition, theoretical research is done on the relationship between piano performance and body movement. The second chapter of this dissertation focuses on the context of composer Tan Dun and his compositions. Through the study of Tan Dun's life and academic background, I intend to testify to the meaning of traveller in the composer's creative thinking. At the same time, I also want to draw on the diversity of his works to examine the characteristics of travelling across various cultures, disciplines and other elements. In chapter three, I intend to explore the intercultural and interdisciplinary performance in the development of the work under study. The fourth chapter is the specific analysis of the relationship between music and image, music and movement, demonstrating the multifaceted problems combined with the examples. Finally, a conclusion is drawn to answer the questions initially raised.
I hope this dissertation will draw practical guidance for the analysis of various specific aspects of the Banquet Concert and can be instructive for future research into this genre of music.Com o desenvolvimento do intercâmbio cultural global, um grande número de obras de música chinesa está a aproximar-se do mundo internacional e global, ao mesmo tempo, prestar também mais atenção no intercâmbio cultural local. O Concerto Banquete é uma destas obras, criada pelo compositor chinês Tan Dun. Durante o processo da pesquisa sobre o Concerto Banquete, surgiu uma série de problemáticas que merece a ser investigada. O Concerto banquete foi desenvolvido a partir da banda sonora de um filme chinês baseado no contexto da China antiga. De modo que esta criação foi, por um lado, influenciada pela série de culturas clássicas chinesas, incluindo história, poemas antigos e ações de artes marciais, por outro lado, sustentado pela apresentação duma velha história oriental na nova forma de música ocidental. Tan Dun transformou essa banda sonora em forma de Concerto para Piano e tinha feito execução pelo mundo a partir de 2011. No momento de performance do Concerto, o público apreciou a música sinfónica ocidental juntamente com as imagens dos excertos do filme clássico chinês, experienciando uma combinação perfeita entre a cultura tradicional chinesa e a música clássica ocidental. Com base nestas características, surgem várias questões a serem resolvidas, incluindo o intercâmbio cultural entre a cultura oriental e ocidental, a relação entre música e imagem, a interação entre desempenho e movimento corporal e assim por diante. Esta dissertação começa com a pesquisa teórica que contêm vários aspetos. O primeiro é descobrir o enquadramento teórico do conceito de viajar. A segunda orientação teórica está ligada à relação entre música e imagem que, focaliza sobretudo a relação entre filme e música. Além disso, é feito a pesquisa teórica sobre a relação entre piano performance e movimento corporal. O segundo capítulo desta dissertação centre-se no contexto do compositor Tan Dun e as suas composições. Através do estudo sobre a vida e a formação académica de Tan Dun, pretendo testemunhar o significado de viajante no pensamento criativo do compositor. Ao mesmo tempo, também pretendo basear na diversidade das suas obras para examinar as características de viajar através de várias culturas, disciplinas e outros elementos. No capítulo três, pretendo explorar o desempenho intercultural e interdisciplinar no desenvolvimento da obra em estudo. O quarto capítulo é a análise específica sobre a relação entre música e imagem, música e movimento, demonstrando os problemas multifacetados combinando com os exemplos. Por fim, uma conclusão é elaborada com objetivo de responder as questões inicialmente levantadas. Espero que esta dissertação desenhe orientações práticas para a análise de vários aspetos específicos do Concerto Banquete e possa ser instrutivo para futuras pesquisas sobre este género de música.
Programa Doutoral em Música
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Choi, Hee-Chan. "Multicultural encounters in music therapy in New Zealand : What particular clinical experiences do NZ music therapists describe when encountering clients who identify closely with a culture different from their own? : research dissertation in partial fulfillment of the requirements for the degree of Master of Music Therapy at the New Zealand School of Music, Wellington, New Zealand." 2008. http://hdl.handle.net/10179/1494.
Full textAbstract:
This qualitative study investigates how music therapists work within a culturally diverse environment in New Zealand and the researcher's own growing experience as a student clinician. This research endeavoured to answer two research questions. Firstly, what do music therapists in New Zealand perceive from their experience of working with clients from different culture? Secondly, how does my own experience as a second generation Korean MTS affect my clinical work in a multicultural environment in New Zealand? This study applied aspects of qualitative research. Four qualified New Zealand music therapists and the researcher herself participated in this study. Data was collected from the interviews with the music therapy participatns, the music therapy student's reflection on case notes from two clinical cases, and a research journal. Music therapists identified various issues that associated with their experiences of working cross-culturally. The main areas of key ideas were categorized under 1) cultural considerations 2) preconceptions 3) building a communicative bridge 4) clinical competency 5) different approaches 6) culturally appropriate practice. The ideas under these categories have crystallized to articulate the different voices of participants for the benefit of the knowledge in the existing literatures and for the enhancement of personal tools towards self awareness and culturally appropriate clinical practice. From the overview of all the participants consulted in this study it was concluded that recognition of the importance of self awareness was one of the most significant factors in building culturally appropriate practice in a multicultural environment.
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Llera, Blanes Guillermo De. "Controllers as musical instruments, controllerism as musical practice - practices of a new 21st century musical culture." Master's thesis, 2017. http://hdl.handle.net/10362/45945.
Full textAbstract:
This thesis consists of an ethnomusicological approach to the development of Controllers as
musical instruments, and conceptualizes Controllerism as a musical practice. I make a case for a
revision in organology that includes Controllers, and other instruments of the computer society, by
seeking out commonalities and providing comparative analyses between historical instruments and
modern Controllers. I then provide definitions of the term Controllerism; by discussing its origins,
history, musical logics, strains of musical practice, and current technological explorations. By situating
the Controller and Controllerism in a cultural and historical timeline, I have traced informing logics
that have led to the development of this new instrument and musical practice. Ethnography has been
undertaken with informants from Europe, America and Japan in order to ascertain generalized
understandings of the instrument and musical practice; and participatory action research undergone
in three separate artist residencies with the intent of determining common perspectives and
concerns of international Controllerists. A Portuguese case-study has provided a unique glimpse, by
comparison, of this emerging art-form and growing mind-set in modern music.Esta tese é uma aproximação etnomusicológica ao desenvolvimento dos controladores como instrumentos musicais, e conceitualiza o chamado Controllerism como uma prática musical. Defendo a ideia de uma revisão no campo da organologia que inclua os controladores e outros instrumentos da computer society, procurando pontos em comum e providenciando análises comparativas entre instrumentos históricos e controladores modernos. Apresentarei definições do termo Controllerism; discutindo as suas origens, história, lógicas musicais, vertentes de prática musical, e as atuais explorações tecnológicas. Situando o controlador e o Controllerism numa linhagem cultural e histórica, identifico as lógicas que levaram ao desenvolvimento deste novo instrumento e desta nova prática musical. Para tal, elaborei uma etnografia com informantes da Europa, América e Japão com o objetivo de compreender noções comuns sobre o instrumento e a prática musical; fiz também pesquisa participativa em três residências artísticas, com a intenção de determinar perspetivas e preocupações comuns entre Controllerists internacionais. Finalmente, através de um estudo de caso em Portugal, providencio uma visão única, comparativamente falando, desta forma de arte emergente e estilo de vida na música moderna.
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Meghelli, Samir. "Between New York and Paris: Hip Hop and the Transnational Politics of Race, Culture, and Citizenship." Thesis, 2012. https://doi.org/10.7916/D8MK7KR1.
Full textAbstract:
Forging connections across the fields of American, French, and African diaspora history, this dissertation traces the emergence of the Hip Hop cultural movement in New York City's African American and Latino neighborhoods in the 1970s and its globalization to a postcolonial France. Drawing on previously untapped archival sources in the U.S. and France, as well as dozens of original, in-depth oral histories with key figures (including musicians, journalists, dancers, visual artists, deejays, and businesspeople), "Between New York and Paris" uncovers the roots and routes of this trans-Atlantic history. Organized around a series of transnational encounters, the study examines how Hip Hop's various cultural practices (rapping, deejaying, graffiti, breakdancing) traveled first from New York's outer boroughs to the downtown Manhattan arts scene at the turn of the 1980s, and then spread to and became rooted in the disproportionately immigrant, working-class suburbs of France.
This dissertation argues that the globalization of this (African)American cultural movement radically altered the terrain on which postcolonial Afro-French youth's national and diasporic membership was lived, contested, policed, and performed. Over the course of the last quarter of the twentieth century, as France was becoming home to the largest African-descended population in Europe as well as the second largest market for the production and consumption of Rap music in the world (behind only the United States), Hip Hop fostered a deep, transnational engagement--both by the movement's adherents and its critics--with the meanings of (African)Americanness and Frenchness, of citizenship and belonging, and of diaspora and democracy.
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Santos, Helena Maria Henriques dos. "O sistema internacional de fragmentos musicais afectivos: um estudo preliminar na população portuguesa." Master's thesis, 2012. http://hdl.handle.net/10071/6138.
Full textAbstract:
O presente estudo pretende contribuir para a investigação da relação entre as emoções e a música ao apresentar uma base normativa, para a população portuguesa, do conjunto de fragmentos musicais propostos por Vieillard et al. (2008), cognominado por Uceda (2008) de Sistema Internacional de Fragmentos Musicais Afectivos (IAMES), e comparar os resultados com os da população espanhola a fim de contribuir para a validação transcultural do instrumento. Este sistema de estímulos afectivos baseia-se no modelo dimensional das emoções proposto por Lang e utiliza, como sistema de avaliação, o Self-Assessment Manikin (Bradley & Lang, 1994). Uma amostra de 155 estudantes universitários avaliou os fragmentos musicais nas três dimensões propostas pelo modelo: valência, activação e dominância. Os resultados mostram que os fragmentos musicais tendem como esperado, no espaço afectivo delimitado pela valência e activação, a apresentar um padrão de agrupamento bastante característico de acordo com as quatro categorias emocionais criadas ad hoc. Foram encontradas diferenças significativas entre homens e mulheres nas dimensões de activação e dominância, com os homens a sentirem maior activação e controlo. Por fim, foram comparados estes resultados com os da população espanhola e as correlações entre as avaliações nas três dimensões foram altamente significativas. No entanto pequenas diferenças podem ser observadas na dimensão activação, com a população espanhola, no seu conjunto a sentir uma maior activação perante os fragmentos musicais. Com esta investigação se demonstra que o IAMES é um instrumento válido para o estudo das emoções, salvaguardando diferenças socioculturais.The present study pretends to contribute to the investigation of the relation between emotion and music by reporting the portuguese norms for the set of musical excerpts proposed by Vieillard et al. (2008), named International Affective Musical Excerpt System (IAMES) by Uceda (2008), and compare this results with those of the spanish population to contribute to the cross-cultural validation of the instrument. This set of affective stimuli is based on Lang´s dimensional model of emotions, and uses as assessment system the Self-Assessment Manikin (Bradley & Lang, 1994). 155 university students assessed the musical excerpts in the three dimensions defined by the model: valence, arousal, and dominance. The results show that the excerpts tend to group as expected, within the affective space, demarcated by the valence and arousal dimensions, in accordance with the four emotional categories created ad hoc. The results confirm the gender differences in arousal and dominance, with men showing more arousal and dominance. Finally, comparing these results with the Spanish population, the correlations for the three dimensions are all highly significant. Nevertheless, small differences can be observed, with spanish people perceiving, as a whole, more arousing before the musical fragments. This research shows that the IAMES is a valid instrument for the study of emotions, safeguarding the cross-cultural differences.
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Bodey, Elisabeth Claire. "Fields of relations, boxes of jewels: a practice-led enquiry into aspects of place as foundation for a new language of cultural abstraction in painting." Phd thesis, 2015. http://hdl.handle.net/1885/101194.
Full textAbstract:
The early stages of my research had focussed on the general idea of place as landscape in painting, centering on the Warlpiri country of the Central Desert. This perspective on place was quickly challenged by ideas of, experiences in and responses to those places I then visited as part of this research. My research eventually became an investigation into the language of painting, informed by ideas and different cultural forms and resulting in a one that has reconstructed my practice.
I have explored how the contemporary language of abstract painting can engage with the experience of different cultural contexts both western and indigenous, specifically in the areas of visual art and music. Western artists I have considered are Paul Klee and Piet Mondrian, Ellsworth Kelly, Richard Long, Yves Klein, Tim Johnson and Jan Riske: the indigenous artists considered are the Martumili women of Punmu, Joe Japanangka James, Shorty Jangala and Lady Nungurrayi Robinson.
My conversation has evolved using newfound elements extending and deepening my painting practice. My research has been enriched by fieldwork experiences ranging from a retrospective of Piet Mondrian’s painting in Den Hague, attending the Women’s Law and Culture Week in the Northern Territory and music performances such as John Luther Adams composition Inuksuit and Morton Feldman’s Patterns in a Chromatic Field. My early readings were very much centred on the writings of anthropologists such as Nancy Munn, Diana James, Christine Watson, Francois Dussart and Yasmine Musharbash as they provided important context to my visits to Yuendumu and my fieldwork at the Women’s Law and Culture Week.
In reflecting on my practice I have been influenced and informed by writers such as Terry Smith and his revisiting of contemporaneity and connectivity in the global community; by Yve-Alain Bois’ essay on Mondrian’s painting, The Iconoclast and Maurice Merleau-Ponty regarding phenomenology and perception. Finally, The Grid as a Checkpoint of Modernity by Margarita Tupitsyn helped refine my focus, appearing to encapsulate much of what I had been thinking.
I have come to recognise the phenomenological experience as key to all my responses both as observer and as artist. In particular, the aspect of my research focussing on the cultural forms of Central Desert communities, specifically painting and the performance of songs has had an expansive effect on my thinking and studio processes, contributing to a re-invention of my painting as an abstract artist.