Dissertations / Theses on the topic 'Etc Songs and music History and criticism'
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1
Chiu, Remi. "Motet settings of the Song of Songs ca. 1500-1520." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99361.
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This thesis investigates early sixteenth-century motet settings of texts taken from the Song of Songs. By way of contextualization, I will explore the Christian history of Song of Songs exegesis from the third century to the twelfth. I will also consider generic properties of the renaissance motet---contemporary definitions of the genre, performance context, types of texts used, and repertory dissemination---and make a case that both the Song of Songs and the motet occupy a sort of "intermediate" position between the secular and the sacred world, participating in both the earthly and the spiritual.Several motets---Tota pulchra es by Ludwig Senfl, Tota pulchra es by Nicolaus Craen, Nigra sum sed formosa by Johannis Lheritier, and the anonymous Vulnerasti cor meum from Petrucci's Motetti de la Corona I print---will be analyzed through the lens of the historical Christian exegesis and generic considerations of the motet. I interpret diverse musical parameters---among them, texture, quotation of pre-existent material, motivic structuring, cadential manipulation, mode and modal commixture---as some of the ways in which the composers responded to their Song of Songs texts.
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Robertson, Patricia C. "Artsong : a brief survey of artsong literature, composers and musico-poetic structure accompanied by a performance-based interpretation workbook." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118240.
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This dissertation, which takes the form of a creative project as is sanctioned by the Doctor of Arts Curricular Program, is an investigation of artsong literature, composers and musico-poetic structure. The work is a textbook designed for an undergraduate course in song literature and is accompanied by a performance-based interpretation workbook. The author's approach to the artsong is a threefold one: the artsong is considered as a unique performance idiom and is examined for the characteristics common to all; distinctive features are examined which identify specific sub-genre classifications within the body of artsong; specific artsongs are investigated from a performance aspect in order to develop an appropriate methodology for the interpretation of an individual song. This work includes information about historical analysis, performance practice, translation, phonetic transcription and the characteristics of versification unique to each language covered.The unique contribution of this work, however, is the workbook of sixty-five artsongs.In the workbook, the student is guided through a systematic approach to the interpretive process. The student is asked to examine the poem for type, mode of address and imagery and is asked to consider elements of rhyme, meter and poetic structure. The student is guided through an investigation of the characters both present and implied in the poetry; the student is asked to consider the structural elements of the musical setting in order to better discern the composer's response to the poem. Additionally, the student is asked to place the speaker-the person whose voice he or she is bringing to life-in time and location as well as construct a profile of the speaker's character. At the beginning of the workbook the entire process is demonstrated for the student; as the student progresses through the workbook, he is expected to perform more and more of the tasks until he can independently create a performance-based interpretation.The work contains copious musical examples as well as a source guide to instructional materials (scores, translations, recordings) and a brief glossary.School of Music
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Go, Kin-ming Joseph, and 吳建明. "Nostalgic musicians in North Point: a survey of Fujian Nanyin activities in Fujian Tiyuhui, from 1957 to thepresent." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227351.
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Lee, Hee Seung. "The "Beethoven Folksong Project" in the Reception of Beethoven and His Music." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/lee_hee_seung/index.htm.
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Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.
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This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.
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Perry, Shirley Mercedes. "Selected Psalms, Old Verses and Spiritual Songs of the Canadian Doukhobors: Transcription and musical analysis." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185897.
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The purpose of this research was to select songs specific to the Doukhobor song repertoire which were not previously notated and to record, notate and analyze the melodies for use in music education. The first limitation of the study was to focus on the sacred repertoire which is comprised of three genre of song, namely the Psalms, the Old Verses and the Spiritual Songs. A comparison of the song titles of Old Verses and Spiritual Songs which are found in the two major Canadian Doukhobor song text collections was made with other Russian song text collections to determine a subset of songs unique to the Doukhobor tradition. The second limitation of the study was then applied, which was to select those Old Verses and Spiritual Songs believed to exist prior to the beginning of the twentieth century. Forty-five melodies, comprised of 11 Psalms, 18 Old Verses and 16 Spiritual Songs were included in the study. The notation of each example is accompanied by one verse of Russian text and transliteration and by documentary information stating the genre, the Doukhobor song text collection reference number, the singers' names, and a tape source in the researcher's private collection. Full and/or partial translations of the texts are provided.
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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.
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Thomson, Matthew Paul. "Interaction between polyphonic motets and monophonic songs in the thirteenth century." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:4230a588-2359-4ac3-bd87-59c0e4ce775a.
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Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century have been characterised in a number of different ways. Mark Everist and Gaël Saint-Cricq have focused on motets' use of textual and musical forms usually thought of as typical of song. Judith Peraino, on the other hand, has explored the influence of motets on a range of pieces found in manuscripts that mainly contain monophonic songs. This thesis re-examines motet-song interaction from first principles, taking as its basis the 22 cases in which a voice part of a polyphonic motet is also found as a monophonic song. The thesis's analysis of this corpus has two central themes: chronology and quotation. In addressing the first, it develops a music-analytical framework to address the compositional processes involved in these case studies, arguing that in some of them a monophonic song was converted into a motet voice, while in others a motet voice was extracted from its polyphonic context to make a song. It also emphasises, however, that chronology is often more complicated than these two neatly opposed categories imply, showing that different song and motet versions can relate to each other in ways that are dynamic, complex, and often hard to recover from the extant evidence. The conversion of song material for motets and vice versa is placed within a larger context of musical quotation and re-use in the thirteenth century, showing that many of these case studies play with the pre-existence of their song or motet material: some transfer their voice parts from one medium to another in a way that consciously foregrounds their previous incarnations, whereas others mask the pre-existence of the voice part by absorbing it into new textual and musical structures. The thesis closes with a consideration of the wider implications of the motet-song interaction it analyses. It examines the generic boundary between songs and motets and suggests a model of generic analysis that centres on the complexities of manuscript transmission. Finally, it considers the use of refrains within its corpus of motets and songs, demonstrating that these short passages of music and text are often quoted in ways similar to those analysed in motets and songs earlier in the thesis.
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Ng, Pong-wai Brenda, and 吳邦瑋. "The development in Hong Kong of commercial popular songs in Cantonese." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213522.
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Micic, Peter 1965. "School songs and modernity in late Qing and early republican China." Monash University, School of Asian Languages and Studies, 1999. http://arrow.monash.edu.au/hdl/1959.1/7654.
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Chapman, Christopher Adam 1964. "Regional traditions of Lao vocal music : lam siphandon and khap ngeum." Monash University, School of Music-Conservatorium, 2002. http://arrow.monash.edu.au/hdl/1959.1/7867.
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Cheung, Kwok-hung Stephen, and 張國雄. "Traditional music and ethnicity : a study of Hakka shange." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195958.
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This research is an investigation into Hakka shange 客家山歌 (Hakka mountain songs) and their relationship with Hakka ethnicity, with principal discussions on the interplay between music making and ethnic/cultural identity in the Hakka populations. Hakka is a complex ethnic and cultural phenomenon which stepped into the limelight of history beginning in the 19th century. This study includes research into archival materials for an in-depth understanding of Hakka ethnicity and Hakka shange in the context of historical development, aiming to obtain new information/data and insights into historical data and theories documented by earlier studies. In this study, both synchronic and diachronic aspects are covered. Framed in an ethnomusicological paradigm, which posits music as part of culture and social life and utilises ethnography as a major means of gathering data, the study incorporates fieldwork carried out on location in Hong Kong and the Chinese mainland as an essential component.
Seeing cultures as fluid and adaptable to outer forces rather than as a monolithic entity, the aim of this study is not to seize the “last opportunity” to preserve records of Hakka shange, before this musical tradition declines further into oblivion, but rather, to account for the processes by which traditional music adapts to the global system at various local levels. It is noteworthy that, in the local-global continuum, a society is not conceived as a static and structured system in which music is performed as a mere cultural marker that connects to or reflects the other structural parts of that society. On the contrary, a society is seen as a flexible and fluid social space in which music plays an active, transformational role.published_or_final_version
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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.
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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Rodenberg, David. "Text/music relationships in five posthumous songs by Alexander Zemlinsky." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1286426.
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This study centers on a 1907 collection of art songs for voice and piano composed by Alexander Zemlinsky. Although his small cycle of five songs was not published during the composer's lifetime and has not been given the scholarly attention that other pieces in his oeuvre have, it is well crafted and carries a high degree of expressive and emotional weight. The cycle sets the poetry of Richard Dehmel; a contemporary of Zemlinsky and the inspiration behind works of Arnold Schoenberg, Anton Webern and Richard Strauss as well. In these 1905 settings Zemlinsky experiments with an extremely chromatic language while exploring themes of love and betrayal in the poetry of Dehmel. This study examines this chromatic style and how it relates to the themes in the text. Through the detailed analysis of each of the songs the reader will see how, in spite of the free succession of harmonies that often obscure the tonal orientation, a central underlying tonic/dominant relationship is at the core of each song except the first. In this manner the songs display a subtle yet powerful exploitation of tonal ambiguity that brings out many of the nuances of Dehmel's poems.School of Music
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Fung, Wai-man Iris, and 馮慧敏. "The use of English in canto-pop songs in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2684333X.
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Cheung, Kwok-hung Stephen, and 張國雄. "Traditional folksongs in an urban setting: a study of Hakka Shange in Tai Po, Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364846.
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Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.
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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, voix de ville, dialogue, and air de cour. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the Académie de Poésie et de Musique), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the ballet de cour, to dance forms, and to solo instrumental styles such as stile brisé are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the air de cour commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the voix de ville to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.
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Blizzard, Amy. "The nightingale in poetry and music." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20031/blizzard%5Famy/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2003.Accompanied by 3 recitals, recorded Nov. 28, 1994, Mar. 5, 2001, and Feb. 17, 2003. Recording for June 10, 1996 missing. Includes bibliographical references (p. 71-74).
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吳月華. "歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.
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Klinck, Anne L. (Anne Lingard). "Women's songs and their cultic background in archaic Greece." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26286.
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This thesis applies to Archaic Greek literature the medievalist's concept of "women's songs," that is, love-poems given to a female persona and composed in a popular register. In the Greek context a distinct type can be recognised in poems of women's affections (not necessarily love-poems as such) composed in an ingenuous register and created for performance, choral or solo, within a women's thiasos. The poems studied are those of Sappho, along with the few surviving partheneia of Alcman and Pindar. The feminine is constructed, rather mechanically by Pindar, more subtly by the other two, from a combination of tender feeling, personal and natural beauty, and an artful artlessness.It is not possible to reconstruct a paradigmatic thiasos which lies behind the women's songs, but certain characteristic features merge, especially the pervasiveness of homoerotic attachments and the combination of a personal, affective, with a social, religious function. In general, women's groups in ancient Greece must have served as a counterbalance to the prevailing male order. However, while some of the women's thiasoi provide a vehicle for the release of female aggression, the function of the present group is essentially harmonious and integrative.
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Borschel, Audrey Leonard. "Development of English song within the musical establishment of Vauxhall Gardens, 1745-1784." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26033.
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This document provides a brief history of Vauxhall Gardens and an overview of its musical achievements under the proprietorship of Jonathan Tyers and his sons during the 1745-1784 period when Thomas Arne (1710-1778) and James Hook (1746-1827) served as music directors. Vauxhall Gardens provided an extraordinary environment for the development and nurturing of solo songs in the eighteenth century. Here the native British composers' talents were encouraged and displayed to capacity audiences of patrons who often came from privileged ranks of society. The largely anonymous poems of the songs were based on classical, pastoral, patriotic, Caledonian, drinking or hunting themes. The songs ranged from simple, folk-like ballads in binary structures to phenomenally virtuosic pieces which often included several sections.
During the early years of vocal performances at Vauxhall (c. 1745-1760), the emphasis was on delivery of texts, sung to easily remembered melodies with little ornamentation and few florid passages. However, the coloratura style of Italian opera was assimilated and anglicized by Thomas Arne, his contemporaries, and later by James Hook.
In the 1770's and 1780's, composers continued to refine all the forms and styles that had been popular since the 1740's; this developmental
process was mainly technical. Vauxhall songs were composed with orchestral accompaniment and incorporated the techniques of the
Mannheim school. All the melodic, rhythmic, harmonic and orchestral devices of the era were available to the British composers, and they borrowed freely from each other and from the continental masters. While certain forms evolved more clearly in the 1770's and 1780's, such as the rondo, major changes were not observed in the poetry.
Vocal music at Vauxhall Gardens occupies a position in history as a steppingstone toward mass culture. Vauxhall ballads were printed in annual collections and single sheets by a vigorous publishing industry. When the Industrial Revolution caused the middle class to splinter into further groupings toward the end of the eighteenth century, the new lower middle class shunned the artistic pleasures of the upper classes and developed its own entertainments, which resulted in a permanent separation of popular and classical musical cultures, as well as the decline of Vauxhall GardensArts, Faculty of
Music, School of
Accompanied by cassette in Special Collections
Graduate
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Fu, Lok-yi Alice, and 傅樂怡. "Contemporary Cantopop: reception of crossovermusic in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634334.
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Abeyaratne, Harsha. "Folk music of Sri Lanka : ten piano pieces." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213149.
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The purpose of the present research was to provide ideas for positive stress management in the orchestra world to help achieve high-level performances. The author developed the Orchestral Performance and Stress Survey and distributed it to 230 musicians of three orchestras that comprised full-time and part-time professional as well as community orchestra musicians. The survey sought to identify stress-causing and performance-enhancing factors in the orchestra environment. Questions on the musicians' background allowed for comparisons to identify groups with particular needs. Results show that musical training often does not include stress management training. Playing-related injuries are common. Two-thirds of full-time musicians who responded have suffered injuries that forced them to stop playing for more than one week. On average, musicians reported that stress neither detracts from, nor enhances performances. The most stressful concert types were classical concerts. Highly critical audiences are the most stressful.School of Music
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Nel, Johanna Adriana Maria. "Die musiek van die Apostoliese Geloofsending van Suid-Afrika (1908-1998)." Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/53383.
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Thesis (MMus) -- University of Stellenbosch, 2003.ENGLISH ABSTRACT: The AFM came into being as a result of the Pentecostal Movement, which in turn owes its existence to the worldwide revivals at the beginning of the twentieth century. The president of the AFM, Dr. Isak Burger, writes in his book concerning the history of the church: Die Geloofsgeskiedenis van die Apostoliese Geloofsending van Suid-Afrika, that the First Evangelical Awakening (18th century), the Second Evangelical Awakening (19th century), as well as the worldwide revivals at the beginning of the twentieth century, had a causal effect on one another. It goes without saying that the musical practices of these Awakenings would also, indirectly, influence that of the AFM. This study serves a twofold purpose. It is just as important to examine the origin and development of the AFM, as it is to examine internal and external factors that have influenced its musical practices. The music that has been used during different periods also receives due attention. In order to view the AFM in the correct perspective, Chapter 1 deals with the factors leading up to the origin of the Pentecostal Movement. However, the historical development within the AFM also receives attention, with special reference to those events which influenced the practice of church music directly or indirectly. Chapter 2 includes a history of Church Music since the Reformation, since the Reformers strove to get the congregation involved into the service of worship. Music practised during the First and Second Evangelical Revivals, as well as the subsequent revivals at the beginning of the twentieth century, also receives mention. The musical practice within the AFM forms the main theme of Chapter 3. Subdivisions of this chapter reflect historical events within the AFM, the influence of the Charismatic Revival Movement, the role and function of music during church services, the rendition of music items, as well as the leading figures who contributed to this practice. Chapter 4 provides a chronological summary of songbooks used by the AFM since 1908 until 1998, while Chapter 5 presents analyses of the music mentioned in Chapters 2,3 and 4.
AFRIKAANSE OPSOMMING: Die AGS het vanuit die Pinksterbeweging ontstaan, terwyl dié op sy beurt uit die wêreldwye Ontwakings aan die begin van die twintigste eeu tot stand gekom het. Die President van die AGS, Dr. Isak Burger, kom in sy boek: Die Geloofsgeskiedenis van die Apostoliese Geloofsending van Suid-Afrika, tot die gevolgtrekking dat vorige Ontwakings van so ver terug as die Eerste Evangeliese Ontwaking (18de eeu), die Tweede Evangeliese Ontwaking (19de eeu), sowel as die wêreldwye Ontwakings aan die begin van die 20ste eeu, in kousale verband tot mekaar gestaan het. Dit spreek dus vanself dat ook die musiekbeoefening tydens hierdie Ontwakings indirek 'n invloed op dié van die AGS sou uitoefen. Hierdie studie is dus tweërlei van aard. Aan die een kant word die nodige aandag aan die ontstaan, sowel as die geskiedenis van die AGS gegee, terwyl die ontwikkeling van die musiekbeoefening soos beïnvloed deur interne en eksterne faktore, asook die musiek wat tydens verskillende tydperke gesing is, ook onder die loep geneem word. Om die AGS as kerkgenootskap binne die regte perspektief te plaas, begin Hoofstuk 1 met die vooraf- en ontstaansgeskiedenis van die Pinksterbeweging. Daar word egter ook kortliks aan die geskiedkundige verloop van gebeure binne die AGS aandag gegee, veral wanneer die beoefening van kerkmusiek direk of indirek daardeur geraak is. In Hoofstuk 2 word so ver as die Hervorming teruggegryp m.b.t. kerkmusiekgeskiedenis, aangesien die Hervormers so 'n belangrike bydrae gelewer het om die gemeente d.m.v. die kerklied weer by die erediensgebeure betrokke te kry. Daar word egter ook kortliks na musiek van die reeds genoemde Ontwakings in die 18de, 19de, asook aan die begin van die 20ste eeue verwys. Die AGS se musiekpraktyk vorm die hooftema van Hoofstuk 3. Onderafdelings van hierdie studie sluit o.a. in: bepalende geskiedkundige gebeure binne die AGS, die invloed van die Charismatiese Herlewingsbeweging, die rol van begeleiers en die begeleiding t.o.v. gemeentelike same sang tydens byeenkomste en die lewer van musiekitems, asook belangrike persone wat as leiers na vore getree en belangrike werk verrig het. Hoofstuk 4 bied 'n chronologiese opsomming van liedboeke wat vanaf 1908 tot en met 1998 deur die AGS gebruik is, en in Hoofstuk 5 word ontledings gemaak van musiek wat in Hoofstukke 2, 3 en 4 bespreek is. In Bylae 1 word aangedui watter musiek deel van die belangrikste liedbundels, nl. Hymns for Life and Service, Nuwe Sionsliedere, Evangelieliedere en Deo Gloria uitgemaak het, terwyl Bylaes 2 en 3 volledige bladmusiekvoorbeelde van ontledings van onderskeidelik vroeëre en hedendaagse musiek bevat.
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Hatter, Jane Daphne. "Marian motets in Petrucci's Venetian motet anthologies." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112398.
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Although there is a marked increase in the number of surviving motets from the early sixteenth century, the context in which they were performed remains a mystery. The first five printed anthologies of motets, published by Petrucci in Venice between 1502 and 1508, include a significant proportion of Marian motets (95 of the 174 pieces). In the first chapter I provide evidence that these polyphonic Marian motets were used in the Venetian confraternities, or "scuole." The second chapter draws connections between the musical needs of the scuole and the Marian text types of the motet anthologies. The final chapter looks at settings of the most common devotional prayer of the early sixteenth century, the Ave Maria. This thesis thus proposes a new context---the Venetian scuole---for the consumption of printed motet books and the performance of motets, with a special emphasis on their role in lay Marian devotions.
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Wong, Jum-sum James, and 黃湛森. "The rise and decline of cantopop." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31057330.
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Haas, Benjamin D. "Singing Songs of Social Significance: Children's Music and Leftist Pedagogy in 1930s America." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9777.
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Injejikian, Hasmig. "Sayat Nova and Armenian ashoogh musical tradition." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59269.
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The main objective of this thesis is to show that the thirty melodies ascribed to the ashoogh Sayat Nova are melodically and rhythmically homogeneous, and that they bear similarity to both Armenian folk and sacred melodies. Since very little has been written on this topic in Occidental languages, it has been necessary to provide (1) a descriptive account of the ancient Armenian music; namely, vibassan, koosan, folk and sacred traditions; (2) a presentation of ashoogh poetic forms, rhyming schemes, and accentuation patterns, which are summarized for the first time in a chart with corresponding sources; (3) a chapter on Armenian tzayns as a background to the melodic analysis and codifications of Sayat Nova's melodies, which is contrary to the accepted practice of codifying these melodies with Greek modal names.Professor Nigoghos Tahmizian's analysis of Sayat Nova melodies was used as a starting point. Furthermore, through analysis based primarily on available secondary sources, certain conclusions have been obtained: such as, the unity of rhythm/meter with language conventions, presence of specific melodic patterns, cadential endings, intervallic patterns and ranges in Sayat Nova melodies, as characterised by individual tzayn codifications. Further research is suggested to clarify codification of poetic forms, tzayn designations, and specifically, to solidify accentuation conventions of the Armenian language and of its dialects.
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Pillman, Laura 1990. "Transcription and Critical Edition of Carl Nielsen's Songs, Op. 4 and 10 for Flute and Piano." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538733/.
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Widely regarded as one of the most significant composers of the late nineteenth and early twentieth centuries, Carl Nielsen and his music have come to define the early twentieth-century musical traditions of Denmark. His original songs for voice and piano are often revered as popular folk tunes and contributed to his status as a national icon. My dissertation explores Nielsen's vocal repertoire through a multipart project that includes transcribing and editing eleven of Nielsen's early songs from Op. 4 (1891) and Op. 10 (1894), originally for voice and piano, for flute and piano. I discuss the reception history and context of Nielsen's Songs, the important role of transcription in flute literature, and provide full score transcription of the original works for flute and piano. Many vocal works have been transcribed for flute from the original vocal score, providing variety in programming and attracting diverse audiences to performances. Transcription offers scholars a new view into a work, by determining what elements of the piece are integral to maintain the composer's intentions.
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Abe, Shoko. "Two Argentine Song Sets: A Comparison of Songs by De Rogatis and Ginastera." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248378/.
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Latin American classical vocal repertoire is vast, but in the United States, we only hear a fairly limited part of this literature. Much of this repertoire blends western European classical music traditions and native folk music traditions. One example of such a Latin American vocal work that is well-known in the United States is Alberto Ginastera's frequently performed song set from 1943, Cinco canciones populares argentinas. However, another lesser-known, earlier work, Cinco canciones argentinas (1923), by fellow Argentine composer Pascual De Rogatis (1880-1980) deserves attention as well. As with Ginastera's set, De Rogatis' songs are based on Argentine folk genres, but contain stylistic features of European classical music of its time. De Rogatis' neglected songs are a significant, overlooked part of Argentine classical music history, and a full understanding of well-known works such as Ginastera's song set and of the genre as a whole, must include attention to De Rogatis' Cinco canciones argentinas. Beyond vocal repertoire, De Rogatis' songs are an important part of the development of Argentine classical music. While Western musical trends change rapidly, folk music remains largely unchanged. Both De Rogatis and Ginastera were proud of their Argentine heritage, and incorporated traditional music into their compositions. I believe that De Rogatis's composition had a direct influence on Ginastera, and that the similarities between the two sets are not coincidental.
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Franco, Luan José 1988. "Hibridismos musicais : Leo Brouwer e a Sonata del Caminante /." São Paulo, 2013. http://hdl.handle.net/11449/96474.
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Orientador: Gisela Gomes Pupo NogueiraCoorientador: Alberto Tsuyoshi Ikeda
Banca: Herom Vargas
Banca: Ricardo Lobo Kubala
Resumo: O presente trabalho disserta sobre hibridismos em música, sobretudo na obra violonística do cubano Leo Brouwer. Foi feita uma discussão de caráter geral sobre os diversos usos de hibridismos presentes em algumas músicas de compositores latinoamericanos. Para tanto foram abordados alguns autores dos chamados estudos culturais, por tratarem especificamente desse tema, ainda que usem outros termos ou palavras. Com isso pretende-se dar aos intérpretes de violão subsídios baseados na diversidade cultural, trazendo a interpretação como um campo de possibilidades. Por fim, a pesquisa apresentou elementos diversificados presentes na música de Brouwer, o que a caracteriza como uma prática híbrida
Abstract: This dissertation is about hybridity in music, focusing on the work of the Cuban guitarist Leo Brouwer. The various ways hybridity is present in some songs of Latin American composers were discussed here. Therefore, some authors from what is called cultural studies were addressed, by specifically refer to this topic, albeit using other terms or words. This is intended to provide subsidies to guitar interpreters based on cultural diversity, bringing interpretation as a field of possibilities. Lastly, the research presented several elements found in Brouwer's music that characterizes it as a hybrid practice
Mestre
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Botha, Yolanda. "Ontstaansgeskiedenis van Die Oranjeklub, met spesiale verwysing na die bevordering van die Suid-Afrikaanse toonkuns." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2096.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.Die Oranjeklub was the first Afrikaans culture organisation in Cape Town. Active since 1915, it strove to shape Afrikaner identity and advance Afrikaner art and culture. The main aim of the club was to inspire national sentiment, especially among young Afrikaners, and to help cultivate a love in this constituency for their language and history. This national sentiment was nourished by meetings of social and cultural significance. In this respect, Die Oranjeklub played an integral role in early twentieth-century Cape Town to oppose a perceived English political and cultural supremacy, acting as a buffer against the so-called ‘ver-Engelsing’ or Anglicization that was seen to threaten the identity of especially urban Afrikaners. Programmes during meetings usually comprised of a speech, supplemented by music and recital items that were generally contributed by Afrikaans club members. Meetings that deviated from this norm were mainly evenings where plays were performed or festivaloccasions of national importance in which the club was actively involved. The club’s management comprised two levels: an honorary committee and an executive committee. Many historically important figures served on the honorary-committee. The list includes names like D.F. Malan, J.B.M. Hertzog, C.J. Langenhoven and J.C. Smuts, amongst others. The executive committee had equally noteworthy chairmen, like the writer I.D. du Plessis and the critic C.H. Weich. The names of many important musicians can be found on club programmes, including Arnold van Wyk, Blanche Gerstman and Stefans Grové. Important actors and role players in theatre also participated in club events, amongst others Anna Neethling-Pohl, N.P. van Wyk Louw and Sarah Goldblatt. Speakers included personalities like D. Craven, C. Barnard and P.W. Botha. In 1976, after many decades trying to advance culture among white Afrikaners in Cape Town, the club was disbanded. This thesis documents, for the first time, the history of Die Oranjeklub. It also considers the meaning of the club’s cultural activities, especially its efforts to advance music among its members.
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Drewett, Michael. "An analysis of the censorship of popular music within the context of cultural struggle in South Africa during the 1980s." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1007098.
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The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.
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Seesholtz, John Clayton. "An introduction to the AIDS quilt songbook and its uncollected works." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12199.
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Treacy, Susan. "English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331253/.
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Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, Henry Playford's Harmonia sacra, (1688, 1693).
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Sequera, Héctor J. "Selected Lute Music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale: Reconstruction, Edition, and Commentary." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4652/.
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Paris . Rés. Vmd. Ms. 27, known as Tl.1, or the Thibault Manuscript, is one of the earliest extant sources of lute music, containing twenty-four solos and eighty-six accompaniments for vocal compositions. The manuscript was copied in Italian lute tablature lacking rhythm signs, which makes it inaccessible for modern performance. Each selection contains a full score of the four-part vocal concordance, and the reconstructed lute part in both the original notation and keyboard transcription. The introductory study elaborates upon the creation dates for Tl.1 (ca. 1502-1512) through its relationship with the sources of the time and with the older unwritten tradition of Italian secular music that is apparent in the formal treatment of the music.
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Betancourt, Cindy Alyce. "William Walton's viola concerto : a methodology of study." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063302.
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This study provides a resource for performers preparing Walton's Viola Concerto. It is intended to provide information regarding history, technical and musical obstacles, and common alterations to the viola part. The study begins with a historical overview of the work, including information about the composer and the composition. A review of the existing literature examines sources for parallel information and similar studies.The development of a methodology of study is based on the examination of nine excerpts from the Concerto. These excerpts represent technical and musical challenges found in the Concerto. Each example is accompanied by an excerpt from a study or etude that closely reflects the same technical musical challenges. These excerpts are provided as possible technical enhancement studies that, when practiced prior to or in conjunction with the study of the Concerto, provide the methodology of study with the means to actually address the technical demands of the Concerto.Included in the study are the opinions of professional violists, solicited for this study by means of a survey. The survey group is identified, and their opinions on the previously identified technical passages are presented. Compilations of survey responses, along with additional comments and suggestions, are provided in conjunction with the corresponding excerpts.The final portion of this study examines the alterations most frequently made to the viola part. These so-called "William Primrose alterations" are presented with the suggestions and recommendations of the survey respondents. Various aspects of performance practice are examined, and the study offers several conclusions on this subject.Survey participants agreed that performance of the Concerto is a task of considerable difficulty. Regardless of the performer or the performance venue, great technical, musical, and intellectual skill and energy is required. This study provides historical information that all performers should acquire, as well as a methodology of study. It includes performance and practice suggestions from several prominent violists. This methodology of study serves as a resource for violists who undertake to perform what is one of the most significant works in the viola repertoire.School of Music
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Nedvin, Brian. "Holocaust Song Literature: Expressing the Human Experiences and Emotions of the Holocaust through Song Literature, Focusing on Song Literature of Hirsh Glick, Mordechai Gebirtig, and Simon Sargon." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4850/.
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During the years of the Holocaust, song literature was needed to fulfill the unique needs of people caught in an unimaginable nightmare. The twelve years between 1933 and 1945 were filled with a brutal display of man's inhumanity to man. Despite the horrific conditions or perhaps because of them, the Jewish people made music, and in particular, they sang. Whether built on a new or an old melody, the Holocaust song literature continues to speak to those of us who are willing to listen. This body of work tells the world that these people lived, suffered, longed for vengeance, loved, dreamed, prayed, and tragically, died. This repertoire of songs is part of the legacy, the very soul of the Jewish people. This study contains a brief look at the historical circumstances, and through the song literature of Hirsh Glick, Mordechai Gebirtig and Simon Sargon, life within the ghetto, the concentration camp, the decisions families had to make, the choices to fight back against incredible odds, the place of faith within this nightmare, and a look at the lives and works of the composers themselves.
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Dapcic, Samantha. "John La Montaine's "Songs of the Rose of Sharon" and "Fragments from the Song of Songs": A Socio-Historical Analysis and Performer's Guide." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538657/.
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The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.
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Cloutier, David 1948. "A Comparison of the Transcription Techniques of Godowsky and Liszt as Exemplified in Their Transcriptions of Three Schubert Lieder." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331767/.
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This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for accomplishing this. Liszt also frequently transcribed pieces of a particular composer in order to promulgate them by featuring them in his recitals. The Schubert lieder fall into this category. Liszt did not drastically alter the original in these compositions. Indeed, in the cases of "Liebesbotschaft" and "Das Wandern," very little alteration beyond the incorporation of the melody into the piano accompaniment, occurs.Godowsky, in contrast, viewed the transcription as a vehicle for composing a new piece. He intended to improve upon the original by adding his own inspiration to it. Godowsky was particularly ingenious in adding counterpoint, often chromatic, to the original. Examples of Godowsky's use of counterpoint can be found in "Das Wandern" and "Gute Nacht." While Liszt strove to remain faithful to Schubert's intentions, Godowsky exercised his ingenuity at will, being only loosely concerned with the texture and atmosphere of the lieder. "Gute Nacht" and "Liebesbotschaft" are two examples that show how far afield Godowsky could stray from the original by the addition of chromatic voicing and counterpoint. Godowsky*s compositions can be viewed as perhaps the final statement on the possibilities of piano writing in the traditional sense. As such these works deserve to be investigated and performed.
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Franco, Luan José [UNESP]. "Hibridismos musicais: Leo Brouwer e a Sonata del Caminante." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/96474.
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franco_lj_me_ia.pdf: 1858255 bytes, checksum: 7073124a61dd78b45b49278de09a7755 (MD5)O presente trabalho disserta sobre hibridismos em música, sobretudo na obra violonística do cubano Leo Brouwer. Foi feita uma discussão de caráter geral sobre os diversos usos de hibridismos presentes em algumas músicas de compositores latinoamericanos. Para tanto foram abordados alguns autores dos chamados estudos culturais, por tratarem especificamente desse tema, ainda que usem outros termos ou palavras. Com isso pretende-se dar aos intérpretes de violão subsídios baseados na diversidade cultural, trazendo a interpretação como um campo de possibilidades. Por fim, a pesquisa apresentou elementos diversificados presentes na música de Brouwer, o que a caracteriza como uma prática híbrida
This dissertation is about hybridity in music, focusing on the work of the Cuban guitarist Leo Brouwer. The various ways hybridity is present in some songs of Latin American composers were discussed here. Therefore, some authors from what is called cultural studies were addressed, by specifically refer to this topic, albeit using other terms or words. This is intended to provide subsidies to guitar interpreters based on cultural diversity, bringing interpretation as a field of possibilities. Lastly, the research presented several elements found in Brouwer’s music that characterizes it as a hybrid practice
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Silva, Evandro Rodrigues da. "Ouvidos abertos: a oralidade, a escrita e a canção." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-02042015-112400/.
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Observar as múltiplas relações entre a oralidade, a escrita e a canção popular brasileira são o objetivo deste trabalho. O que na canção seria atributo da cultura escrita? O que seria reverberação da tradição oral? Os estudos sobre a oralidade, a história da escrita e da leitura articulam-se à análise de fonogramas diversos, de diferentes momentos da história da canção brasileira. Oralidade, escrita, música e poesia compreendidos como campos distintos que, no corpo da canção, interpenetram-se, indiferentes a quaisquer hierarquias. A canção popular é, concomitantemente, compreendida como fenômeno musical, poético e cultural. Tratamos de pensar a canção como gênero e, de alguma forma, pensar seu lugar social (suas origens e transformações, suas relações com os mass media, sua capacidade de adaptar-se às mudanças de paradigmas de produção e recepção e o caráter dadivoso de sua economia). A voz, a palavra cantada, os corpos de quem canta e de quem ouve, os meios materiais de produção, difusão e fruição, constituem um sistema de trocas simbólicas, determinante para a conformação de um gênero específico (híbrido, poético-musical, que é a canção) que se configurou como principal vetor de representação de múltiplas sociabilidades e, não raro, promotor de uma aproximação reflexiva sobre as mesmas. Propomos, portanto, um exercício teórico que conjugue, de alguma maneira, o estudo da forma pela qual as canções se dizem ao que dizem sobre nós as canções.This work aims at observing the multiple relationships between orality, writing and popular songs. How much of song writing is attributable to written culture? How much of it is a reverberation of oral tradition? Studies about orality, the history of writing and reading are articulated with the analysis of different phonograms, from different moments in the history of the Brazilian song. Orality, writing, music and poetry, understood as distinct fields that, in the body of the song, interpenetrate each other, indifferent to hierarchy. Popular song can be simultaneously understood as a musical, poetic and cultural phenomenon. Our endeavor here is to treat the song as a genre and, somehow, to reflect upon its social place (its origins and transformations, its relationships with mass media, its ability to adapt to paradigm shifts of production and reception and the generous/bountiful/giving character of its economy. The voice, the word being sung, the bodies of those who sing and of those who listen, the material means of production, diffusion and appreciation constitute a system of symbolic exchanges, which is determining in the conformity of a specific genre (the hybrid, poetic-musicalone which the song is) which became the main vector of representation of multiple sociabilities and, not rarely, a promoter of a reflexive approximation between them. What we propose, then, is a theoretical exercise which is able to connect, in some manner, the study of the form through which these songs enunciate themselves to what these songs say about ourselves.
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Baek, Da Mi. "Eak Tai Ahn's Korea Fantasy: His Life, Historical Context, and Compositional Style." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505250/.
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Eak Tai Ahn is not only the first generation of Korean musicians, composers and conductors to have studied Western music and given successful musical performances in Western countries, but also is among the first to introduce the music of Korea to the West utilizing the Western music system. Korea Fantasy is an important work that helped Ahn win international acclaim. Korea Fantasy is an orchestral piece that evolved along with Ahn's unique life experiences shaped by the state of his native country. The piece is programmatic, depicting the history of Korea, which utilizes musical devices, such as rhythms and quotation that are distinctive musical elements of Korea. This document discusses the political and social history of Korea during Ahn's life time, offers an overview of Ahn's education and musical footsteps, and describes the premiere and reception of Korea Fantasy. Moreover, a discussion of his compositional traits and a musical analysis of Korea Fantasy are presented.
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Kim, Hong Soo. "Mass for AILM by Geonyong Lee the composer and the elements of Asian music /." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9844.
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Ferguson, Benny Pryor. "The Bands of the Confederacy: An Examination of the Musical and Military Contributions of the Bands and Musicians of the Confederate States of America." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc798486/.
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The purpose of this study was to investigate the bands of the armies of the Confederate States of America. This study features appendices of libraries and archives collections visited in ten states and Washington D.C., and covers all known Confederate bands. Some scholars have erroneously concluded that this indicated a lack of available primary source materials that few Confederate bands served the duration of the war. The study features appendices of libraries and archives collections visited in ten states and Washington, D.C., and covers all known Confederate bands. There were approximately 155 bands and 2,400 bandsmen in the service of the Confederate armies. Forty bands surrendered at Appomattox and many others not listed on final muster rolls were found to have served through the war. While most Confederate musicians and bandsmen were white, many black musicians were regularly enlisted soldiers who provided the same services. A chapter is devoted to the contributions of black Confederate musicians.
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Moreira, Adriana Lopes da Cunha. "Olivier Messiaen : inter-relação entre conjuntos, textura, ritimica e movimento em peças para piano." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284716.
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Orientadores: Maria Lucia Senna Machado Pascoal, Mauricy Matos MartinTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho propõe uma associação de técnicas de análise musical desenvolvidas durante os séculos XX e XXI aos conceitos teóricos proferidos por Olivier Messiaen no livro Technique de mon langage musical (Messiaen 1944a e 1944b) e nos três primeiros volumes do Traité de Rythme, de Couleur, et d'Ornithologie (Messiaen 1994a, 1994b e 1994c). Para tanto, nos dois Capítulos que o compõem, inter-relaciona tais conceitos teóricos a técnicas de análise apresentadas por autores como Allen Forte (1973), Joel Lester (1989), Joseph Straus (2005), Christopher Hasty (1981), Stefan Kostka (2006), David Cope (1997), Wallace Berry (1987), Michael Friedmann (1987), Elizabeth West Marvin (1991) e Felix Salzer (1982); e demonstra a eficiência do procedimento, através da apresentação de cinco análises de peças para piano compostas por Olivier Messiaen, contextualizadas tanto por dados biográficos do compositor, como por artigos anteriormente escritos por pesquisadores teoricamente relevantes. O trabalho justifica-se por contribuir para a bibliografia sobre análise musical em língua portuguesa, bem como por constituir um trabalho de análise musical que amplia a vertente teórica do compositor. Nos cinco Anexos que completam o exemplar, destaca declarações inéditas na literatura mundial, proferidas pelo compositor Almeida Prado, a respeito de planos não concretizados para a composição de um segundo Catalogue d'oiseaux. Na Conclusão, foram traçadas vertentes, tanto em relação às técnicas de análise utilizadas, como à obra para piano de Olivier Messiaen como um todo.
Abstract: This work proposes an association between musical analysis techniques developed during the twentieth and the twenty-first centuries and the musical theory concepts presented by Olivier Messiaen in his Technique de mon langage musical (Messiaen 1944a and 1944b) and Traité de Rythme, de Couleur, et d'Ornithologie (Messiaen 1994a, 1994b and 1994c), first, second and third volumes. For this purpose, it relates Messiaen's theory concepts to analysis techniques presented by authors like Allen Forte (1973), Joel Lester (1989), Joseph Straus (2005), Christopher Hasty (1981), Stefan Kostka (2006), David Cope (1997), Wallace Berry (1987), Michael Friedmann (1987), Elizabeth West Marvin (1991) and Felix Salzer (1982). Trough the analysis of five piano pieces by Olivier Messiaen the efficiency of this process is demonstrated. The analyses are supported by the composer's biography, as well as by articles previously written by prestigious researchers. It adds to the musical analysis bibliography in Portuguese language and it contributes to broaden the theory concepts presented by the composer. The five Annexes that complement this work bring new revelations by Brazilian composer Almeida Prado, about an Olivier Messiaen's project, never made concrete, to compose a second Catalogue d'oiseaux. In the Conclusion we trace lines of conduct concerning the musical analysis techniques as well as Olivier Messiaen's piano work as a whole.
Doutorado
Doutor em Música
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莊小屛 and Siu-ping Amy Chong. "The chansons of Claudin de Sermisy in Attaingnant's Chansons nouvellesand other early collections." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225871.
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Wunderlich, Kristen A. "Carl Sandburg's Timeless Prairie: Philip Wharton's Song Cycle, The Prairie Sings." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9011.
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Thesis (D.M.A.)--University of North Texas, 2008.System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded on an unknown date, July 31, 2004, and Apr. 1, 2008. Includes bibliographical references (p. 44-46).
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Click, Sarah D. "Art Song by Turn-of-the-Century Female Composers." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278468/.
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Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of analysis serves as a means to guide musical decisions in the actual performance of the works. The conclusion briefly discusses performance practice issues and the possibility of a turn-of-the-century feminine aesthetic.