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Lacy, Travis K. ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2008. http://digitalcommons.auctr.edu/dissertations/22.
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This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era.
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MOLLO, MICHAEL JOHN. "FUNK-IN-THE-BOX FOR SAXOPHONE QUARTET." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115990255.
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Sangemark, Viktor. "Vad är groove? : En studie om hur groove inom funk kan appliceras på rockmusik." Thesis, Örebro universitet, Musikhögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-94553.
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Whitman, Kevin. "Reconstructing the Mothership: Meaning and History in the Music of P-Funk." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22760.
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During the 1970s, the Parliament-Funkadelic collective, or P-Funk, performed a unique type of funk music that impacted the lives and culture of generations of fans. Their music has been a vital force in the developments of popular music, redefining the limits of concept albums and performances, and opened the doors to funk rock, hip hop, and neo-soul. I address the ways in which P-Funk has been received, interpreted, and reconstructed by the diverse constituents of American popular culture from the 1960s to the present. Each chapter explores a discrete interpretive community that has granted meaning to the collective from perspectives of history, music, iconography, consumer culture, and popular entertainment media. The resulting study unifies these threads through their engagement with history and the evolution of P-Funk through time. Ultimately, this thesis seek to shed light on a group that has lacked thorough scholarly attention.
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GUEDES, MAURICIO DA SILVA. "THIS MUSIC IS FROM OUR COMMAND: A STUDY OF FORBIDDEN FUNK." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9975@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
O funk proibido ou proibidão é um subgênero da música funk, produzido, sobretudo nos morros e nas favelas do Rio de Janeiro. Esta dissertação analisa o conteúdo das letras do proibidão e mostra que este fenômeno musical é resultado do encontro do funk com as facções do tráfico de drogas que dominam esses territórios. Essa produção musical parece ser usada pelo narcotráfico para divulgar suas idéias, exaltar as suas façanhas, fortalecer a identidade dos membros da facção e expressar o ódio e o terror aos inimigos. Esses grupos criminosos usam duas formas para difundir suas pretensões: a reprodução e venda de CDs de funk proibido e a promoção do baile de comunidade, que serve tanto para diversão da juventude local, como para venda de drogas. Nos dois casos o papel dos MCs é imprescindível para essa produção. O funk proibido, peculiar pela agressividade simbólica, além de adorado pelos jovens, apresenta-se como uma arma a serviço dos narcotraficantes, usado como cartão de visita e porta-voz de seus interesses.
Forbidden funk or proibidão is a subclass of funk music, produced mainly in the slums and hills of Rio de Janeiro. The present dissertation analyses the contents of proibidão lyrics and shows that this musical phenomena is a product of the joining of funk with drug dealing groups which dominate those territories. Such production seems to be used by drug dealers in broadcasting their ideas and exalting their actions, strengthening the faction members´ identity, expressing their hatred and causing terror to their enemies. Such criminal groups use two strategies to spread their purposes: producing and selling forbidden funk CDs and promoting community dance parties, which serve as much as entertainment for the local youth as for selling drugs. In both cases, the role of MCs is indispensable for issuing such product. Forbidden funk, peculiar by the symbolic aggressiveness, besides being adored by young people, presents-itself as a weapon at the service of drug dealers, used as business card and speaker on behalf of their interests.
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Hughes, Timothy Stephen. "Groove and flow : six analytical essays on the music of Stevie Wonder /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11410.
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Pedro, Thomaz Marcondes Garcia. "Funk brasileiro: música, comunicação e cultura." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4712.
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Previous issue date: 2015-06-25This research focus the phenomenon of Brazilian funk in the Brazilian popular music as a complex sociocultural practice, and recognizing it as a mixture of various musical and non musical elements. It is an investigation that, beside reconstructing one perspective of the development of this music, tried to establish intersections between funk and many others elements that are part of it's context and ambient. To be able to accomplish that, the theoretical ground is based on researchers from the Communication field (Martín-Barbero, Pinheiro, Souza Santos) and from the Popular Music field (Wisnik, Vargas, Rivera) that try to comprehend the cultural practices of Latin America as a complex process, hybrids and mestizos in constant movement, transformation, translation and adaptation between themselves, always avoiding comprehensions marked by dichotomy, which are typical on those fields of study. Are also a part of the theoretical basis of this work researchers that developed studies specifically about Brazilian funk (Lopes, Palombini, Facina, Sá), beside the field researches, that have resulted in reports about those experiences. The results of the research allow a deeper comprehension of funk in the Communication and popular music fields and confirm our spectating that funk is a complex phenomenon that can only be understood in the context and ambient that it has been developed. Beside some musical aspects we fuscous on the relation of funk with market, violence and sexuality. Our approach allowed "listen" to Brazilian funk in a unheard way, free from prejudice and dualist points of view, that have market a way of looking at it, typical of the conservative sectors of society that were able to criminalize this cultural practice
A presente pesquisa focaliza o fenômeno do funk na música popular brasileira como uma prática sociocultural complexa, marcada pela mistura de diversos elementos musicais e não musicais. Trata-se de uma investigação que, além de realizar uma retomada da história do desenvolvimento do estilo, buscou estabelecer intersecções entre o funk e elementos próprios do ambiente e contexto em que é praticado. Para tanto, foram utilizados pesquisadores da área de comunicação (Martín-Barbero, Pinheiro, Souza Santos) e da música popular (Wisnik, Vargas, Rivera) que buscam compreender as práticas culturais da América Latina como processos complexos, híbridos e mestiços em constante transformação, troca, tradução e adaptação entre si, sempre se distanciando de visões dicotômicas que costumam pautar esses campos de estudo. Também balizaram a pesquisa, os trabalhos teóricos que se debruçaram especificamente sobre o funk (Lopes, Palombini, Facina, Sá), além de pesquisas de campo que tiveram como resultados relatos criados a partir dessas experiências. As reflexões realizadas permitiram ampliar a compreensão do funk nos estudos da Comunicação e da música popular brasileira e confirmar nossa hipótese de que o funk é um fenômeno complexo que só pode ser compreendido quando se leva em conta a relação que mantém com seu contexto, já que sua música é fortemente atravessada por questões ligadas à violência, à sexualidade, ao mercado e à grande mídia. A abordagem permitiu escutar o funk de forma inédita, livre de tendências dualistas e preconceituosas, próprias de setores conservadores da sociedade que criminalizam essa prática cultural
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Emerson, Jason D. "THE JAMBALAYA THAT IS MY BRAIN." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin992441841.
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Gonçalves, Eloá Gabriele. "Banda Black Rio = o soul no Brasil da década de 1970." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284466.
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Orientador: José Roberto ZanDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho estuda a trajetória da Banda Black Rio, formada em meados dos anos de 1970, cuja produção caracteriza--?se por fusões de múltiplas musicalidades. Através da análise musical de uma amostragem do repertório gravado pela banda, verificou?se nessa produção a presença de elementos característicos de gêneros brasileiros como o samba, o choro e o baião, mesclados aos do jazz, do soul e do funk. A pesquisa revelou que procedimentos adotados pelos músicos nas composições, releituras, arranjos e instrumentação produziram resultados sonoros peculiares. Trata--?se de uma sonoridade híbrida, que, de certa forma, expressa a emergência de uma nova sensibilidade num contexto histórico brasileiro marcado pela presença de um regime político autoritário, do desenvolvimento e da integração da indústria cultural e do advento de novas identidades geracionais e étnicas
Abstract: This work studies the history of the band Black Rio, formed in the mid 1970s, whose production is characterized by a fusion of multiple musicalities. Through musical analysis of a sample of the repertoire recorded by the band, it was verified the presence of characteristic elements of Brazilian genres such as samba, choro and baião, merged with components of jazz, soul and funk. The research found that the procedures adopted by the musicians in compositions, re--?readings, arrangements and instrumentations produced a peculiar sound result. It is a hybrid sonority that, in a certain way, expresses the emergence of a new sensibility in a Brazilian historical context marked by the presence of an authoritarian political regime, by the development and integration of the cultural industry and by the advent of new generational and ethnical identities
Mestrado
Fundamentos Teoricos
Mestre em Música
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Sermet, Vincent. "Les musiques soul et funk : la France qui groove des années 1960 à nos jours /." Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb412854703.
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Amorim, Marcia Fonseca de. "O discurso da e sobre a mulher no funk brasileiro de cunho erotico : uma proposta de analise do universo sexual feminino." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269098.
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Orientador: Jonas de Araujo RomualdoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente trabalho tem como objetivo refletir sobre a participação feminina no funk brasileiro, principalmente em uma ramificação desse movimento que divulga músicas cujas letras apresentam um alto teor de erotismo. Para isso, utilizo como referencial teórico-analítico a proposta da Análise do Discurso de linha francesa, os estudos de Foucault sobre a sexualidade e os estudos de Bakhtin que relaciona a cultura popular da Idade Média e da Renascença à obra de François Rabelais. A inserção da obra de Bakhtin nesta tese se deve ao fato de o funk ser tratado por grande parte da sociedade como um movimento de caráter grotesco, obsceno, vulgar, que explora a sexualidade feminina de uma maneira pouco convencional. À figura feminina no funk são associados termos como cachorra, popozuda, potranca, piranha, vadia, entre outros. Essa representação simbólica em torno da funkeira a inscreve socialmente como um sujeito despudorado e ousado, que não se sente constrangido em expor sua sexualidade em público. Essas e outras características do funk (a simbologia em torno a figura masculina, a exposição de crianças a cenas de erotismo) vêm chamando a atenção de diferentes setores da sociedade (grupos religiosos, políticos, feministas) e têm sido alvo de muitos debates e reflexões de profissionais de diferentes áreas a respeito da representação da mulher na sociedade brasileira, tendo em vista a imagem construída socialmente em relação a ela e a imagem que ela tem de si mesma. No espaço discursivo do funk, a sexualidade e a sensualidade da mulher recebem um tratamento específico, bastante peculiar, inscrito no modo como ela se veste e como expõe seu corpo, na coreografia que executa em bailes e shows, nos dizeres que profere e nas posições discursivas que assume: ora ela se apresenta como dominadora da cena instaurada por meio da música e dita o que espera de seu parceiro, ora se deixa dominar por ele. Esse jogo discursivo - dominadora/dominada - induz a uma relação conflituosa e aparentemente contraditória da mulher no universo funk.
Abstract: The present work aims to reflect upon the participation of the woman in the Brazilian funk focusing on a branch of this movement which songs express a high level of eroticism. For this task, I take into account the theoretical analytic conception of Discourse Analysis of the French School, Foucault's studies of sexuality as well as Bakhtin's approach about the relationship between the Middle Ages and the Renaissance popular culture and François Rabelais' work. The inclusion of Bakhtin's thesis in this research is due to the fact that the funk in our society is conceived as a grotesque, obscene and vulgar movement which exploits woman's sexuality in an unconventional way. Slang terms as popozuda (woman having big buttocks), filly, bitch, slut, floozy and many others refer to the woman in the funk (funkeira), a kind of symbolic representation of herself as a shameless and cheeky subject who doesn't feel embarrassed at displaying her sexuality in public. These and others characteristics of the funk (the symbolism that involves men, the exposure of children to erotic scenes) have become matter of discussion by religious memberships, politicians, the women's movement and researchers interested in studying this woman representation in Brazilian society in order to understand her social image and the image she builds of herself. According to Discourse Analysis, it is possible to analyze the peculiar treatment of sexuality and sensuality of womanhood in the context of the funk - the way she dresses, the exposure of her body, the choreography that she performs in shows and dancehalls, her speeches and behavior - where she can either dominate her partner in the dancing performance or allow him to dominate her. In the field of the discourse, this play involves domineering /submissive subjects, revealing clashes and the apparently contradictory behavior of the woman in the funky universe.
Doutorado
Doutor em Linguística
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Scannell, John School of Media Film & Theatre UNSW. "James Brown: apprehending a minor temporality." Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.
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This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.
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Sermet, Vincent. "Musiques soul et funk en France : histoires et cultures des années 1960 à nos jours." Université de Marne-la-Vallée, 2006. http://www.theses.fr/2006MARN0387.
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Doerfler, Amy M. "Part I: Mass for Full Orchestra and SATB Chorus Part II: Joseph Funk's A Compilation of Genuine Church Music (1832): An Analysis of Music and Methods." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1310584998.
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Bailey, Trenton. "Kemetic Consciousness: A Study of Ancient Egyptian Themes in the Lyrics and Visual Art of Earth, Wind & Fire, 1973-1983." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/106.
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By the mid-1970s, Earth, Wind & Fire (EWF) became one of the most commercially successful pop music bands in the world. Their dynamic sound thrilled listeners and their elaborate concerts captivated audiences. EWF stood out from other artists with their philosophical messages and their use of ancient Egyptian symbols and imagery in their visual art. The ancient Egyptian themes intrigued fans but drew criticism from others. This study examines the ancient Egyptian themes incorporated into the lyrics of the songs recorded by the band. This study also examines the ancient Egyptian symbols used in the EWF’s visual art, including album covers, music videos, and concerts.
A content analysis was conducted to study the lyrics and identify themes related to ancient Egyptian spirituality. A content analysis was also used to study the visual art and decipher what the symbols may signify. This research was based on the premise that Earth, Wind & Fire used their artistry to be a positive influence. When the lyrics and visual art were examined, the researcher found that they both contain themes of ancient wisdom and universal truths. The conclusions drawn from the findings suggest that EWF’s mission was to raise the consciousness of the world, and the way people responded is an indication that the mission was accomplished. The findings also suggest that the negative criticism EWF has received is unjustifiable.
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Araujo, Nicole Barbosa de. "Juventude e resistência: o funk como forma de expressão dos(das) jovens da periferia." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21136.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Understanding the relation between black and poor youth from the periphery with leisure and culture, through the artistic and cultural universe of funk is the purpose of this study. In this way, the discussion regarding the constitution and current reality of the periphery will be privileged, considering the racial questions as a structuring element of Brazilian capitalism, and also the implantation of the neoliberal agenda in Brazil, a project continued by the PT governments, during the thirteen years they remained in power. From such analysis, a debate about the daily life of the youth of the periphery will be proposed, and elements that amplifies the reflection over the cultural expressions from young people, entering into the diversity of funk’s universe, ranging from the style "ostentação" and "proibidão", until the "funk consciente" and the one that sings the resistance of transsexual women. The concept of youth and the elements for a reflection over work’s educational dimension of the Social Worker next to periphery’s youth also will be discussed. The dissertation also contemplates an analysis of the realization of a Focus Group with young people at the city of Itapevi, who presented several considerations about the daily life from the young people and from the funk universe
Compreender a relação estabelecida entre a juventude negra e pobre da periferia e o lazer e a cultura, por meio do universo artístico-cultural do funk é o objetivo deste estudo. Nessa direção, serão privilegiadas a discussão referente à constituição e realidade atual da periferia, considerando a questão racial como elemento estruturante do capitalismo brasileiro, bem como a implantação da agenda neoliberal no Brasil, projeto continuado pelos governos petistas, nos treze anos em que permaneceram no poder. A partir de tais análises, será proposto o debate sobre a vida cotidiana dos jovens da periferia, e elementos que qualificam a reflexão sobre as expressões culturais juvenis, adentrando a diversidade do universo do funk, que abrange desde a vertente “ostentação” e “proibidão”, até o “funk consciente” e aquele que canta a resistência das mulheres transexuais. Também serão debatidos o conceito de juventude, bem como os elementos para a reflexão da dimensão educativa do trabalho do assistente social com jovens da periferia. A dissertação também contempla a análise da realização de um Grupo Focal com jovens no município de Itapevi, os quais apresentaram diversas ponderações acerca do cotidiano dos jovens e do universo do funk
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Andersson, Anders-Petter. "Interaktiv musikkomposition." Doctoral thesis, Högskolan Kristianstad, Sektionen för hälsa och samhälle, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-9771.
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This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and perspectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience dimensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.Ljudfiler till avhandlingens bilaga 1, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Do-Be-DJ, Interaktiv installation, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Mufi I och II, Interaktiv installation, http://musicalfieldsforever.com/mufi_more.html; Doktorandtjänsten finansierades av Interactive Institute; Musikinspelning finansierades av Framtidens Kultur genom Skiften på Malmö högskola
Interaktiv musikkomposition
Interactive Music Composition
Interaktiv ljuddesign
Interactive Sound Design
Musik och Hälsa
Music and Health
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Henningsson, Denise. "Play that funky music." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35582.
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Musik är en väsentlig del i identitetsskapandet för barn och unga världen över. Genom globaliseringen har musik, klädstilar och dylika centrala delar i uppbyggandet av jaget spridits världen över och kombinerats och inspirerats av varandra (Sernhede, 2006). Identitetsskapandet är en betydande del i huruvida ett aktivt medborgarskap tar form eller inte hos olika individer och grupper. Därav är identitetsskapandet en väsentlig del att bejaka vid undervisningen av medborgerlig bildning. Medborgare refererar till en person som reagerar på sin omgivning med medvetenhet om de sociala och politiska funktionerna i samhället (Hartsmar et al, 2013). Vad en medborgerlig bildning specifikt består av beror på vilka system, traditioner och värden som är förekommande där bildningen genomförs. Likheten med all medborgerlig bildning är att det syftar till en bildning som har målet att stärka medborgarnas förmåga att påverka samhällsutvecklingen positivt (ibid.)Ovanstående resonemang har lett mig till frågeställningarna "Hur används musik i skolor i Tanzania?", "Hur uttrycker sig lärare och elever gällande betydelsen av musikutbildning utifrån ett individ- och ett kollektivt perspektiv?" samt "Hur kan läroplanen appliceras på medborgerlig bildning för demokrati?". Anledningen till att just tanzaniska skolor står i fokus är det faktum att Tanzanias läroplan har ett ämne kallat vocational skills, där 12 ämnen ingår. Musik är ett av ämnena inom vocational skills som till störst del står för den medborgerliga bildningen i skolan. Enligt den svenska läroplanen ska medborgerlig bildning vara en del av samtliga ämnen, men skillnaden är att den tanzaniska läroplanen beskriver något mer specifikt hur det ska gå till - i synnerhet när det gäller musikundervisningen. Jag ansåg därför att det kunde vara intressant att undersöka musikens koppling till medborgerlig bildning i skolor i Tanzania. Detta har jag gjort genom en kvalitativ studie innehållande 15 intervjuer, varav tre personer var lärare och resterande elever i åldrarna 12 -14 år. Det visade sig i mitt resultat att musik ansågs vara en viktig del av identitetsskapandet och det framtida medborgarskapet, men även att detta är en möjlig väg för medborgerlig bildning, bland många andra.
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Herzfeld, Gregor. "Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik : Charles Ives bis La Monte Young." Stuttgart Steiner, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015759238&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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Nagel, Frederik. "Psychoacoustical and psychophysiological correlates of the emotional impact and the perception of music /." Göttingen : Sierke, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016138858&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
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Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
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Schäfer, Thomas. "The Goals and Effects of Music Listening and Their Relationship to the Strength of Music Preference." Universitätsbibliothek Chemnitz, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-201941.
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Individual differences in the strength of music preference are among the most intricate psychological phenomena. While one person gets by very well without music, another person needs to listen to music every day and spends a lot of temporal and financial resources on listening to music, attending concerts, or buying concert tickets. Where do these differences come from? The hypothesis presented in this article is that the strength of music preference is mainly informed by the functions that music fulfills in people’s lives (e.g., to regulate emotions, moods, or physiological arousal; to promote self-awareness; to foster social relatedness). Data were collected with a diary study, in which 121 respondents documented the goals they tried to attain and the effects that actually occurred for up to 5 music-listening episodes per day for 10 successive days. As expected, listeners reporting more intense experience of the functional use of music in the past (1) had a stronger intention to listen to music to attain specific goals in specific situations and (2) showed a larger overall strength of music preference. It is concluded that the functional effectiveness of music listening should be incorporated in existing models and frameworks of music preference to produce better predictions of interindividual differences in the strength of music preference. The predictability of musical style/genre preferences is also discussed with regard to the present results.
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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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Orlando, Junior João. "Batidão: um estudo da variação discursiva na música funk." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14560.
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This research work has the purpose of stimulating the understanding of a musical movement that has been gaining space in the communication media, whether due to its content, connected to organized crime, whether for its theme of extreme sexual content. The funk music is a typical carioca phenomenon currently passing through a process of decriminalization and nationalization, and tries to establish itself as an artistic and cultural movement of Brazil. The corpora of the research are composed by about 300 lyrics of funk, of which 4 were selected for analysis, considering the following criteria: variation of the theme and likelihood, in case of the proibidão funk (forbidden gang funk from Rio de Janeiro). Our observations are led in the sense of examining the texts, making it feasible the introduction of an analysis model whose fundamental theory is the Analysis of the Speech. We will use, above all, the analysis instruments developed by Dominique Maingueneau, besides the recent contributions of Patrick Charaudeau and other theoreticians who enhance the studies on Speech and the linguistic variation. The results of our analysis demonstrated the presence of a discursive variation and a specificity also varied, not due to the theme, but to the diverse modes of enunciative subjectivities diffused in the discursive practices of the funk music
Este trabalho de pesquisa tem por objetivo estimular a compreensão de um movimento musical que vem ganhando espaço nos meios de comunicação, seja por seu conteúdo ligado ao crime organizado, seja pela temática de extremo teor sexual. A música funk é um fenômeno típico carioca que passa hoje por um processo de descriminalização e nacionalização e tenta se firmar como movimento artístico e cultural do Brasil. Os corpora da pesquisa são compostos por cerca de 300 letras de funk, das quais 4 foram selecionadas para análise, considerando os seguintes critérios: variação do tema e verossimilhança, no caso do funk proibidão. As nossas observações caminham no sentido de examinar os textos, viabilizando a introdução de um modelo de análise cuja teoria fundamental é a Análise do Discurso. Utilizaremos sobretudo os instrumentos de análise desenvolvidos por Dominique Maingueneau, além das recentes contribuições de Patrick Charaudeau e outros teóricos que enriquecem os estudos sobre o Discurso e a variação lingüística. Os resultados de nossa análise demonstraram a presença de uma variação discursiva e uma especificidade também variada não devido à temática, mas sim pelos diversos modos de subjetividades enunciativas veiculados nas práticas discursivas da música funk
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Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.
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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.
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Fujinaga, Ichiro. "Adaptive optical music recognition." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42033.
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The basic goal of the Adaptive Optical Music Recognition system presented herein is to create an adaptive software for the recognition of musical notation. The focus of this research has been to create a robust framework upon which a practical optical music recognizer can be built.The strength of this system is its ability to learn new music symbols and handwritten notations. It also continually improves its accuracy in recognizing these objects by adjusting internal parameters. Given the wide range of music notation styles, these are essential characteristics of a music recognizer.
The implementation of the adaptive system is based on exemplar-based incremental learning, analogous to the idea of "learning by example," that identifies unknown objects by their similarity to one or more of the known stored examples. The entire process is based on two simple, yet powerful algorithms: k-nearest neighbour classifier and genetic algorithm. Using these algorithms, the system is designed to increase its accuracy over time as more data are processed.
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Ilari, Beatriz Senoi. "Music cognition in infancy : infants' preferences and long-term memory for complex music." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38490.
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The purpose of this study was to investigate infants' preferences and long-term memory for two contrasting complex pieces of music, that is, Prelude and Forlane from Le Tombeau de Couperin by Maurice Ravel (1875--1937). Seventy 8.5-month-old infants were randomly assigned to one of four experiments conducted on the Headturn Preference Procedure. The first experiment examined infants' preferences for Prelude and Forlane in piano timbre. The second experiment assessed infants' preferences for Prelude and Forlane in orchestra timbre. Infants' preferences for the Forlane in piano and orchestra timbres were investigated in the third experiment. The last experiment aimed at infants' long-term memory for complex music. Thirty infants were exposed to either the Prelude or the Forlane three times a day for ten consecutive days. Two weeks following the exposure, infants were tested on the HPP. It was predicted that these infants would prefer to listen to the familiar piece from the exposure over the unfamiliar one. Results suggested that 8.5-month-olds could tell apart two complex pieces of music in orchestra timbre and could discriminate between the piano and the orchestra timbres. Contrary to the belief that infants are ill equipped to process complex music, this study found that infants could encode and remember complex pieces of music for at least two weeks.Because infants rely on their caretakers to provide musical experiences for them, maternal beliefs and uses of music were also investigated. Mothers of participating infants were interviewed on musical background, listening preferences and musical behaviors and beliefs with their infants. The analysis of interview data yielded the following main results: (1) Singing was the primary musical activity of mothers and babies; (2) Maternal occupation and previous musical experiences affected their musical behaviors with their babies; (3) Most mothers held the belief that there is appropriate music for babies to listen to although there was no consensus as to what is appropriate music. Such beliefs reflect a conflict between maternal beliefs regarding infants' music cognition and the actual music-related perceptual and cognitive abilities of infants. Attempting to attenuate this conflict, suggestions for music educators, parents and researchers were proposed.
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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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Sanyshyn, James Evan. "The role of Canadian music in the preparation of music specialists in British Columbia /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30213.
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This study examined the role Canadian music plays in the preparation of secondary school music specialists in British Columbia. Programme content was explored through an analysis of course calendars, a review of student, faculty and guest recital repertoire, and interviews with post-secondary instructors and senior music education students. Fourteen music specialists completed a checklist in order to determine what Canadian materials are being used in the classroom. Follow-up interviews were conducted with three teachers to further explore the selection of teaching materials. An official from a local school board and a participant in the development of music curriculum documents were also interviewed to ascertain the value placed on Canadian music by local school boards and the Ministry of Education. Findings identified a need for increased Canadian content in all facets of post-secondary teacher training in order to expose secondary music specialists to available Canadian resources. Implications for further research are discussed.
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Loeffler, James Benjamin. "A gilgul fun a nigun Jewish musicians in New York, 1881-1945 /." Cambridge, Mass. : Harvard College Library, 1997. http://catalog.hathitrust.org/api/volumes/oclc/37797078.html.
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McKay, Cory. "Automatic music classification with jMIR." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:8881/R/?func=dbin-jump-full&object_id=92213.
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Bolton, Rose A. "Incidental music of my mind." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21496.
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Instrumentation: 1*(1.=picc.)-1-2*(2.-Bb+bass cl.)-1 / 1-1-1-0 / 2 perc., 1 keyb. (piano+celesta) / 1-1-1-1-1The work is approximately 14 minutes long, and consists of six movements which make up a series of musical tableaux, placing greater emphasis on their contrasting characters instead of on gradual and continuous development of material. These movements take their inspiration from activities or situations encountered in everyday life, thus revisiting the old tradition of "character pieces" as encountered, for example, in the music of many composers such as Schumann, Grieg or Mussorgsky.
It is followed by an analysis which examines the harmonic syntax and the language of the work as it relates to the program suggested by the title.
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Lefcoe, Andrew. "Kuhn's paradigm in music theory." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.
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Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than those in other fields. After reviewing some of the salient distinctions between scientific and nonscientific endeavors, some of Kuhn's insights into science are found to clarify an issue in the history of music theory, namely the nature of the succession from figured-bass theory to the formulations of J. P. Rameau.
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Diener, Glendon. "Formal languages in music theory." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59610.
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In this paper, the mathematical theory of languages is used to investigate and develop computer systems for music analysis, composition, and performance. Four prominent research projects in the field are critically reviewed. An original grammar-type for the computer representation of music is introduced, and a computer system for music composition and performance based on that grammar is described. A user's manual for the system is provided as an appendix.
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Fujinaga, Ichiro. "Optical music recognition using projections." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61870.
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Loehr, Janeen. "Temporal coordination in music performance." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95043.
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This thesis investigates temporal coordination in music performance. Previous investigations of temporal coordination have focused on people's coordination of simple movements with experimenter-controlled stimulus sequences or with other people performing similar movements. The research presented here focuses instead on coordination of the rhythmically and sequentially complex sequences required of music performance. The study presented in Chapter 2 shows that musicians adapt the timing of their movements relative to a stimulus sequence in response to sensory information that occurs in the intervals between stimulus events. The amount of adaptation depends on the modality of the sensory information, but adaptation is evident whether the sensory information arises from the performer or from an external source. The experiments presented in Chapter 3 show that musicians are better able to adapt the timing of their movements when coordinating them with a stimulus sequence that decreases rather than increases in rate. This work also shows that musicians' coordination performance better matches the predictions of an oscillator model of temporal coordination than a timekeeper model. The influence of individual differences in musical experience on coordination performance is also demonstrated. Chapter 4 investigates interpersonal coordination between pairs of pianists. This work shows some evidence that each performer in a pair activates mental representations of his or her co-performer's actions during temporal coordination. This study also shows that differences between performers' preferred performance rates influence the accuracy of the temporal coordination between them, and that performing with a partner influences individual performers' subsequent performance rates. Together, this work sheds light on the influence of sensory information and events occurring at multiple temporal levels on coordination performance, elucidates the mechanisms underlying adaptation toCette thèse explore la coordination temporelle nécessaire à la performance musicale. Les études sur la coordination temporelle se sont jusqu'à maintenant principalement intéressé à la coordination de mouvements simples faits par des individus en réponse à des séquences de stimuli contrôlées par l'expérimentateur ou à des mouvements exécutés par d'autres individus. Les travaux de recherche présentés ici se concentrent plutôt sur la coordination de séquences rythmiquement et séquentiellement complexes requise durant la performance musicale. L'étude présentée dans le Chapitre 2 démontre que les musiciens adaptent le rythme de leurs mouvements à une séquence de stimuli en réponse à l'information sensorielle disponible durant les intervalles séparant les stimuli. La magnitude de l'adaptation dépend de la modalité de l'information sensorielle, mais l'adaptation a lieu que l'information sensorielle provienne de l'interprète ou d'une source externe. Les études présentées dans le Chapitre 3 démontrent que les musiciens adaptent le rythme de leurs mouvements plus facilement lorsqu'ils les coordonnent à une séquence de stimuli diminuant plutôt qu'augmentant en vitesse. Ces travaux démontrent aussi que la performance de coordination des musiciens est mieux expliquée par un modèle oscillatoire que chronométrique. L'influence des différences individuelles en termes d'expérience musicale sur la coordination est aussi démontrée. Le Chapitre 4 s'intéresse à la coordination interpersonnelle au sein de paires de pianistes. Ces travaux suggèrent que chaque interprète active une représentation mentale des actions de leur co-interprète pendant la coordination temporelle. Cette étude démontre aussi que les différences de préférence individuelles en termes de rapidité de performance au sein d'une paire d'interprètes influencent la précision de leur coordination. Elle démontre que la performance au sein d'une paire influenc
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Morris, Jeremy. "Understanding the digital music commodity." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95108.
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This dissertation concentrates on the changing form of the music commodity over the last two decades. Specifically, it traces the transition from music on compact discs to music as a digital file on computers/mobile devices and the economic, industrial, aesthetic and cultural consequences this shift has for how we produce, present, and consume music. As computers became viable sources for the playback of popular music in the 1980s and 1990s, the roots of the digital music commodity took hold. Stripped of many of their previous attributes (i.e. album art, compressed sound, packaging, etc.), recordings as digital files were initially decontextualized commodities. On computers, music underwent an interface-lift, gradually getting redressed with new features (i.e. metadata, interfaces, digital packaging). This dissertation focuses on five technologies Winamp, Metadata, Napster, iTunes and Cloud Computing that were key to rehabilitating the music commodity in its digital environments. These technologies and the cultural practices that accompanied them gave music new paratexts and micromaterials that ultimately constituted the digital music commodity. Through case studies, generative archival research, and descriptive analysis, this study makes methodological and intellectual contributions to the field of communication and technology studies as well as to studies of new media and the cultural industries. By teasing out the differences between the commodity aspects of the CD and the digital file, this project offers fresh perspectives on materiality, aesthetics, labour and ownership in an era of digital goods. Digital music's fluid and ubiquitous nature seems to subvert those who seek to profit from it. But while digital music offers the potential to disrupt the traditional ways of doing business in music, it also affords new forms of control and power. This has not stopped artists, hobbyists and users from carrying out creative experiments that call into quesCette thèse de doctorat examine la transformation du produit musical au cours des deux dernières décennies. En particulier, elle illustre la transition de la musique inscrite sur disque compact en fichier numérique disponible sur ordinateurs ou appareils portables et s'intéresse aux conséquences économiques, industrielles, esthétiques et culturelles que cette transition a provoquées en regard aux manières avec lesquelles on produit, présente, et consomme la musique. Dès lors que les ordinateurs ont été en mesure de jouer de la musique populaire au cours des années 1980 et 1990, les bases d'un bien musical numérique ont pris racine. Dépourvue de nombre de ses anciennes caractéristiques (ex. les illustrations, l'information contextuelle, l'emballage, etc.), la musique de format de fichier numérique était, au départ, un bien décontextualisé. La musique présentée sur ordinateur est passée au travers un processus de mise à jour de l'interface marqué par l'insertion de nouvelles caractéristiques (ex. les métadonnées, les interfaces, « l'emballage » numérique). Cette thèse de doctorat focalise sur cinq technologies Winamp, les métadonnées, Napster, iTunes et l'infonuagique ayant joué un rôle central dans la réadaptation du bien musical dans son environnement numérique. Par l'entremise d'études de cas, de recherche en archive et d'a nalyses descriptives, cette étude propose une contribution méthodologique et intellectuelle aux domaines de la communication et de la technologie ainsi qu'aux études sur les nouveaux médias et les industries culturelles. En cernant les différences entre les aspects du disque compact et du fichier numérique les caractérisant comme biens, ce projet offre une nouvelle perspective sur la matérialité, l'esthétique, la main d'uvre et la propriété à l'ère des biens numériques. Bien que la musique numérique ait le potentiel de bouleverser les modèles d'affaires de l'industrie musicale
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Zanni, Caroline A. A. "Attention and music : understanding young children's attention and the potential of music to increase attention." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85108.
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This study examined three areas related to attention in primary school-aged children to answer the following questions: Are there a distinct neuropsychological differences for young children referred by teachers as lacking in attention compared to those not lacking in attention? Are there advantages to using neuropsychological measures of attention over behaviour rating scales and observations in preschool or early grade school population? Can these same neuropsychological tools evaluate the effectiveness of music with children that have attention problems?There were 24 participants in this study, 12 children rated as having attention problems by their teacher and 12 children in the control group. Participants age ranged from 5 years 0 months to 6 years 11 months. All the children were of average intelligence, and were attending an English school or preschool within the greater Montreal Area. Participants served as their own controls for the music conditions. Participants were nested within group and order for the four treatment conditions.
Findings indicated that attention difficulties not only affect behaviour, attention, and inhibition, but also influence cognitive processes in language, memory, and visual perceptual abilities especially visual motor precision. Neuropsychological tests were useful in the assessment of children's attention difficulties and could be used to differentiate attention problems that are strictly behavioural from those that are more likely the result of neuropsychological deficits. For children with attention problems environment and music had limited effects on neuropsychological variables. Rock and roll increased children's ability to sustain visual attention if they were classified as having an attention problem. It did not have this effect for children without attention problems. Gross motor inhibition is also affected by rock and roll, but only for boys who have attention problems. Higher level interactions with gender were found in overall neuropsychological functioning and with respect to music. School based interventions must be based not only on behaviour but also on cognitive deficits; early intervention is important to this process.
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Galaty, James G. "As The Music Leaves No Scar: composing with models based on popular music: distillation and distantiation." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18819.
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This thesis has been written with the aim of integrating the two parallel paths which have characterized my formative years: on the one side an early contact with and practice of popular music, on the other, a more 'classical' training in music in a university context. This suggested a path of investigation within a song cycle for solo baritone and 17 musicians, where a musical space is extended beyond an imagined 'popular' world, through the creation of 'models' – based upon my own popular-music inspired songs – which are then set into 'perspective' through various combinations and transformations. The form of the work, based on an original poetic narrative of artistic self-searching and alienation, charts a path of perspectives that moves from the original popular space to others that are increasingly remote and speculative, which eventually acquire a new autonomy.Cette thèse a pour but de faire converger les deux voies jusqu'ici parallèles qui ont caractérisé mes années de formation musicale: d'une part une pratique acquise jeune de la musique populaire et de l'autre une formation plus 'classique' dans un cadre universitaire. Celà m'a suggéré un mode d'investigation particulier exemplifié par la composition d'un cycle de chansons pour baryton solo et dix-sept musiciens. Dans cette oeuvre, j'ai imaginé un espace musical se développant au-delà de l'idiome 'populaire' par la création de 'modèles' – eux-mêmes distillés de mes propres chansons inspirés de l'idiome populaire – qui sont littéralement 'mis en perspective' par les biais de divers processus de combinaison et de transformation. Issue de la structure poétique de la narration que j'ai écrite pour cette occasion et qui traite de questionnement identitaire et d'aliénation, la forme de l'oeuvre s'articule au fil de différentes perspectives qui s'éloignent graduellement de l'espace artistique populaire vers des régions éloignées plus spéculatives qui acquirèrent leur autonomie propre.
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Aldred, Sarah. "Cultural identity and Galician folk music." Thesis, University of Strathclyde, 2005. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=23489.
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Mikkonen, Simo. "Music and power in the Soviet 1930s : a history of composers' bureaucracy /." Lewiston, N.Y. [u.a.] : Mellen, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017397006&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Plamondon, Marc. "Music in the poetry of Robert Browning." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26304.
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This thesis attempts to characterize the musicality of Robert Browning's poetry. There has been much debate about whether or not Browning may be said to be a musical poet, but neither side has effectively characterized the musicality or lack thereof in his poetry. This study does not concentrate on Browning's "philosophy" of music, nor on the musical allusions in his poetry. Instead it attempts to identify aspects of Browning's art that share an affinity with music.First, the state of music in nineteenth-century England is briefly discussed, followed by a discussion of Browning's musical background and an attempt to identify some general characteristics of musical poetry. The balance of the study is devoted to a discussion of the musicality of ten poems, among them "A Toccata of Galuppi's" and "Master Hugues of Saxe-Gotha". Emphasis is placed on these last two poems' ability to approximate a musical form: the toccata and fugue in the first, and the fugue in the second. The study concludes with a more general discussion of music in Browning's poetry.
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Guimond, David. "(Re)sounding : disintegrating visual space in music." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102803.
Full textAbstract:
While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski.
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Sutherland, Richard Francis. "Making Canadian music industry policy 1970-1998." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32522.
Full textAbstract:
This dissertation is a history of the development of the Canadian federal government's music industry policies from about 1970 to 1998. Over this period the government undertook a number of significant initiatives that mark the emergence of the Canadian music industry as a distinctive object of federal policy. The resulting account is not a single, linear narrative but unfolds in three separate but related streams, based on the following policies: Canadian content quotas for radio, the Sound Recording Development Program (a funding program to support the production and marketing of sound recordings), and revisions to Canada's copyright regime, such as neighbouring rights and a home taping levy. Each of these policies has a distinct history, originating in different areas of government at different times. Together, they do not form a consistent whole as much as an overlapping set of separate "policy assemblages," incorporating distinctive policy instruments and particular configurations of the Canadian music industry. Drawing on Michel Callon's work on the construction of markets, the dissertation explores the various ways in which the Canadian music industry enters into cultural policy through its associations with other extant policy formations. Canada's music industry appears in various roles in this history – as a supplier of programming for broadcasters, as a sector comparable to other 'cultural industries' such as film production and book publishing, and as the representative of the rights of artists and creators. Finally, the dissertation examines the ways in which these conceptions begin to cohere through the efforts of government and the industry representatiCe travail dresse un historique des mesures prises par le gouvernement fédéral canadien dans le domaine de l'industrie musicale, de 1970 environ jusqu'en 1998. Au cours de cette période, le gouvernement met en place plusieurs mesures décisives qui font de la production musicale un secteur spécifique de la politique fédérale. Le texte qui suit n'est pas un compte rendu chronologique; il s'organise en trois parties distinctes mais interdépendantes, qui recensent trois types de mesures : le quota de contenu canadien pour les programmes radiophoniques, le programme d'aide au dévelopement de l'enregistrement sonore (un programme qui finance la production et le marketing des enregistrements sonores), et les corrections apportées au régime canadien du droit d'auteur : droits voisins, droits à la copie pour usage privé. Ces mesures ont leurs histoires propres, nées à des périodes différentes dans des ministères différents. Considérées dans leur ensemble, elles ne forment pas un tout cohérent, mais plutôt une collection d'"agencements politiques", qui combinent procédures politiques et aménagements propres au secteur concerné, celui de la production musicale au Canada. S'inspirant des recherches de Michel Callon sur la construction des marchés, notre travail explore les différentes filières par lesquelles la production musicale canadienne a pris place dans la politique culturelle grâce à son association avec d'autres institutions déjà en place. L'industrie musicale canadienne joue plusieurs rôles dans notre travail : pour les diffuseurs, celui de fournisseur de programmes, pour les autres secteurs de la vie culturelle (cinéma ou édition), cel
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Gudmundsdottir, Helga Rut. "Music reading errors of young piano students." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82885.
Full textAbstract:
This study investigated the music-reading errors of 6--13-year-old piano students (n = 35) as they read three unfamiliar musical pieces. The musical pieces were similar in terms of tonality, and rhythmic and melodic complexity, but differed in terms of simultaneity of left- and right hand and complexity of left-hand arrangement.Pitch errors were examined in terms of frequency, placement, and type. Of all pitches played, 23% were incorrect pitches. However, 30% of the incorrect pitches were followed by an immediate correction (self-correction). There were significantly more errors made in the left-hand parts than in right-hand parts of all three pieces. The most common error type was erroneous pitches, followed by redundant and omitted pitch errors respectively. Erroneous pitches were significantly more often contour preserving than contour violating. The younger children made significantly more redundant pitch errors and contour violating pitch errors than did the older children and the younger children tended to make more self-corrections than did the older children.
Timing data were examined in terms of the length of performances and in terms of the length and frequency of pauses. No significant differences were found between pieces or age groups in terms of timing. A high frequency of pauses was noted in both age groups. Evidence drawn from pitch and timing errors suggested that the children in this study tried to play all the pitches in the score with little or no consideration for the rhythmic information in the score. This finding was in accordance with results of previous studies on children and music reading. Implications for music education and research are discussed.
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van, Geest Justin. "Metre in the Music of Anton Webern." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=123278.
Full textAbstract:
In this thesis, I examine Anton Webern's metrical practice. Metrical issues seem to have been a preoccupation for the composer, evidence of which is found in, among other sources, sketch material (Bailey 1995) and metrical features of the published works, as I will show. While scholars have acknowledged the richness of metre in Webern's works (e.g., Berry 1976, Boulez 1991), relatively little metrical analysis has been undertaken; in particular, analyses that account for entire works are relatively rare, and no attempt has been made to investigate metre in depth across Webern's œuvre. In this investigation, I aim to make progress on both of these fronts. The heart of this investigation is its two analytical chapters, in which I discuss metre and metrical issues in four earlier works—opp. 3/i, 5/i, 7/iii, and 11/i—and five later works—opp. 21/i, 22/ii, 28/ii, 29/i, and 31/v. One of the central concerns in this investigation is the relationship between musical surface and notated metre, an issue that arises frequently in existing metrical analyses of Webern's works. I discuss the different manifestations of this relationship and what these indicate about Webern's conceptions of metre. Among the themes that arise in this investigation are the mitigation of metrical structure, connections between metre and form, the "spatialization of meter" (Hasty 1997), metrical ambiguity, "non-committal" metre signatures, the fragmentation of the musical surface, and the employment of "metrical cells."Dans ce mémoire, j'examine la pratique métrique d'Anton Webern. Les aspects métriques semblent avoir été une considération importante pour le compositeur, ce que l'on voit clairement, entre autres, dans ses esquisses (Bailey 1995) et à travers les caractéristiques métriques de ses œuvres, comme je le démontrerai. Bien que la richesse de la métrique dans la musique de Webern soit déjà reconnue (Berry 1976, Boulez 1991), peu d'analyses métriques ont été entreprises; d'ailleurs, celles qui tiennent compte d'œuvres entières sont relativement rares, et il n'existe aucune analyse approfondie de la métrique sur l'ensemble de son œuvre. Dans ce mémoire, je vais tenter de combler ces deux manques.Le cœur de cette investigation consiste en deux chapitres analytiques, dans lesquels je discute de la métrique et des enjeux métriques qui émergent de quatre morceaux de la première moitié de l'œuvre de Webern (opp. 3/i, 5/i, 7/iii, et 11/i) ainsi que de cinq morceaux de la deuxième moitié de son œuvre (opp. 21/i, 22/ii, 28/ii, 29/i, et 31/v). L'une des questions les plus importantes de cette étude consiste en la relation entre la surface musicale et la métrique telle qu'écrite. Cette question revient souvent dans les analyses existantes des œuvres de Webern. J'analyse les multiples aspects de cette relation et ce qu'ils indiquent par rapport aux conceptions de la métrique de Webern. Parmi les thèmes que l'on retrouve dans cette discussion sont l'atténuation de la structure métrique, les connections entre la métrique et la forme musicale, la « spatialisation de la métrique » (Hasty 1997), l'ambiguïté métrique, les chiffrages de mesure « non-committal », la fragmentation de la surface musicale, et l'emploi des « cellules métriques ».
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Upham, Finn. "Quantifying the temporal dynamics of music listening: a critical investigation of analysis techniques for collections of continuous responses to music." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104495.
Full textAbstract:
Continuous response measurement offers a data-rich trace of a listener's experiences of music in time. Listeners' responses are most often studied in collections---each a set of time series of the same response measure to the same stimulus from multiple listenings. Inter-response variability and the challenges of time series analysis complicate the interpretation of these collections. This thesis describes traditional and novel methods of analyzing collections of continuous responses to music with the goal of identifying what information can be found in these collections before trying to establish possible relationships to the features of the stimulating music. Besides mathematical investigations of these analysis methods, their potential outcomes are assessed by applying each to forty experimental collections of continuous rating responses and four artificial collections of unrelated continuous rating responses. The traditional analyses studied include the average response time series and Pearson correlations between continuous responses as a measure of response reliability. The chapter on novel techniques introduces activity analysis and coordination tests, evaluates measures of the relative significance of time points in these collection, and applies cluster analysis in search of distinct patterns of response to the same stimuli. The results of these analyses suggest that though music does not provoke the same continuous response from all listeners, musical works can induce distinct and repeatable listening experiences which are measurable in collections of continuous responses.L'évaluation des réactions continues permet d'obtenir un tracé riche en données de l'expérience des auditeurs par rapport à la musique au fil du temps. En règle générale, les réactions des auditeurs sont analysées par ensembles, c'est-à-dire par groupes de séries chronologiques portant sur de mêmes relevés de réactions au même stimulus provenant d'écoutes multiples. La variabilité entre les réactions et les défis inhérents à l'analyse des séries chronologiques rendent l'interprétation de ces ensembles encore plus complexe. La présente thèse décrit des méthodes traditionnelles et nouvelles d'analyse d'ensembles de réactions continues à la musique afin d'identifier quelles informations peuvent être recueillies dans ces ensembles avant de tenter d'établir des liens possibles avec les caractéristiques de la musique stimulante. En plus de l'étude mathématique de ces méthodes d'analyse, leurs résultats potentiels ont été évalués en appliquant chacune d'entre elles à quarante de ces ensembles d'évaluation de réactions continues ainsi qu'à quatre ensembles artificiels d'évaluations de réactions continues non apparentés. Les analyses traditionnelles étudiées comprennent les séries chronologiques moyennes et des corrélations de Pearson entre les réactions continues comme évaluation de la fiabilité de la réaction. Le chapitre portant sur les nouvelles techniques commence par une présentation de l'analyse de l'activité et des tests de coordination. Par la suite, il évalue les mesures de pertinence des repères temporels de ces ensembles, puis il rend compte de l'analyse par regroupements visant à identifier des modèles précis de réactions aux mêmes stimuli. Les résultats de ces analyses sous-tendent que bien que la musique ne provoque pas la même réaction chez tous les auditeurs, l'oeuvre musicale peut créer des expériences d'écoute distinctes et reproductibles pouvant être évaluées dans des ensembles de réactions continues.
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Davies, Robin 1975. "Toolkit : specialized software tools for electronic music composition." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32905.
Full textAbstract:
This research presents new audio creation and processing tools for the virtual electronic music studio. The Tools were created by the author in the Max/MSP authoring environment. Some Tools model analog production techniques lost when studios moved inside computers, and provide additional functionality only possible in the digital world. Others make use of traditional processing ideas but add a level of control difficult to find in today's audio software plug-ins. The Tools are small, simple, real-time, and user-controllable devices for working with sound.
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Schartmann, Andrew. "A study of thematic introduction in Beethoven's music." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106301.
Full textAbstract:
Beethoven's contribution to the expansion and development of musical form is a prevalent topic in the scholarly literature on this composer. Surprisingly, though, one important aspect of this contribution remains unexplored—the role that thematic introduction plays in the structure of his works and the development of his style. According to William Caplin, introductions fall into one of two categories: thematic or slow. Whereas the former consists of 2-4 measures that precede the onset of the main theme, the latter comprises a more extensive section of music that prepares the exposition. This binary position, however, does not capture the plurality of introduction techniques employed by the composer. Chapter 1 confronts this difficulty, among others, in conjunction with current theories of thematic introduction. The remainder of the thesis lays out and develops the theoretical foundations for a fresh perspective on thematic introduction in Beethoven. By systematically presenting introduction types and integration techniques, we come to understand the highly varied nature of introduction function in this music. Chapter 2 outlines briefly the five introduction types found in Beethoven's oeuvre: accompanimental, hammer-stroke, generative, head-motive and anacrusis. Chapter 3 provides in-depth analyses of specific works to illustrate these types in greater detail and incorporates three integration techniques (framing, motivic influence, and metamorphic) to show the various ways in which Beethoven uses introductory material throughout a given composition.La contribution de Beethoven à l'expansion et au développement de la forme musicale est un sujet répandu dans la littérature savante portant sur ce compositeur. Cependant, il est curieux qu'un aspect important de sa contribution demeure encore inexploré - le rôle joué par l'introduction thématique dans la structure de ses œuvres et le développement de son style. Selon William Caplin, les introductions se répartissent en deux catégories, soit thématiques ou lentes. Alors que la première se compose de deux à quatre mesures qui précèdent l'apparition du thème principal, la dernière comprend une section de musique plus vaste qui prépare l'exposition. Cette position binaire ne tient cependant pas compte de la pluralité des techniques d'introductions utilisées par le compositeur. Le chapitre 1 confronte cette difficulté, entre autres, en conjonction avec les théories actuelles de l'introduction thématique. Le reste de la thèse expose et développe les fondements théoriques d'une nouvelle perspective sur l'introduction thématique dans la musique de Beethoven. En exposant systématiquement les types d'introductions et les techniques d'intégration, nous arrivons à comprendre la nature très variée des introductions utilisées dans cette musique. Le chapitre 2 décrit brièvement les cinq types d'introductions que l'on retrouve dans l'œuvre de Beethoven: accompagnement, premier coup d'archet, générative, motif et anacrouse. Le chapitre 3 fournit une analyse en profondeur d'œuvres spécifiques permettant de mieux illustrer ces types d'introductions et présente trois techniques d'intégration (cadrage, influence motivique, et métamorphique) démontrant les différentes façons dont Beethoven utilise les introductions tout au long d'une composition.
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De, la Riva Richard. "Architecture and music : on rhythm, harmony and order." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22393.
Full textAbstract:
This paper examines the relationship of architecture to music in terms of rhythm, harmony and order in both the Greek Antiquity and the early Middle Ages. These basic concepts are crucial because they emphasize 'fullness' of experience and demonstrate the extent to which our own regulating experience of the world has become empirical (or formal). The discussion thus places architectural theory within the movement of ideas between mythical thought and metaphysical construct; it places architectural practice within the movement between bodily experience and reasoning.