Dissertations / Theses on the topic 'Mushic'

Young Muslims in Britain are increasingly required to navigate an unsettled social, religious and cultural landscape. These complex dynamics encompass a range of factors: from sectarianism and the global marketplace of Islamic knowledge, through to the influence of diverse ethnic communities, the ubiquity of popular culture, and late-modern discourses relating to spirituality and religion. Religious practice, identity formation and social/cultural relationships are therefore a continual process of (re)negotiation, with young Muslims often adopting highly reflexive and pragmatic approaches to this uncertainty. Emerging from this turbulent context is a vibrant Muslim music culture. This thesis provides an ethnographic account of this music culture – through engagement with both musicians and fans – whilst furthermore analysing the deeper significance of Muslim cultural production in contemporary Britain. The observations and arguments throughout are based on extensive fieldwork that took place over a period of approximately two years. A number of methodological strategies were employed: these included interviewing, participant observation and various online research methodologies (including an online survey). While the ethnographic account provided in this thesis is an original and timely contribution to the study of Muslims in Britain, there are broader theoretical implications to emerge. In particular, the original concepts of ‘Islamic Music’ and ‘Islamicallyconscious music’ are developed to better understand how Muslim musicians varyingly emphasise both their individual subjectivity and a more collectivist sense of religious belonging. By examining the development of a distinct British Muslim public sphere, it will therefore be claimed that Muslim musicians are using cultural production as a vehicle to simultaneously contest, negotiate and develop ideas of Muslim practice and collectivity in contemporary Britain.

This thesis comprises a portfolio of thirteen original musical compositions supported by a 30,000 word critical commentary along with videos and sound recordings of a number of the works on CD and DVD. The two operatic works are both set to o~gin<.!-l libretti which are included as appendices. I As the title of the thesis suggests, all of the musical works submitted are linked by a common dramatic voice. The written commentary analyses the processes and influences on those works, with particular emphasis on the theatrical. The focal point of the submission is a large-scale operatic work scored for full symphonic forces and three tenors called Piano Mall. The commentary considers the process of creating this piece and the other works ;in the portfolio are considered within the context of its production. The other works are scored for a variety of forces - from choral works to works for mixed instrumental ensembles. The chapters of the commentary build to create a complete picture of my working methodology and places my work in the context of current music theatre trends. The first forms an introduction to this thesis and sets my work within a wider contemporary context. It also outlines my approach to Shakespeare in adaptation before taking a critical look at modem music theatre and suggesting ways in which my work attempts to take the art form forwards. Chapter Two considers musical and theatrical references in my work and Chapter Three focuses in particular on the influence of Brecht's Epic Theatre. A summary of practical workshops with students from Bradfield College in Reading and Chigwell School in Essex forms the basis of Chapter Four which considers the role of the audience in modem music theatre. And finally, Chapter Five is a detailed analysis of the creation of Piallo Man.

Thesis (M.M.)--Cleveland State University, 2009.
Abstract. Title from PDF t.p. (viewed on Dec. 15, 2009). Includes bibliographical references (p. 52-55). Available online via the OhioLINK ETD Center and also available in print.

Orientador: Celia Maria de Castro Almeida
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Mestrado

Can music be made with words alone, artistically arranged? Can music be part of a novel or a short story? Can a novella realize a musical form, and does it mean it is a musical piece? Is being a piece of literature incompatible with being a piece of music as well? If so – in what way or ways? If not, for what reason? These simple questions are the conceptual starting point of the research developed in the present dissertation. It investigates the essential interrelation between music and artistic prose in cases of imitation of music within the latter. Musica textualis, its central concept, is introduced in the first part as a meeting point of two distinct traditions of study, namely Philosophy of Music, on one hand, and the Word and Music Studies, on the other. It is an aporetic field emerging organically in the course of the historical development and dissolution of the system of the arts. Mutual intermedial imitations on the level of artistic creation and appreciation are continuously counterpointed by parallel processes within the history of aesthetic thought, metaphysics of art and musico-literary criticism, influencing greatly ways of perceiving and understanding distinct artforms and the aesthetic experiences they elicit. One of the main aims of the present research was to establish the actual status of the literary incarnations of music in artistic prose. The initial hypothesis was that there are some special cases, where music is not only represented in words by means of description, evocation, allusion and other standard literary techniques, but is actually there in the text, strictly speaking. Such local cases are possible and instantiated: the paradigm example is (Mann, 1967) with its model interpretation in (Scher, 1967), but there are also antecedent cases such as (Woolf, 1921) interpreted in (Harmat, 2008) or very recent artistically outstanding realizations as (Libera, 2013), interpreted here. What emerges as a positive theory from this research is the category of musica textualis. It denotes a mixed form which unites word-made-music with literary prose in a compound whole sui generis. It is conceptually symmetrical to programme music, where the real presence of music and literature in a compound structure perceptually made solely of musical sounds without words is not contested. Through its complex nature and fragile statute, it functions as a regulative ideal for the above-mentioned eponymous aporetic field. The explanatory force, methodological and interpretative implications of this theory are significant. Especially, the very process of its historical emergence through the aesthetics of Romanticism, the development of programme music and R. Wagner’s musical drama technique and the “intermedia turn” characterizing Modernism, unveil its necessary place in the conceptual map of the complex interrelation of these two temporal allographic arts: epics and music. The dissertation takes into account the vast and problematic discussion internal to the Word and Music studies and similar branches of intermodal/interart/transdisciplinary studies in their classical Anglophone version cf. (Scher, 1970; Wolf, 1999; Petermann, 2014), as well as in their Polish counterpart, anticipated critically in the work of Tadeusz Szulc (1937), and recently developed in, e.g. (Balbus, 2004; Hejmej, 2008, 2012). Also French and other studies are taken into consideration, cf. e.g. (Pautrot, 2004; Picard, 2008, 2010). It can potentially contribute to some significant clarifications in these controversial fields, but it is methodologically autonomous. It combines some elements of conceptual analysis and argumentation typical of analytic Philosophy of Art with a broader “continental” contextual horizon and interpretative ambitions. The main source of its insight comes from the immediate aesthetic experience of prose containing crucial instantiations of what can be interpreted as musica textualis. These insights are confronted with the achievements of the classical Philosophy of Music on one hand and the Word and Music practice on the other. As far as it is known, this is a novel approach within Philosophy. This method, intended as facilitating future mutual dialogue between the disciplines, is potentially beneficial for both (and open for further dialogue with musicology, which today is keen on borrowing research tools from Literary Theory). For the philosophers of music it discovers a neglected area of study, through a meticulous polemics with the conceptualizations of music at hand in the analytic tradition. It shows that works of musica textualis are, at least in part (like operas or Lieder, for that matter) works of music, and that there are no substantial grounds for excluding them from philosophical scrutiny of music. It shows that only the most anti-essentialist, accidentalist philosopher could find a coherent reason to reject a work of musica textualis from the realm of music on contingent grounds of the communis opinio; even his reasoning, though, is ultimately proven fallacious. Other philosophers are invited to rethink the way they localize essential features of the phenomenon in question. For the literary scholars interested in the practices described as musicalization of fiction, intermedial transposition / translation / transfer, the musical novel, music in the words within the venerated tradition of the comparison of the arts on the axis Music – Literature and especially in the 20th Century born Word and Music Studies – musica textualis can become a helpful tool in the on-going methodological dispute. It helps to distinguish genuine problems of method within the Word and Music Studies from what emerges as the vital aporetical core of interart phenomena such as Mann’s Doctor Faustus. This core confronts us with questions which cannot be resolved through some consensus within the scholarly community, but are better accepted and cherished as fertile sources of artistic and intellectual inspiration. The dissertation is divided into three parts. The first part introduces the concept of musica textualis, and places it within the contemporary philosophical discussion on music, explaining in detail its Boethian pedigree as well as its relation to the state of the art within Word and Music studies, as discussed in the Introduction. In the chapter Music Beyond the Senses it offers some novel arguments against definitions of music that would exclude musica textualis a priori; it defends a slight modification of the definition of music advanced by (Kania, 2011). Problematic cases of silent music are discussed extensively and the notion of intentional calibration – inspired by stances taken by Husserl, Ingarden, Iser, Wittgenstein, Wollheim, Scruton and others – is introduced. The second part consists of three chapters consecrated to three Polish authors (Iwaszkiewicz, Libera, Bartnicki) whose work is interpreted as displaying three radically different modes of musica textualis. This choice, by no means exhaustive, is intended to illustrate the introduced concept at work in dissimilar cases, sharing though one property: all have been paid little or no attention by the international musico-literary scholarship (not to mention the philosophers of music). The third and conclusive part shows musica textualis as a genuine aporetic field.
Al centro della ricerca presenata nella dissertazione si pone la domanda se la musica possa essere parte di un romanzo o un racconto breve o, in altri termini, se il fatto che un’opera sia letteraria sia (in)compatibile con il suo essere anche un’opera musicale. Si può far musica con le parole? E se sì, in che modo? Se invece la risposta è “no”, per quali ragioni? La dissertazione indaga le relazioni tra musica e prosa artistica nei casi in cui all’interno di quest’ultima vi sia un’imitazione della musica. Il lavoro è articolato in tre parti. Nella prima parte introduco il concetto di musica textualis, lo colloco nella contemporanea discussione filosofica sulla musica e ne spiego la discendenza Boeziana. Si tratta del concetto centrale della ricerca, il punto d’incontro di due diverse tradizioni di studio, vale a dire, da un lato la filosofia della musica e, dall’altro, i cosiddetti Word and Music Studies, offrendo lo stato dell’arte. Sempre in questa parte, nel capitolo intitolato Music Beyond the Senses, offro alcuni argomenti nuovi contro le definizioni della musica che escluderebbero a priori la musica textualis. Inoltre, vengono discussi estensivamente casi di silent music. Nel capitolo successivo viene sviluppata la riflessione sul carattere intenzionale di ogni proprieta musicale, ispirata a posizioni di Husserl, Ingarden, Iser, Wittgenstein, Wollheim, Scruton e altri. Una definizione di musica ispirata a Kania (2011) viene proposta per accomodare musica textualis. Il mio lavoro prende in considerazione l’ampia discussone interna ai Word and Music studies e agli analoghi filoni di studio sull’intermodalità sia nella classica versione anglofona (Scher, 1970; Wolf, 1999; Prieto, 2002; Shockley, 2009; Petermann, 2014), sia nella controparte di lingua polacca, anticipata nei lavori di Tadeusz Szulc (1937) e sviluppata in anni più recenti ad esempio (Hejmej e Głowiński). Anche contributi provenienti dall’area linguistica francese sono presi in considerazione (Pautrot, Picard). Nei tre capitoli della seconda parte del lavoro mi rivolgo a tre autori polacchi (Iwaszkiewicz, Libera, Bartnicki), interpretandone le opere come esempi di tre modi radicalmente diversi di musica textualis. La scelta di questi autori, in nessun modo esaustiva, è volta a illustrare come i concetti precedentemente introdotti operino in casi diversi che, tuttavia, condividono una proprietà: tutti hanno prestato poca o nessuna attenzione alla scholarship musico-letteraria internazionale (per non menzionare la filosofia della musica). Nella terza e ultima parte della dissertazione offro ulteriori riflessioni sulla musica textualis in quanto nozione che fa sorgere un genuino campo aporetico. La dissertazione mostra come il complesso campo d’indagine della musica textualis emerga dallo sviluppo e dalla dissoluzione del sistema delle arti. Reciproche imitazioni intermediali a livello della creazione e dell’apprezzamento artistico trovano riscontro in processi paralleli nell’estetica, nella metafisica dell’arte e sul piano della critica musicale e letteraria, influenzando il modo di percepire e comprendere forme d’arte diverse e l’esperienza estetica che occasionano. Uno degli scopi principali della ricerca è stato di stabilire lo status attuale dell’incarnazione della musica nella prosa artistica. L’ipotesi iniziale è stata quella di una presenza della musica nel testo, inteso come spartito per un’interpretazione musicale, e non tanto in descrizioni, evocazioni e attraverso altre tecniche letterarie. Al riguardo l’esempio paradigmatico è il Doktor Faustus di Thomas Mann, ma vi sono anche antecedenti come Monday or Tuesday di Virginia Woolf ed esempi più recenti come lo straordinatio Toccata in do maggiore di Antoni Libera (trad. it. 2015), di cui la dissertazione offre un’interpretazione. Alla luce dell’analisi di questi casi, un risultato della ricerca è di mostrare che la categoria di musica textualis denota una forma mista che unisce musica-fatta-con-le-parole e prosa letteraria in un tutto sui generis. Si tratta di una realizzazione concettualmente simmetrica alla musica a programma, nella quale la presenza reale di musica e letteratura in una struttura composta, percettivamente costituita solo da suoni musicali senza parole, pur essendo contestabile da parte dei formalisti estremi, rimane pur sempre chiaramente concettualizzata. Nel mio lavoro metto in luce la forza esplicativa e le implicazioni metodologiche e interpretative di questa prospettiva teorica, il cui luogo nella mappa concettuale delle relazioni complesse delle due arti allografiche temporali – l’epica e la musica – è del resto rivelato già dal processo della sua emergenza storica nell’estetica romantica, nello sviluppo della musica a programma, nel dramma musicale wagneriano e nell’“intermedia turn” modernista. La dissertazione combina elementi di analisi concettuale tipici della filosofia analitica con le più ampie ambizioni interpretative “continentali”. La fonte principale delle sue intuizioni deriva comunque dall’esperienza (estetica) di una prosa contenente esemplificazioni cruciali di ciò che può essere interpretato come musica textualis. Tali intuizioni sono confrontate da un lato con i risultati della classica filosofia della musica, dall’altro, con la pratica della Word and Music. Si tratta di un approccio filosofico che apre, per la filosofia della musica, un campo di studio trascurato dalle teorie sulla musica presenti nella tradizione analitica. Mostro che le opere di musica textualis sono, almeno in parte, opere musicali, e che non vi sono ragioni sostanziali per escluderle dall’indagine filosofica della musica. La ricerca mostra inoltre come, per gli studiosi di letteratura interessati alla pratica descritta come musicalization of fiction, trasposizone intermediale o music in the words, all’interno della tradizione del paragone fra le arti lungo l’asse musica-letteratura, l’ipotesi musica textualis possa essere uno strumento utile nella continua disputa metodologica. Essa aiuta a distinguere i genuini problemi di metodo interni ai Word and Music Studies da quanto emerge come il vitale nucleo aporetico di fenomeni inter-artistici come il Doktor Faustus di Mann. Questo nucleo presenta questioni che, secondo me, vanno accettate e coltivate come fertili fonti di ispirazione artistica e intellettuale.

This thesis presents a professional/organisational analysis of popular music journalism in the UK. It considers the conditions under which consumer music magazines are produced (at the level of both the newsroom and the publishing organisation) and how music journalists deal with their main point of informational contact, the press officer. Drawing on original interview and participant observation research, the thesis considers: the economic and bureaucratic forces within magazine publishing organisations; how titles are positioned both individually and collectively as part of portfolio of niched titles; how market forces condition how and why titles are launched, redesigned and folded; and, ultimately, how all these factors impact upon and shape the socio-professional and cultural conditions under which editors and their staff work. The thesis then considers the music press officer (both in-house and independent and their office/departmental hierarchies) in terms of how they exist and operate at the meeting point of three distinct groups: the artists they are employed to represent; the artists' record companies; and the press (and their attempts to reconcile these often divergent needs). Having considered the music press and music journalists in isolation (in terms of power structures as well as their collective and individual goals) and press officers in isolation (in terms of their position within wider music industry promotional strategies and how they build, develop and revise a roster of artists) the thesis then moves on to analyse how these two distinct professional groups (journalists/editors and press officers) work together, how they professionally and organisationally define their goals and objectives and the steps they take to meet these goals and objectives, negotiating quantitatively and qualitatively the coverage of artists. A complex relationship of conditional power and mutual dependency links these two sets of professionals in both their formal activities and their socio-cultural activities. Breaking from previous studies that have described a uni-directional flow of power and influence of press officers over the press, the thesis argues that the relationships that tie these groups together (in terms of gatekeeping within the hierarchy of the newsroom and a tilting balance of power) are much more complex that has previously been assumed.

Music within Islam has been a subject of dispute for centuries. Some believe that music is haram, or totally prohibited. Others believe that depending on its context and lyrics, it may be halal, or allowed. Gender plays an important role in this discussion, as sometimes concepts of femininity transmitted through Western popular music may go against particular Muslim ideals. Inspired by this debate, this thesis is an ethnographic analysis of a sixteen-month fieldwork experience that took place in Belfast, Northern Ireland, in which I explored how young Muslim females living in this city constructed and embodied their gender identity and religious identities through popular music. This research revolves around two key issues: the ways in which popular music mediated concepts of sexuality and femininity amongst Muslim teenagers and young women; and the extent to which their music listening choices affected and reflected who they were or were expected to be. The sample for this research included females between 13 and 47 years old, who were either born Muslims or converts. At a time when the number of young Muslims in Europe is constantly increasing and when more and more British nationals are converting to Islam, this research sheds light on the multiple negotiation processes young Muslim females in Belfast experience to make sense of their religious and gendered identities through their engagement with popular music.

Title and subtitle: Feedback and instrument lesson – The usage of feedback in individual instrument lesson in a Swedish high school. Feedback is a well-researched subject in many academical areas such as psychology, pedagogy and music education. Generally it is perceived as information about performance. Depending on how it is given, feedback can create different types of behavior. The aim of this study is to analyze how feedback is used in individual violin, electronic bass, cello and percussion instrument lessons. The study is based on the qualitative research tradition. Accordingly, video observation and thematic analysis are used for gathering and analyzing the empirical data. The participants are four instrument teachers and their four high school students. The observations are made in two different occasions per each teacher and student at several different locations in a middle-sized Swedish city in November, 2017. The results are presented in two chapters; results and discussion. All instrument lessons have shown aspects of the use of effective feedback but in different ways. In other words, they present feedback about goals, current prestation and strategies. However, the type and the method used, for instance quantity, of feedback are different between these lessons. For example, the violin teacher uses praise more frequently and explicitly compared to the other teachers.