Log in

Relevant bibliographies by topics / Music criticism / Dissertations / Theses

Dissertations / Theses on the topic 'Music criticism'

To see the other types of publications on this topic, follow the link: Music criticism.

Author: Grafiati

Published: 4 June 2021

Last updated: 7 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 dissertations / theses for your research on the topic 'Music criticism.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

Aitken, Shelagh Elizabeth. "Music and the popular press : music criticism in Paris during the First Empire /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598311.

Full text

Abstract:

Diss.--Philosophie--Evanston, Ill., 1987.
Réunit des articles du Journal des débats, du Journal de Paris, du Journal de l'Empire et du Moniteur universel en français avec la trad. anglaise en regard. Bibliogr. p. 433-444.

APA, Harvard, Vancouver, ISO, and other styles

2

Carneiro, Albuquerque Liliana. "Mockumentaries and the music industry : between flattery and criticism." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/125712.

Full text

Abstract:

This thesis discusses the relationship between mockumentaries and the music industry. Because this subject has yet to be studied in depth, the original contribution to knowledge is to further examine this relationship. To do so, a literature review documenting what has thus far been written about mockumentaries is provided. This audiovisual strategy is also contextualized within contemporary practices. In the next section, the music industry is discussed in broad terms. Firstly, the relationship between cinema and music is addressed. Then, music is depicted as a cultural phenomenon, with recent issues also being brought to light. In the last chapter, four music-related mockumentaries are analysed. Then, extensive conclusions are drawn.
Esta tesis analiza la relación entre la industria de la música y los falsos documentales. Teniendo en cuenta que esta cuestión todavía no se ha estudiado en profundidad, la contribución original al conocimiento es centrarse en el análisis de esta relación. Para ello, una revisión de la literatura se proporciona, discutiendo lo que hasta ahora se ha escrito acerca de falsos documentales. Esta estrategia audiovisual también se estudia en el contexto de otras prácticas audiovisuales contemporáneas. En la siguiente sección, la industria musical es tratada en términos generales. En primer lugar se aborda la relación entre la música y el cine. A continuación, la industria de la música es analizada como un fenómeno cultural, y además se abordan cuestiones actuales. En el último capítulo cuatro falsos documentales relacionados con la música son analizados y por último se presentan una serie conclusiones.

APA, Harvard, Vancouver, ISO, and other styles

3

Titus, Barbara. "Conceptualizing music : Friedrich Theodor Vischer and Hegelian currents in German music criticism, 1848-1887." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423336.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music." Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.

Full text

Abstract:

555 pages
This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire.
10000-01-01

APA, Harvard, Vancouver, ISO, and other styles

5

Flynn, Timothy Scott. "A study in music criticism and historiography : sacred music : journals in France, 1848 to 1870 /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371033947.

Full text

Abstract:

Diss.--Philosophie--Evanston, Ill., 1997.
Contient des analyses d'articles parus dans les périodiques suivants : Revue de musique ancienne et moderne, Le Plain-chant, Revue de musique sacrée ancienne et moderne, le choeur, la Maîtrise. Bibliogr. p. 518-535.

APA, Harvard, Vancouver, ISO, and other styles

6

Harvey, David I. H. "The later music of Elliott Carter : a study in music theory and analysis." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:c47d92da-277e-4850-9e3b-e5e0cd93308f.

Full text

Abstract:

Any composer's writings form an important source for the critical study of his music: they must nevertheless be used with care, Carter's writings are considered as part of a tradition in American music. His musical development up to 1959 is briefly sketched, with particular reference to those elements which with hindsight can be seen to have been most significant in the evolution of a mature musical language - various experimental and non-western musical traditions, influences from other domains of art, and the philosophy of A. N. Vhitehead. In order to avoid the spectre of 'merely technical analysis' of atonal music, we need an analytical approach which can describe the way in which the characteristic properties of a musical surface (principally pitch register and duration; secondarily dynamic and timbre) act to create larger structures in time. Pitch-class Set Theory is rejected as embodying an unacceptable level of abstraction, and failing to account for the dynamic, developmental aspects of musical structure, Instead, a more flexible and sensitive method is developed, drawing on an alternative analytical tradition for twentieth-century music. Precedents and justifications for this method are sought in contemporary accounts of structure in general, and parallels and distinctions are drawn between the hierarchic structures of tonal music, atonal music, and language, This context-sensitive analytical approach is then applied to three of Carter's most characteristic works: the String Quartet no.2 (1959); the Double Concerto for Harpsichord, Piano, and Two Chamber Orchestras (1961); and the Concerto for Orchestra (1969).

APA, Harvard, Vancouver, ISO, and other styles

7

Scaife, Nigel Clifford. "British music criticism in a new era : studies in critical thought 1894-1945." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:88dc162f-d759-42f2-a45e-4a5d4c697418.

Full text

Abstract:

The mid 1890s witnessed the start of a new era in British music criticism heralded by George Bernard Shaw. A preliminary study of the nineteenth-century critical context provides some reasons for its emergence. The new temper was defined by two critics: John F. Runciman. the self-appointed leader of the New critics. and the Rationalist Ernest Newman. Henry Hadow's Studies in Modern Music set a new standard and added impetus to discussion of critical theory. Several other critics associated with Oxford, including Parry, Tovey, Walker and Colles, formed a body of opinion that shared common values and continued a tradition stemming from Victorian writers such as Grove and Stainer. Discussions of critical theory, especially those of Newman and M. D. Calvocoressi. are given prominence. Two new trends emerged after the First World War. The first, a reaction against the German repertoire, focused on Stravinsky and the composers associated with Diaghilev's Ballets Russes. Foremost among those who championed the aesthetic of 'objective empiricism' were Edwin Evans and Leigh Henry. A second and more conservative tendency carne predominantly from two composer-critics associated with Philip Heseltine's journal of the 1920s. The Sackbut: Cecil Gray and K. S. Sorabji. Constant Lamben continued along broadly similar lines to Gray during the 1930s, notably in his Music Ho!. and is included as a member of the Sackbut coterie. Contrast between the criticism of Eric Blom and that of the poet W. J. Turner demonstrates the range of independent thought characteristic of the new era. Consideration of individual endeavour rather than collective trends of critical thought provides the method of documentation. The thesis attempts to elucidate the diversity of critical views without refuting a critic or entering into a polemical discourse. while in no way shirking the responsibility of arriving at an assessment of his position and achievement. Certain recurrent issues. including those surrounding Romanticism. nationalism and the rise of modernism. reflect the primary concerns of the period. A table showing music critics of leading British newspapers and a selected chronological list of one hundred books of music criticism published in Britain between 1890 and 1950 are contained in the appendices.

APA, Harvard, Vancouver, ISO, and other styles

8

Ryan-Hirst, Thomas F. "The Elephant In The Concert Hall; Searching for the Postmodern in Music Criticism from 1965 to the Present." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1433765766.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Yeagley, David Anthony. "Franz Liszt's "Dante Sonata": The origins, the criticism, a selective musical analysis, and commentary." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186883.

Full text

Abstract:

The earliest European Christian (Catholic) music was exclusively vocal. Western music's Renaissance (c.1400-1600) brought about independent instrumental music. However, the idea that religious sentiment could be expressed non-vocally, in non-liturgical contexts, on instruments not associated with religious circumstance, did not develop before Franz Liszt (1811-1886). Though Beethoven (1770-1827) wrote non-liturgical music regarded as "spiritual," (e.g., the late piano sonatas, the late string quartets), Liszt sought to articulate a category of music specifically religious, apart from vocal, liturgical associations. Liszt invented such music at the piano, an instrument incorporating the variety of sounds, gestures, and harmonies he considered evocative of religious sentiment. The Dante Sonata is such a composition. Except for a brief, early moment in the Dante Sonata, the score is void of scales and arpeggios--very basic pianistic musical gestures. The score instead comprises innovative harmonies, creative use of octaves, chords, and original concepts of notation and rhythm. However, scales arpeggios, and indeed the gamut of 19th century pianism, are used by Liszt in other "religious" piano solos. The Legendes de St. Francois, contain substantial use of scales and arpeggiated figures. Other Catholic works, such as Pater noster, Vexilla Regis Prodeunt, Ave Maria, and numerous death-oriented works, though not virtuosic, are not limited in pianistic style. The Harmonies Poetiques et Religious (1845-1852, Nrs. 1-10), contain pieces with both limited and non-limited pianism. The Invocation is void of scales and arpeggios, like the Dante Sonata; but the Benediction and the Cantique d'amour contain much typical arpeggiated accompaniment of melody. The present essay does not identify individual compositional elements as "religious." Each element of the Dante Sonata selected for present analysis, is simply cited as interesting. The Dante Sonata itself is put in the context of religious music. The subjects of religious music and pianistic innovation are both addressed, though neither is interpreted nor defended. That the Dante Sonata is religious music, and pianistically innovative, are the author's judgments a priori. This essay assumes responsibility for circumstantial, pragmatic exemplification of these judgments, not the due process of academic logistics by which they derive. (The latter process requires separate essays.)

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Matambo, Lotta Eleonoora. "The solo piano music of Einojuhani Rautavaara." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002311.

Full text

Abstract:

Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part of his compositional aesthetic. Analyses of eight piano works (1952-2007) provide a cross-section of Rautavaara's output which, together with a consideration of biographical factors and analytical focus on the intertextual elements of his writing, offers a rationale for determining the development of his musical identity. The analyses conclude that intertextual elements, which appear through a diverse array of expressive modes (such as mysticism, nationalism and constructivism) are an essential part of Rautavaara's eclectic compositional style and contribute to an understanding of the on-going development of his musical identity.

APA, Harvard, Vancouver, ISO, and other styles

12

Griswold-Nickel, Jennifer Ann. "Hugo Wolf's Penthesilea an analysis using criteria from his own music criticism /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1196011316.

Full text

Abstract:

Thesis (Master of Music)--University of Cincinnati, 2007.
Advisor: Mary Sue Morrow. Title from electronic thesis title page (viewed Feb. 6, 2008). Includes abstract. Keywords: Hugo Wolf; Penthesilea; symphonic poem; Heinrich von Kleist; music criticism; Vienna; Wiener Salonblatt; compositional aesthetic Includes bibliographical references.

APA, Harvard, Vancouver, ISO, and other styles

13

Kalant, Amelia. "The politics of dissonance : a criticism of Theodor Adorno's theory of music." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61828.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Brownlee, Jane. "The Transmission of Traditional Fiddle Music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Brownlee, Jane. "The transmission of traditional fiddle music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Alessandri, Elena. "Evaluating recorded performance : an investigation of music criticism through Gramophone reviews of Beethoven piano sonata recordings." Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/352/.

Full text

Abstract:

Critical review of performance is today one of the most common professional and commercial forms of music written response. Despite the availability of representative material and its impact on musicians' careers, there has been little structured enquiry into the way music critics make sense of their experience of performances, and no studies have to date broached the key question of how music performance is reviewed by experts. Adopting an explorative, inductive approach and a novel combination of data reduction and thematic analysis techniques, this thesis presents a systematic investigation of a vast corpus of recorded performance critical reviews. First, reviews of Beethoven's piano sonata recordings (N = 845) published in the Gramophone (1923-2010) were collected and metadata and word-stem patterns were analysed (Chapters 3 and 4) to offer insights on repertoire, pianists and critics involved and to produce a representative selection (n = 100) of reviews suitable for subsequent thematic analyses. Inductive thematic analyses, including a key-word-in-context analysis on 'expression' (Chapter 5), were then used to identify performance features (primary and supervenient) and extra-performance elements critics discuss, as well as reasons they use to support their value judgements. This led to a novel descriptive model of critical review of recorded performance (Chapters 6, 7, and 8). The model captures four critical activities - evaluation, descriptive judgement, factual information and meta-criticism - and seven basic evaluation criteria on the aesthetic and achievement-related value of performance reliably used by critics, plus two recording-specific criteria: live-performance impact and collectability. Critical review emerges as a highly dense form of writing, rich in information and open to diverse analytical approaches. Insights gained throughout the thesis inform current discourses in philosophy of art and open new perspectives for empirical music research. They emphasise the importance of the comparative element in performance evaluation, the complexity and potentially misleading nature of the notion of 'expression' in the musical discourse, and the role of critics as filters of choice in the recording market. Foremost, they further our understanding of the nature of music performance criticism as a form of reasoned evaluation that is complex, contextual and listener specific.

APA, Harvard, Vancouver, ISO, and other styles

17

Donnelly, Daniel. "The Madrigal as literary criticism: Veronese settings of Ariosto's «Orlando furioso»." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32563.

Full text

Abstract:

This thesis describes the importance of the amateur academy as a centre for the consumption of both literary and musical works in cinquecento Italy. By occupying a middle space between the public and private spheres, the cultural environment of the academy lends itself particularly well to the practice of analytical "readings" of texts through music. In their musical lezioni of selections from Ariosto's chivalric epic Orlando furioso, Jachet de Berchem, Vincenzo Ruffo, and Jan Nasco show themselves to be concerned with many of the same issues as contemporary literary critics (the explication of imagery and metaphor), but at the same time they also create complex emotional and psychological readings of the subjectivities of the poem's central characters in a manner that lay outside the scope of the writings of Ariosto's contemporary commentators. The association of all three composers and their music with the Accademia Filarmonica di Verona thus suggests that composers indeed had an important rôle to play in academic discussions of literary æsthetics, and that the madrigal can be seen as a form of literary criticism that preserves some aspects of academic discourse that have otherwise been lost. My analysis, in turn, represents a new way to interpret madrigals and draw meaning from them in the context of this discourse.
Cette thèse décrit l'importance des académies amateures en tant que lieu de consommation d'œuvres musicales et littéraires dans l'Italie du cinquecento. En se positionnant entre les sphères publiques et privées, l'environnement culturel des académies fut très propice à la « lecture » analytique de textes par la musique. Lors de lezioni musicales d'extraits de l'épopée chevaleresque Orlando furioso d'Arioste, Jachet de Berchem, Vincenzo Ruffo et Jan Nasco se montrèrent sensibles aux mêmes problèmes que les critiques littéraires contemporains (l'interprétation d'images et de métaphores), mais en même temps, ils ont également créé des interprétations émotionnelles et psychologiques complexes des subjectivités des personnages principaux d'une manière qui va au-delà de celle des critiques contemporains sur les écrits d'Arioste. L'association de ces trois compositeurs et leur musique avec l'Accademia Filarmonica di Verona suggère donc que les compositeurs eurent un rôle important à jouer lors de discussions académiques sur l'esthétique littéraire, et que le madrigal peut être vu comme une forme de critique littéraire préservant certains aspects du discours académique, autrement perdu. Mon analyse représente donc une nouvelle façon d'interpréter les madrigaux et interprète leur signification via le contexte de ce discours.

APA, Harvard, Vancouver, ISO, and other styles

18

Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

Full text

Abstract:

In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.

APA, Harvard, Vancouver, ISO, and other styles

19

Miller, Timothy D. Wörner Felix. "Doing violence to violence Theodor W. Adorno and the responsibilities of music criticism /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2631.

Full text

Abstract:

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Oct. 5, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in Musicology in the Department of Music." Discipline: Music; Department/School: Music.

APA, Harvard, Vancouver, ISO, and other styles

20

LaFleur, Brandon Kyle. "Musical Colors| On Establishing a Methodology for Color Applications in Musical Analysis." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271870.

Full text

Abstract:

This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scriabin?s Prometheus, the luce presents the colors to the audience. These colors emphasize the harmonic, formal, and mystical elements of the piece. Messiaen?s Des Canyons aux etoiles features chords that were specifically included to paint the colors of the places he had visited. Sonata No. 6 by Ciurlionis is a painting that includes the three major sections of sonata form with the color changes to match. Symphony verte by Valensi includes complex structural variations and the various shading and saturations found in the timbral diversity of a symphony. Accounting for the bimodal aspects of these pieces provides us with a more concise holistic understanding of the artist?s purpose.

APA, Harvard, Vancouver, ISO, and other styles

21

Panyaniti, Rawin. "Bartók as ethnomusicologist and composer: folk music and art music influences on his musical language." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31223278.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Skellington, Jennifer. "Transforming music criticism? : an examination of the changes in music journalism in the English broadsheet press from 1981 to 1991." Thesis, Oxford Brookes University, 2010. http://radar.brookes.ac.uk/radar/items/3958d85e-2def-ff16-f3f2-a1dd7aa44b55/1.

Full text

Abstract:

To date, very little academic attention has been awarded specifically to English broadsheet music writing and of the few texts which do touch upon this area many have relied upon the anecdotal accounts of only a handful of authors. As such, this research was undertaken to provide new insights into this relatively untouched area, concentrating particularly upon the period 1981 to 1991 during which, it was anticipated, a number of fundamental changes might be observed. The research triangulates fmdings from three sources; firstly, quantitative analysis is drawn from a large database constructed for the purposes of this study, which details the music-related content of 744 sample broadsheet publications, to reveal a series of shifts in the nature of broadsheet music coverage during the period under review. A detailed qualitative analysis of38 sample broadsheet music reviews then highlights differences in the critical styles adopted by broadsheet music writers across and within the spectrum of music genres and time period examined. Secondly, insights into the nature of change within broadsheet music coverage between 1981 and 1991 are presented from the perspectives of thirteen broadsheet music writers themselves, resulting from interviews conducted specifically for this research. Finally, the research findings are placed within a suggested literary and conceptual framework through reference to a range of secondary sources. In considering the motives for change, particular attention is devoted to the Thatcher government, whose free market policies fuelled an increase in music marketing and whose reduction of trade union powers resulted in the Wapping Dispute of 1986 and the subsequent upheaval of broadsheet production practices. Consideration is also given to both the impact of emergent and discontinued contemporary publications, with particular attention awarded to The Independent newspaper, and to shifting editorial attitudes - the latter of which, it is suggested here, led to a destabilisation of the traditional genre hierarchy. The thesis also examines the employment conditions of broadsheet music journalists during the period under review in order to understand how their recruitment, training, reward and working relationships may have affected their critical output. Finally, a brief examination of a sample of broadsheets from 2009 suggests that the editorial mindset inherited from the latter 1980s has possibly deepened, if not become entrenched, in twenty first century broadsheet production practices. The thesis, by virtue of the original evidence gathered here, argues that a significant dynamic of change within broadsheet music coverage was indeed in place during the period 1981 to 1991 and that, given its possible implications for music audiences, further scholarly examination of this subject is imperative.

APA, Harvard, Vancouver, ISO, and other styles

23

West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.

Full text

Abstract:

Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.

APA, Harvard, Vancouver, ISO, and other styles

25

Thackray, Jeremy A. "The slow death of Everett True: A metacriticism." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/95504/1/Jeremy_Thackray_Thesis.pdf.

Full text

Abstract:

In print environments, popular music critics are customarily seen as gatekeepers of ‘cool’ and arbiters of taste. This research project asks whether the same holds true in Web 2.0 environments in which audiences have access to the same sources of information through which critics derive their knowledge, authority, and influence. The investigation is carried out through an act of metacriticism grounded in the researcher’s experience as an internationally successful popular music critic for major print publications including NME, Rolling Stone, and Melody Maker. The thesis concludes that there are four major roles of relevance to the critic in the new media environments: bespoke criticism, music critic as fan, music criticism as entertainment, and the music critic as ‘firestarter’.

APA, Harvard, Vancouver, ISO, and other styles

26

Sarmast, Ahmad Naser. "A survey of the history of music in Afghanistan, from ancient times to 2000 A.D., with special reference to art music from c.1000 A.D." Monash University, School of Music-Conservatorium, 2004. http://arrow.monash.edu.au/hdl/1959.1/9685.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

O'Byrne, Megan Sue. "When the President Talks to God: A Rhetorical Criticism of Anti-Bush Protest Music." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1225216520.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Griswold-Nickel, Jennifer Ann. "Hugo Wolf’s Penthesilea: An Analysis Using Criteria from His Own Music Criticism." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1196011316.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

O'Byrne, Megan. "When the President talks to God a rhetorical criticism of anti-Bush protest music /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1225216520.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Schmitz, Michael David. "Oriental influences in the piano music of Claude Achille Debussy." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187118.

Full text

Abstract:

This paper explores the influences of Vietnamese and Indonesian music in the piano compositions of Claude Debussy. A brief background of Debussy's formative years and of pertinent social trends in Paris at the turn-of-the-century is provided. This paper then looks at two specific musical events that affected the way Debussy composed for the piano: the Javanese and Annamite exhibits at the Exposition Universelles de 1889 and 1900 in Paris. The musical styles and timbres of these two countries are explored, backed up by accounts of what Debussy actually experienced at the Expositions. Following a look at specific musical effects used by Debussy that reveal the influence of the Orient, this paper surveys an extensive body of his piano music chronologically, focusing on compositional techniques that were learned from the Asian ensembles at the cultural exhibits of the Paris Expositions. This paper reveals the depth of the Oriental influence in Debussy's piano music.

APA, Harvard, Vancouver, ISO, and other styles

33

Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Chapman, Christopher Adam 1964. "Regional traditions of Lao vocal music : lam siphandon and khap ngeum." Monash University, School of Music-Conservatorium, 2002. http://arrow.monash.edu.au/hdl/1959.1/7867.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

Full text

Abstract:

French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.

APA, Harvard, Vancouver, ISO, and other styles

36

Burke, Kevin R. "Propagating a National Genre: German Writers on German Opera, 1798-1830." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277145931.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

38

Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Card, Patricia Pierce. "The influence of klezmer on twentieth-century solo and chamber concert music for clarinet with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others /." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/card%5Fpatricia/index.htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Wurz, Sarah. "The evolutionary origins of music." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2909.

Full text

Abstract:

Thesis (MMus (Music))--University of Stellenbosch, 2009.
The evolutionary origins of music, defined as “an intentional action in which complex, learned vocalizations (and/or instrumentally produced sound) are combined with the movement of the body in synchrony to a beat” is investigated through an appraisal of the musilanguage theory and relevant literature. The biological adaptations allowing the production and perception of music are identified and their evolutionary histories investigated. The critical adaptations that made rhythmical body movement possible evolved around 1.6 million years ago. These include habitual bipedalism and changes in the vestibular system. There is almost no fossil evidence to inform on the timing and nature of the complex, learned vocalization. However, that the thoracic vertebrate canal had modern proportions by 600 000 years ago indicates that archaic humans were able to achieve the respiratory control necessary to sing. The size of this canal is a proxy for the number of nerve cells that control respiration via the intercostal and abdominal muscles. Musicality is essential to the human mind. Infants are born with rudimentary musical skills with regard to melody, temporal sequences and vocal and bodily imitation. These capabilities are central to the newborns’ innate ability to elicit care by synchronizing their vocal and bodily actions with that of the caregivers. Musical rhythm is further used to entrain bodily and neural oscillations and this permit the creation of trust and social bonding. It is concluded that protomusic developed between 1.6 million and 600 000 years ago. Protomusic consisted of entrained rhythmical whole body movements initially combined with grunt-like vocalizations. The evidence investigated cannot be used to infer the origins of modern music. KEYWORDS: Music, Evolution, Synchronisation, Melody, Dance, Bipedality, Vestibular system, Thoracic vertebrate canal, Infant-directed communication, Neural entrainment

APA, Harvard, Vancouver, ISO, and other styles

41

Stephens, Christopher John. "Variations on a Theme: Forty years of music, memories, and mistakes." ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/td/934.

Full text

Abstract:

How did music play a consistent role through various memories? In this memoir, I look at the sweet, the traumatic and troubling. I use specific songs as connections to lost loved ones. I pin the power of music to the loss of three important people in my life: my sister, father, and mother. Who were their musical touchstones? Did I share them? Did music run through them as it has always run through me? The memoir is sandwiched by a brief extended metaphor that props up the conceit that we are entering a live concert performance. It is billed as a "letter to a lost loved one" because it is indeed meant to address that lost one, my sister, my guide. In the opening section I've lost my voice. I eventually reclaim it and vow that I will perhaps meet my sister at some point in the future.

APA, Harvard, Vancouver, ISO, and other styles

42

Smith, David John. "The instrumental music of Peter Philips : its sources, dissemination and style." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:d1af3140-2553-4f58-8437-a1eee66d7f13.

Full text

Abstract:

There are fifty-one instrumental pieces by Philips, many of which occur in versions for ensemble, keyboard and lute. The sources have a wide geographical and chronological span. This research is based upon an extensive first-hand examination of the sources of Philips's instrumental music, and a detailed comparative study of the textual variants of each piece. The thesis divides into three parts. In the first, a biographical chapter relates Philips's instrumental music to the changing nature of his employment. Then the main sources of his instrumental music, the manuscripts copied by Francis Tregian, are discussed at length. The remaining keyboard sources are considered, followed by consort and lute sources. In Part 2 the technique of intabulation is shown to be central to Philips's keyboard style. A distinction is made between arrangements made by Philips of his own works, those made by him of other composers' works, and settings of his music made by others. A case study of the 'Dolorosa Pavan' is used to illustrate how widely Philips's music was disseminated, and allows us to establish a stemma of sources which helps us to elucidate - and improve - our understanding of their inter-relationships. A second case study attempts to establish the origins of the pavan dated by Tregian to 1580: the original 'model' on which the keyboard piece is based has not survived. The thesis ends with an attempt to place Philips's instrumental repertory in the context of his contemporaries, using Philips's music as a 'touchstone' to refer to relationships (mostly stylistic) with other composers. Part 3 comprises transcriptions of Philips's instrumental pieces. The texts of each source for a piece are given in parallel with the minimum of editorial adjustment: Part 3 is intended to be a reference tool, not an edition.

APA, Harvard, Vancouver, ISO, and other styles

43

Rhodes, Carol Shirley. "The dance of time: The evolution of the structural aesthetics of the prepared piano works of John Cage." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187153.

Full text

Abstract:

John Cage, (1912-1992) pioneer in new music, innovator, inventor of the happening and philosopher, writer and artist was one of the most creative forces of the twentieth century. His earliest works were 25-tone contrapuntal compositions. He later developed a strong interest in writing for percussion ensembles and collected instruments that were both found and made. He conducted his own percussion orchestras and discovered that they were the answer to his philosophy of the sounds of the future. He considered percussion music the transition from keyboard-influenced music to music which allowed for all sounds and silences. From 1939-1951 John Cage composed several works for prepared piano that used time as a structural device. Many of these works were written for the dance in collaboration with Merce Cunningham. This document addresses the historical significance of these works and relates Time to other areas that influenced Cage--including Zen and the Dance. This document provides descriptive analyses of Bacchanale, Music for Marcel Duchamp and selected Sonatas from the Sonatas and Interludes. To this writer's knowledge there have not yet been any analyses of Bacchanale or Music for Marcel Duchamp. The analyses reveal Cage's primary structural techniques in which he uses duration of spaces of time. Time lengths and the square root method appear to be the most important. These techniques first appeared in Imaginary Landscape #1 and First Construction in Metal--both dating from 1939. A brief description of all his prepared piano works is included to demonstrate Cage's commitment to rhythmic structuring. All of these works have been studied by this writer and several have been performed in concert by this writer. These include: Music for Marcel Duchamp, Primitive, For a Valentine Out of Season, A Room, Prelude for Meditation, Amores (Movements I and IV), and selected Sonatas from Sonatas and Interludes. A section has been included which explains the nature of materials used for preparations and their timbral effects. A Conclusion is provided demonstrating that Cage chose rhythm over harmony to structure his music. This information is drawn from the influences on Cage, his early percussion works, procedures employed in the percussion works and transferred to the prepared piano and the influence of dancers and Oriental philosophy. An Appendix is included with charts of the Sonatas. A Bibliography which shows the references consulted is included.

APA, Harvard, Vancouver, ISO, and other styles

44

Nercessian, Andy Hagop. "Marxism-Leninism, national identity, and the perception of Armenian music." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619554.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Downes, Michael. "Debussy and the aesthetics of French music : from Wagner to the Ballets Russes." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388938.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Karnes, Kevin C. "Music, criticism, and the challenge of history : shaping modern musical thought in late nineteenth-century Vienna /." Oxford : Oxford University Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780195368666.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

SILVA, ANNA PAULA DE O. MATTOS. "PINDORAMA, WHERE SAMBA IS PURER: THE DISCOURSE OF TRADITION IN BRAZILIAN POLITICS, CRITICISM AND MUSIC MARKET." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12730@1.

Full text

Abstract:

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
Esta tese reúne observações críticas sobre o samba como manifestação musical urbana e de massas, discute a atualidade de um gênero tradicionalmente afirmado como síntese da sonoridade nacional, e analisa a reconfiguração das composições musicais num contexto de globalização dos signos. Tendo em vista tais propósitos, debruçamo-nos sobre discursos que ainda hoje evocam a força simbólica do samba como meio de legitimar projetos políticos e consolidar modelos estéticos. Estas reflexões se corporificaram em três textos interconectados. O primeiro é dedicado ao estudo das políticas culturais de patrimônio imaterial que tomaram o samba como objeto a partir do ano de 2004. O segundo tece considerações sobre a vertente tradicionalista da crítica de música popular por meio da análise das obras de dois de seus principais expoentes, o historiador José Ramos Tinhorão e o pesquisador e compositor Nei Lopes. O último capítulo trata da reivindicação de um trajeto único para o desdobramento do samba por parte dos artistas mais conservadores, e dos desvios promovidos pelos novos modos de criação e circulação musical.
This dissertation gathers critical observations about how samba, as an urban, massive musical manifestation, discusses the current state of a genre that is traditionally presented as the synthesis of national sound, and analyze the reconfiguration of musical compositions in a context of globalized signs. Taking that into consideration, we studied the discourses that still claim the symbolic force of samba as means to legitimate political projects and to consolidate aesthetic standards. These ideas are developed in three essays. The first one is dedicated to the study of cultural policies for the protection of immaterial cultural heritage that took samba as their focus since 2004. The second essay discusses the traditionalist branch of popular music criticism by analyzing the works of two of its main exponents: the historian José Ramos Tinhorão and the researcher and composer Nei Lopes. The last chapter discusses the claim of an exclusive line in the development of samba by more conservative artists, and the deviations promoted by new means of musical creation and circulation.

APA, Harvard, Vancouver, ISO, and other styles

48

Peter, Timothy Layne. "Johann Mattheson's "Das Lied des Lammes": Progressive tendencies in the evangelist recitatives." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186414.

Full text

Abstract:

This document examines the compositional style of Johann Mattheson's passion, Das Lied des Lammes. Specifically, this document will examine the stile recitativo of Italian opera seria in Hamburg during Mattheson's years at the Domkirche. Mattheson's ideas regarding the role of the recitative in his passions are verified in Mattheson's article entitled "Des fragenden Componist" (1724), which appeared in the fifth volume of his journal Critica Musica, thus giving clear evidence supporting a non-emotional approach with the evangelist recitatives. These new approaches found in Critica Musica, derived from Italian opera in connection with Mattheson's writings, are in comparison to the musical devices in recitatives used by Mattheson's predecessors Schutz, Bernhard, Theile, and Keiser. The results of these comparisons show a natural progression of stylistic changes in recitatives in passion settings up to Mattheson's years at the Domkirche in Hamburg.

APA, Harvard, Vancouver, ISO, and other styles

49

Cheung, Kwok-hung Stephen, and 張國雄. "Traditional music and ethnicity : a study of Hakka shange." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195958.

Full text

Abstract:

This research is an investigation into Hakka shange 客家山歌 (Hakka mountain songs) and their relationship with Hakka ethnicity, with principal discussions on the interplay between music making and ethnic/cultural identity in the Hakka populations. Hakka is a complex ethnic and cultural phenomenon which stepped into the limelight of history beginning in the 19th century. This study includes research into archival materials for an in-depth understanding of Hakka ethnicity and Hakka shange in the context of historical development, aiming to obtain new information/data and insights into historical data and theories documented by earlier studies. In this study, both synchronic and diachronic aspects are covered. Framed in an ethnomusicological paradigm, which posits music as part of culture and social life and utilises ethnography as a major means of gathering data, the study incorporates fieldwork carried out on location in Hong Kong and the Chinese mainland as an essential component. Seeing cultures as fluid and adaptable to outer forces rather than as a monolithic entity, the aim of this study is not to seize the “last opportunity” to preserve records of Hakka shange, before this musical tradition declines further into oblivion, but rather, to account for the processes by which traditional music adapts to the global system at various local levels. It is noteworthy that, in the local-global continuum, a society is not conceived as a static and structured system in which music is performed as a mere cultural marker that connects to or reflects the other structural parts of that society. On the contrary, a society is seen as a flexible and fluid social space in which music plays an active, transformational role.
published_or_final_version
Music
Doctoral
Doctor of Philosophy

APA, Harvard, Vancouver, ISO, and other styles

50

Sweeney, Mark Richard. "The aesthetics of videogame music." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a.

Full text

Abstract:

The videogame now occupies a unique territory in contemporary culture that offers a new perspective on conceptions of high and low art. While the fear that the majority of videogames 'pacify' their audience in an Adornian "culture industry" is not without justification, its reductionism can be countered by a recognition of the diversity and aesthetic potential of the medium. This has been proposed by sociologist, Graeme Kirkpatrick, although without close attention to the role of music. Videogame music often operates in similar ways to music in other mixed-media scenarios, such as film, or opera. In the same way that film music cannot be completely divorced from film, videogame music is contingent on and a crucial part of the videogame aesthetic. However, the interactive nature of the medium - its différance - has naturally led to the development of nonlinear musical systems that tailor music in real time to the game's dynamically changing dramatic action. Musical non-linearity points beyond both music and videogames (and their respective discourses) toward broader issues pertinent to contemporary musicology and critical thinking, not least to matters concerning high modernism (traditionally conceived of as resistant to mass culture). Such issues include Barthes's "death of the author", the significance of order/disorder as a formal spectrum, and postmodern conceptions and experiences of temporality. I argue that in this sense the videogame medium - and its music - warrants attention as a unique but not sui generis aesthetic experience. Precedent can be found for many of the formal ideas employed in such systems in certain aspects of avant-garde art, and especially in the aleatoric music prevalent in the 1950s and 60s. This thesis explores this paradox by considering videogames as both high and low, and, more significantly, I argue that the aesthetics of videogame music draw attention to the centrality of "play" in all cultural objects.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!