Dissertations / Theses: 'Music History'

1

Bidgood, Lee. "History of Bluegrass Music." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1087.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Bidgood, Lee. "Bluegrass Music in History." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1085.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Nummela, Arttu. "Dmitri Shostakovich’s Viola Sonata : History and analysis." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3485.

Full text

Abstract:

In this thesis I’m writing about Dmitri Shostakovich’s only Viola Sonata. I’ve read about Shostakovich life and analysed the sonata. Shostakovich’s Sonata is one of the first pieces from the composer that I have listened to and gotten familiar with. It’s one of the most played viola sonatas and a one of a kind in Russian modern music. The purpose is to dig deep into the music and to understand it. Questions like “why am I playing this like this?” or “how should I do this?” regarding the interpretation of the music is the core of this study. The research is also trying to be of help to get an image of viola music overall and what is the place of Shostakovich’s Viola Sonata in this world. How the piece was reacting to the world around it and how it was affected by the history of viola music and what is its position in the future.

APA, Harvard, Vancouver, ISO, and other styles

4

Summers, Timothy Richard David. "Video game music : history, form and genre." Thesis, University of Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573894.

Full text

Abstract:

This dissertation investigates video game music from a musicological perspective, considering the role, function and effect of music in games. I hypothesize that music's significance for the gamer is founded upon the way the player interacts with the game. The nature of this interaction is determined by what is termed the 'interactive genre' in question - the type of interaction typical for a particular class of games. Thus the musical analysis of game interactive genres is an appropriate and potentially rewarding way of understanding game music. These genres of interaction are distinct and historically established, which allows a survey of many games over a relatively long chronological period. Musical analysis of interactive genres, in turn, illuminates the way in which gamers play and understand games. After creating a contextual frame for the study of game music, the body of the dissertation focuses on a genre-by-genre examination. Each chapter considers the features of a particular genre (or genres sharing key features), and examines representative games to ascertain the relationship between the game and the music. Certain genres prioritize distinct modes of interaction and components of musical function because of the interactive mechanism of the game, and thus provide the opportunity for the examination of particular musical concerns. That this is so indicates the close relationship between music and gameplay /interaction in the video game medium. A case study is used to demonstrate a 'deep reading' of the musical concerns or issues that are seen to feature prominently in the game genre in question. The study concludes with a summary in the form of a chapter on action games that focuses on the aspects of game music that can be extracted from the preceding discussions. The epilogue explores how game music may reveal the playfulness of the human-music interaction in a more general way. ii

APA, Harvard, Vancouver, ISO, and other styles

5

Matus, Chloe Hannah. "Designing interactive music history for young adults." Thesis, Glasgow School of Art, 2010. http://radar.gsa.ac.uk/4625/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Williams, Benjamin John. "Music Composition Pedagogy: A History, Philosophy and Guide." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274787048.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Rice, Albert R. "A History of the Clarinet to 1820." Scholarship @ Claremont, 1987. http://scholarship.claremont.edu/cgu_etd/106.

Full text

Abstract:

This study presents a detailed history of the clarinet from its ancient origins to 1820. It is divided into three parts: 1) origins, 2) the baroque clarinet, and 3) the classical clarinet. In the first part the ancestor of the modern instrument is traces to the memet of Ancient Egypt (2700 B.C.), and evidence is reviewed for the existence of a wind instrument having a single reed during the sixteenth century. Three chapters are then devoted to the Mock Trumpet and the seventeenth- and eighteenth-century chalumeau. The baroque clarinet is discussed in the second part. This part consists of four chapters concerning design and construction, playing techniques, music, and use by amateurs and professionals. The last part is devoted to the classical clarinet. It consists of three chapters concerning design and construction, playing techniques, and music.

APA, Harvard, Vancouver, ISO, and other styles

8

Holman, Rebecca. "Music history pedagogy| Three approaches to teaching a one-semester music history survey course in accordance with the LEAP Initiative." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527558.

Full text

Abstract:

Music appreciation is a popular General Education course at the university level and is included as a survey course for music majors at many universities, yet there is not a consensus on the "correct" way to teach the course. Many pedagogical approaches have been explored; each having its merits, and it is probable that there will never be unanimous agreement among music educators regarding which approach is the most effective. Three pedagogical approaches in particular have been effective; namely the analytical approach, the historical approach, and the contextual approach as described by professor of music Dr. Lewis W. Gordon. These approaches were applied in a onesemester survey music history course with the goal of analyzing which is the most effective in teaching freshman music majors. The assessment of these results will be discussed, and suggestions of ways to incorporate these methodologies into teaching will be offered. These approaches will also be discussed in their accordance with the Essential Learning Outcomes of AAC&U's LEAP initiative.

APA, Harvard, Vancouver, ISO, and other styles

9

Anbari, Alan Roy. "Richard Wagner's concepts of history /." Austin, Tex. : University of Texas Libraries, 2007. http://www.lib.utexas.edu/etd/d/2007/anbaria35075/anbaria35075.pdf#page=3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Stanevičiūtė-Goštautienė, Rūta. "Narratives of Lithuanian National Music: Origins and Values: the Historiography of Music and National Music History Writing." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2008. https://ul.qucosa.de/id/qucosa%3A16006.

Full text

Abstract:

In the current musicological discussion on the issues of historiography and the need to overcome the entrenched canons of historical writing, questions concerning the history of national music often become marginalised, and, to some extent, placed into a paradoxical situation.

APA, Harvard, Vancouver, ISO, and other styles

11

Noll, William Henry. "Peasant music ensembles in Poland : a culture history /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Young, Daniel J. "The Ties That Bind: Gospel Music, Popular Music, and Race in America, 1875-1940." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1627667261852095.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Polydorou, Nikoletta. "Exploring approaches to teaching music history at university." Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/exploring-approaches-to-teaching-music-history-at-university(0a7d95fa-5623-421d-a890-b2fd16bce397).html.

Full text

Abstract:

Music history is a core requirement for most undergraduate music degrees. The purpose of this study is to investigate the status of music history teaching in music degrees in Higher Education (HE) in four different countries (Cyprus, the Czech Republic, Greece and England). It also aims to evaluate a new music history teaching model that was developed for a university in Cyprus. The new model consists of approaches focused on a student-centred learning method that introduces the use of primary sources and cooperative learning. Three studies were conducted: a qualitative study (Study 1), a mixed methods study (Study 2) and a qualitative evaluation study (Study 3). In Study 1, music history teachers (N=6) were recruited from universities in Cyprus. Study 1 employed Interpretative Phenomenological Analysis (IPA) using the data from semi-structured interviews. In Study 2, music history teachers (N=11) were recruited from the Czech Republic, Greece and England to participate in a qualitative study, and their thinking was compared to a further sample of undergraduate music students (N=86) who were recruited from the Czech Republic, Greece and England. Study 3 designed and tested an intervention in Cyprus evaluating a new approach to teaching music history. The study was evaluated through a pre-test and a post-test questionnaire. Engeström’s culturalhistorical activity theory was used to analyse the findings of all three studies. Results revealed that the most frequent teaching approaches used in music history courses are lectures, the use of audio and audiovisual materials and discussion. While teachers from the Czech Republic, Greece and Cyprus use a teacher-centred learning approach, most teachers from England apply student-centred learning approaches to music history courses. Students from the participating countries generally perceive music history as having relatively little value and they are not satisfied with the existing teaching approaches. A number of them further question traditional approaches to teaching music history. Upon completion of the qualitative evaluation study in Cyprus, students gained a more positive opinion of music history and approved of the new teaching approaches that were used.

APA, Harvard, Vancouver, ISO, and other styles

14

Farrell, Gerard James. "Indian music and the west : a critical history." Thesis, Goldsmiths College (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309508.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

LeFils, Gregory William Jr. "History of the Stetson University Concert Choir." Thesis, The Florida State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638022.

Full text

Abstract:

The Concert Choir has been the flagship choral ensemble of Stetson University, a private, liberal arts university in DeLand, Florida, since 1935. The choir has traveled extensively throughout the southeast United States and twice abroad, serving as ambassadors for Stetson University. This study documents Stetson University's early history, the first few decades of choral activity at Stetson University, and the complete history of the Concert Choir through the tenure of Milburn Price. The study explores 1) the individuals, events, and institutions leading to the formation of the Concert Choir, 2) the philosophy and purpose of the Concert Choir, 3) the individuals, events and institutions that have shaped that philosophy and purpose, and 4) the ways in which the Spring Concert repertoire of the Concert Choir reflects the ensemble's philosophy and purpose.

The three major conductors of the Concert Choir, occupying 71 of the last 77 years, were Harold Giffin (1935-1972), Robert Rich (1972-1989), and Duncan Couch (1989-2006). Giffin was responsible for combining the separate glee clubs into one performing ensemble, performing Handel's Messiah annually for twenty-five years, and instituting an extensive touring schedule throughout the United States. The performances at the National Federation of Music Clubs (1939), New York City's Lincoln Center (1967), and the recording session that was broadcast coast-to-coast with NBC in Chicago (1953) were three of Giffin's tours that were most significant. Rich was the first alumnus of the Concert Choir to be hired as Director of Choral Activities and conducted the ensemble for their first ACDA convention performance in 1974. During his tenure, the High School Choral Clinic and Christmas Candlelight Concert, modeled after the English Lessons and Carols, were started and have continued annually throughout the scope of this study. Couch grew the popularity of both the clinic and the Candlelight Concert, took the Concert Choir on two European concert tours, and cultivated collaborations with many professional orchestras.

This study concludes that the Concert Choir is a choral organization influenced by the sacred a cappella choral traditions; however, it was not dominated by it. This study further identifies that the development of the annual Christmas Candlelight Concert and spring tour were foundational for the choir's activities each year. Documentation illustrates each director's willingness to accept this heritage and develop the Concert Choir accordingly throughout its history.

APA, Harvard, Vancouver, ISO, and other styles

16

Draiblate, Yoni. "HISTORY, EVOLUTION AND PEDAGOGY OF CELLO VIBRATO." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/555692.

Full text

Abstract:

Music Performance
D.M.A.
On 9 April 1860, seventeen years before Thomas Edison invented the phonograph, a Parisian inventor named Leon Scott de Martinville invented the “phonautograph,” the first device capable of recording sound. In the demonstration recording produced by de Martinville, the listener hears the inventor singing a short section of the song “Au clair de la lune.” The recording lasts about ten seconds and is not of very good audio quality—it is full of interference and white noise, making it hard to decipher words. Technology has since evolved and improved to the point where we can examine the evolution of vibrato with relative ease, simply by listening to different recordings. When examining the question of cello vibrato prior to the second half of the 19th century with its technological innovations, however, we are left with a somewhat paradoxical question: “How did vibrato sound?“ This question is important for two reasons. First, through exploring the history of cello vibrato we may be able to make clearer inferences or, at the very least, establish more educated hypotheses, pertaining to general questions of sound and musical aesthetics throughout the centuries. Second, examining early cello technique and how it evolved can greatly help us understand the evolution of the left hand’s role in performance, particularly in the creation of vibrato. I am well aware that when it comes to historical performances prior to the introduction of quality recording technology, we can only deal with probabilities, never certainties, and we have no way of knowing what soloists and orchestral musicians sounded like, nor do we have a way to know what composers wished to hear. Since it is not possible to draw conclusions based on audio recordings prior to the end of the 19th century, I will explore the evolution of cello vibrato through close examination of early cello performance practice, as outlined in treatises and texts, as well as accounts by musicians who were key figures in developing and advancing playing techniques. While it will never be feasible to go back in time and hear this evolution for ourselves, it is possible to construct a better understanding of the use of vibrato prior to the second half of the 19th century. My aim in this paper is to better understand the evolution of cello vibrato, its origins, early techniques for producing it, and the influence of technique on vibrato over the years, mainly throughout Europe, in order to better answer this question: when did vibrato become an integral part of the cellist’s sound? Have cellists always used vibrato, and if so, did they use it continuously on all possible pitches? For the performing artist and teacher, it is highly beneficial to know the history and evolution of vibrato, and its role in the development of the cello sound over the years. Having this knowledge can have a direct effect on interpretation. By way of background, I will first discuss the origins of both the instrument and vibrato itself, in separate chapters.
Temple University--Theses

APA, Harvard, Vancouver, ISO, and other styles

17

Hughes, Meirion. "The watchmen of music : the reception of English music in the press 1850-1914." Thesis, Cardiff University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287015.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Stephens, Vincent Lamar. "Queering the textures of rock and roll history." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2444.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

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

20

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Steltzner, Becky L. "The history of the clarinet in South Africa." Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20332.

Full text

Abstract:

This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers' journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet's South African history is within it. The references are noted, discussed, and where possible, the performers' biographical details are given and discussed. This carries through to the beginning of the 20th century, at which point South Africa got its first professional symphony orchestra, and first College of Music. From here, the clarinet is deemed to be more readily available, so at this point, the focus changes to South African compositions for clarinet. Finally, a case study is done on Ali-Ben-Sou-Alle, who was the first clarinet soloist to visit South Africa, as well as one of the most interesting and mysterious characters encountered in this research.

APA, Harvard, Vancouver, ISO, and other styles

22

Hartz, Jason Michael. "The American community band history and development /." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=232.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Maalsen, Sophia. "The Life History of Sound." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10588.

Full text

Abstract:

Abstract In recent years, the emergence of cultures and practices of music-making associated with new music-making technologies has generated controversy and conflict, being both variously embraced and vilified. Just as some are determined to explore the possibilities that these technologies afford for the re-use and re-circulation of music, others have been determined to regulate such practices through aggressive assertions of ownership over sounds. Central to these controversies is a deeper question concerning the nature of musical sounds and their relationship to the people who produce and work with them. In order to explore this issue, this thesis develops a new conceptual framework for thinking about the biographies of musical sounds. Drawing on concepts from material culture studies and feminist philosophy, the thesis critiques traditional conceptions of musical sounds as the property of a possessive individual, and offers an approach that seeks to better appreciate the complex relationships between sounds and human agents. This framework is applied and further developed across a series of case studies, which take an ethnographic approach to following the eventful biographies of selected pieces of music. These ethnographies trace the ways in which legal, ethical, economic and cultural concerns about the ownership of music are navigated in the practices of people who sample, collect and re-issue music. In tracing how these practitioners work with musical sounds, the research also uncovers the ways in which musical sounds work on those practitioners. In the process, these musical sounds develop a life of their own. Through these ethnographies, the thesis traces the life histories of musical sounds and demonstrates the ways in which those life histories are ‘multibiographical’, drawing together a range of actors and distributing their personhood and agency across space and time. The thesis concludes with a discussion of how an appreciation of multibiographical sound could inform new approaches to the production and regulation of musical sounds in the digital age that are based on connection rather than control. This recognises that music making changes as new technologies influence its production and accommodates the distribution of both sound and human agency through the reuse of sound recordings that digital technologies encourage.

APA, Harvard, Vancouver, ISO, and other styles

24

Clements, Joanna. "The creation of 'ancient' Scottish music history, 1720-1838." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4699/.

Full text

Abstract:

This thesis examines the writing of Scottish music history from the 1720s to 1838. It concludes that the Scottish music histories written over this period were fundamentally shaped by the interaction of ideas about universal historical progress with ideas specific to the Scottish context of the work. Ramsay’s pioneering claims that Scots songs were ancient were supported by parallels between the features of song – simplicity, pastorality and naturalness - and ideas about the nature of the past held more widely. The contrasts he drew with Italian music and English verse further supported his claims in ways specific to the Scottish context. In the later eighteenth century the Enlightenment model of universal historical progress – simple and pastoral societies developed into complex and commercial ones over time - came to underpin the continued perception that Scots songs were ancient. This same universal model underpinned narratives of scalic development, and narratives of preservation. Contemporary perceptions of the place of the Scottish Highlands and rural societies in the universal model of historical progress resulted in the collection of more purportedly historic song from Highlanders and the rural poor of the Lowlands and Borders. These same perceptions also seem to have resulted in the differing use of written sources to create a picture of a gradually evolving Lowland/Border music history and a static Highland music history. Specifically Scottish destructive events were used to explain the lack of other forms of evidence of purportedly ancient songs in the past: the Reformation, defeudalisation, and the modernisation of the countryside form turning points in many of the narratives. Writers’ reasons for writing Scottish music history similarly reveal twin concerns with the universal and the particularly Scottish. In foregrounding the social and cultural factors which underpinned the construction of Scottish music history in the eighteenth and early nineteenth centuries, this study challenges the continued inclusion of elements of the present-day received view. In addition, in demonstrating the parallels between music-historical and historical writings more broadly this thesis enriches our understanding of Enlightenment historical thought.

APA, Harvard, Vancouver, ISO, and other styles

25

Morgan, Christopher. "Instrumental music teaching and learning : a life history approach." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284626.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Kahler, Elyse T. "Brass Band History and Idiomatic Writing in Brass Music." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271838/.

Full text

Abstract:

The purpose of this research was to explore historical perspective of brass music. There is a brief history of brass bands in Britain. Furthermore, the paper examines the differences between two brass band pieces in the repertoire, A Western Fanfare by Eric Ewazen and Brass Symphony by Jan Koetsier. Both of these pieces were compared and contrasted against the author's newly composed work for brass, Two Companion Pieces for Brass Ensemble. The paper covers different techniques commonly used in brass writing and points these techniques out in all three pieces.

APA, Harvard, Vancouver, ISO, and other styles

27

Perryman, Charles W. "Africa, Appalachia, and acculturation| The history of bluegrass music." Thesis, West Virginia University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3605866.

Full text

Abstract:

Though primarily associated with white Southerners, bluegrass music is actually the product of over three hundred years of black and white musical interaction that occurred in the American Southeast. This document begins by reviewing the first complete definition of bluegrass music written by Mayne Smith. It then proceeds to explore the history of cross cultural exchanges in the South, particularly in the Appalachian Mountains, that began when the first slaves were brought to the New World. In the South, these interactions created the folk music that would eventually develop into country music and later bluegrass in the twentieth century. Black musical styles also directly influenced the father of bluegrass, Bill Monroe, especially through his contact with the blues musician Arnold Shultz. The banjo playing of Earl Scruggs, an essential element of bluegrass, also owes a significant debt to African-American banjo styles found in Scruggs's native region of North Carolina.

APA, Harvard, Vancouver, ISO, and other styles

28

Stevens, Melissa A. "Marcel Tabuteau : pedagogical concepts and practices for teaching musical expressiveness : an oral history /." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225392470.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Doi, Carolyn. "The Saskatchewan Music Collection: Presenting the Past, Present and Future of Our Regional Music History." CAML Review, 2013. http://hdl.handle.net/10388/7164.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Gollom, Ingrid. "The history of the Cape Town Orchestra : 1914-1997." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/7846.

Full text

Abstract:

Bibliography.
The Cape Town Orchestra has exerted a major influence on the development of orchestral music and musical culture not only in Cape Town but throughout South Africa.It was the first professional orchestra in South Africa and came into existence on 28 February 1914. The Orchestra's history has been divided into two main periods. During the first period, from 1914 to 1968, the Orchestra was known as the Cape Town Municipal Orchestra. During the second period,- from 1969 until its final performance in 1997, the Orchestra was known as the Cape Town Symphony Orchestra. The Orchestra received financial support from the Cape Town Municipality throughout its existence. After receiving its final municipal grant in 1996 the Orchestra could not survive without financial assistance, and merged with the Capab Orchestra to become the Cape Town Philharmonic Orchestra. The Cape Town Philharmonic Orchestra gave, its inaugural performance on 1 April 1997.

APA, Harvard, Vancouver, ISO, and other styles

31

Thorgersen, Ketil. "Music from the Backyard : Hagström's Music Education." Doctoral thesis, Luleå tekniska universitet, Institutionen för musik och medier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-40056.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Siemers, Brian J. "THE HISTORY AND DEVELOPMENT OF THE DOUBLE BASS." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin985797261.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Churton, Wade Ronald. "Alternative music in New Zealand,1981-2001 definitions, comparisons and history." Thesis, University of Canterbury. History, 2003. http://hdl.handle.net/10092/1030.

Full text

Abstract:

Alternative music was a cultural practice, which became a significant feature of New Zealand's local and national history over the last two decades of the twentieth century. Features of technology, economics and music culture influenced the creation and course of local independent music scenes, along with factors such as cultural remoteness. This thesis isolates and collates key factors and time periods of international music industry history, and refracts the information through alternative music in general, providing a coherent definition of the term. The history and definitions of New Zealand's alternative music history are then assessed for the period 1981-2001, with especial reference to the Flying Nun label and 'Dunedin Sound'.

APA, Harvard, Vancouver, ISO, and other styles

34

Lais, Peggy Jane. "Chamber-music in Melbourne 1877-1901 : a history of performance and dissemination /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/3825.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Leo, Katherine M. "Blurred Lines: Musical Expertise in the History of American Copyright Litigation." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461148846.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Talpash, Olesia. "Towards the righting of music history, re-thinking the concept of nationalism in western music historiography." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22559.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Payne, Daniel. "Social music in London, Upper Canada/Canada West, establishing a "sort of colonial nobility"." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0008/MQ30669.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

McDow, George H. "A history of instrumental music in the public schools of Oklahoma through 1945 /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1989.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

39

Farley, Jeff. "Making America's music : jazz history and the Jazz Preservation Act." Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/519/.

Full text

Abstract:

The aim of this thesis is to investigate some significant examples of the process by which jazz has been shaped by the music industry and government and their ideas of the place of jazz within American culture and society. The examples demonstrate that the history and traditions of jazz are not fixed entities, but rather constructions used to understand and utilise issues of race, national identity, cultural value, and musical authenticity and innovation. Engagement with such issues has been central to identifying jazz as America’s music, as it earned this status from its worldwide popularity and its identity as an innovative black American art form. Recognition for jazz as American music, in conjunction with its improvisational nature, consequently led to the identification of jazz as ‘democratic’ music through its role in racial integration in America and in its representation of American democracy in government propaganda programmes. The different histories of jazz and its status as democratic, American music have all been especially important to the development of House Concurrent Resolution 57 in 1987, referred to as the Jazz Preservation Act (JPA). Authored by Congressman John Conyers, Jr. of Michigan, the JPA defined jazz as a ‘national treasure’ that deserved public support and inclusion in the education system. Few in the industry have criticised the recognition and public subsidy of jazz, but many have found fault with the JPA’s definitions of jazz and its history that have dictated this support. While the JPA has essentially continued the practice of shaping jazz through ideas of its place within American culture and society, it has provided immense resources to promote a fixed history and canon for jazz. Specifically, the JPA has promoted jazz as the American music, taking a particular stance on the histories of race and discrimination in the industry and the definitions of authentic jazz that had been sources of disagreement, competition, and creativity since the release of the first jazz record in 1917.

APA, Harvard, Vancouver, ISO, and other styles

40

Ulenberg, Phillippa. "The Community Arts Service: History and Social Context." The University of Waikato, 2009. http://hdl.handle.net/10289/2802.

Full text

Abstract:

The Community Arts Service (CAS, 1946-1966), founded after World War Two, took tours of music, drama, opera, dance and art exhibitions to smaller centres and isolated rural areas throughout New Zealand, fostering the cultural activities undertaken by local groups. From the Auckland University College, where it originated as a branch of Adult Education, it spread to the other University College provinces and, beyond New Zealand, to Australia. As Adult Education, CAS programmes emphasised educational value and aimed to develop the tastes and level of culture in the participating communities. The Service operated through local CAS committees, encouraging rural centres to take increasing responsibility for the cultural life of their own communities. Following World War Two, themes of nationalism, decentralisation of culture and correcting the imbalances that existed between rural and urban life so as to create a more egalitarian society, were key issues in New Zealand. The CAS played a significant role in redressing these concerns but to date, have received little critical attention. This thesis, which examines the important role of the Service in the musical and artistic life of twentieth century New Zealand, is an original contribution to the cultural history of this country. Main documentary research sources consulted were regional histories, publications on New Zealand music, theatre, ballet, opera and journals on the arts from the period. Diaries, correspondence, local cultural societies' documentation and programmes of past concerts held in private collections have been valuable. The archival material for Arthur Owen Jensen and Ronald Graeme Dellow (Alexander Turnbull Library) and, the records of Auckland Adult Education (University of Auckland, Special Collections) have been a significant help. People who were involved with the CAS have generously contributed through interviews and correspondence. Newspaper cuttings in private collections and past issues of the Waikato Times held in the Hamilton Public Library have also been important sources.

APA, Harvard, Vancouver, ISO, and other styles

41

Ortiz, Castro Ivette, and Castro Ivette Ortiz. "Trained Abroad: A History of Multiculturalism in Costa Rican Vocal Music." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621142.

Full text

Abstract:

This document examines and analyzes solo vocal music composed by several Costa Rican composers who did not remain in Costa Rica, but rather left the country to study abroad. Unlike prior studies of Costa Rican vocal music, which have focused upon the use(s) composers made of indigenous folk elements, this study identifies foreign, non-indigenous elements that were introduced into Costa Rican vocal music by musical pioneers such as Julio Fonseca (1885-1950) and Dolores Castegnaro (1900-1979), composers who studied at various times in Italy, Belgium, France and Mexico. Excerpts of their music have been analyzed for this document to demonstrate specific international influences. Another two composers were selected due to their present importance in Costa Rican music: Eddie Mora and Marvin Camacho. In a very distinctive manner, these composers bring to the musical environment of Costa Rican diversity and exoticism in Eddie Mora's case and a mix of contemporary with Costa Rican elements with Marvin Camacho's music. In analyzing the music of these four composers, this research intends to present the different influences of other countries into Costa Rican music while Marvin Camacho brings back its own Costa Rican voice.

APA, Harvard, Vancouver, ISO, and other styles

42

Shifflet, Brian R. "A History of Ten Influential Women in Music Education 1885-1997." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182255855.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Hill, Hamish D. "Into the archive: A cultural history through the Yorke collection." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/122547/1/Hamish_Hill_Thesis.pdf.

Full text

Abstract:

This thesis provides a revised understanding of cultural heritage through the application of archival methodologies to a personal archive. The archive, a collection of popular music ephemera amassed by Brisbane music journalist Ritchie Yorke, is used to demonstrate how archival material can articulate key historical events. Two events are looked at in depth, specifically John Lennon and Yoko Ono's War Is Over! peace campaign and the Maple Music Junket. Through the use of archival methods a more nuanced history of popular music and its cultural significance is presented.

APA, Harvard, Vancouver, ISO, and other styles

44

Freitag-Sweeley, Sandra. "The F/C family of saxophones its history, future and literature /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1121711234.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Armstrong, Alan. "Meyerbeer's Le prophete : a history of its composition and early performances /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487677267732368.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Lower, Jonathan. "Lead Belly: Race and Social Activism in Blues Music." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1405422192.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Robbins, Dorothy. "Turning Sound into Ecstasy| Symbolist Aesthetics in Scriabin's Fantasy in B Minor." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10786243.

Full text

Abstract:

Scriabin’s music is saturated with the mystical and heavily influenced by the psycho philosophical presence of his evolving thoughts throughout his life. Scriabin constructed his own self-mythology modeled on Romantic idealizations based on Nietzschean philosophy and Prometheon narrative. He combined this construction with his Symbolist aesthetics for total unity through mystical transcendence. The combining of these archetypes is seen in his Fantasy in B Minor, Op. 28. The Fantasy inhabits both psychological realities which manifests into different aesthetic characteristics. The presence of the more conservative nineteenth-century style alongside the Symbolist narrative elements are what make the Fantasy and elusive and transitory piece that represents the shifts occurring within Scriabin’s psyche during the dawn of the twentieth-century.

The Fantasy has been neglected by scholars but was written merely three years before all his pieces became drenched in the mystical. I therefore propose from my own analysis of the piece and from the evidence of Scriabin’s close associations to the Symbolist movement that the Fantasy, Op. 28 is driven by Symbolist mythological undertones within the thematic narrative. Evidence will be provided from close friends and acquaintances of Scriabin, his own writings, exploration of Romantic and Symbolist aesthetics, and evidence provided by previous scholarship on Scriabin’s theosophical beliefs.

APA, Harvard, Vancouver, ISO, and other styles

48

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

49

Brooke, Caroline Mary. "The development of Soviet music policy, 1932-41." Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/251475.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Gammon, V. A. F. "Popular music in rural society : Sussex 1815-1914." Thesis, University of Sussex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370433.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Music History'

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