Log in

Relevant bibliographies by topics / Music performers / Dissertations / Theses

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

Dissertations / Theses on the topic 'Music performers'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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 performers.'

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

Phillips, Justin M. "Functional Reactive Musical Performers." DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/410.

Full text

Abstract:

Computers have been assisting in recording, sound synthesis and other fields of music production for quite some time. The actual performance of music continues to be an area in which human players are chosen over computer performers. Musical performance is an area in which personalization is more important than consistency. Human players play with each other, reacting to phrases and ideas created by the players that they are playing with. Computer performers lack the ability to react to the changes in the performance that humans perceive naturally, giving the human players an advantage over the computer performers. This thesis creates a framework for describing unique musical performers that can play along in realtime with human players. FrTime, a reactive programming language, is used to constantly create new musical phrases. Musical phrases are constructed by unique user programmed performers and by chord changes that the framework provides. The reactive language creates multiple musical phrases for each point in time. A simple module which chooses musical phrases to be performed at the time of performance is created.

APA, Harvard, Vancouver, ISO, and other styles

2

Swoboda, Marcin. "Encoding Emotion:how performers manipulate microstructural parameters to convey musical meaning." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119252.

Full text

Abstract:

Note:
The following paper explores how performers manipulate musical parameters toconvey affect in musical performances. We focus on durational microstructure. Results ofproduction and perception experiments suggest that performers are succesful at conveying intended affect and that in certain zones of interest, performers modulate acoustic parameters more than in other parts of the score.
Le présent document examine comment les artistes manipulent les paramètresmusicales pour transmettre les émotions pendants les spectacles musicaux. Nous nousconcentrons sur la microstructure de durées. Les résultats des expériences de productionet de perception suggèrent que les artistes ont réussi à transmettre les affectes voulues etque, dans certaines zones d'intérêt, les interprètes modulent les paramètres acoustiquesplus que dans d'autres parties de la partition.

APA, Harvard, Vancouver, ISO, and other styles

3

Hu, Ning. "Automatic Construction of Synthetic Musical Instruments and Performers." Research Showcase @ CMU, 2013. http://repository.cmu.edu/dissertations/270.

Full text

Abstract:

This thesis describes an approach to create high-quality music synthesis by automatically constructing an instrument model and a performance model; the latter module generates control signals from score input and drives the former module to produce synthetic instrumental sounds. By designing and applying appropriate machine learning techniques as well as domain knowledge, the instrument model and the performance model are constructed from acoustic examples and their corresponding scores for a musical instrument. The automated model is able to synthesize realistic instrumental performances from scores.

APA, Harvard, Vancouver, ISO, and other styles

4

Brownell, Andrew. "The English piano in the Classical period : its music, performers, and influences." Thesis, City University London, 2010. http://openaccess.city.ac.uk/12134/.

Full text

Abstract:

Despite an abundance of research and literature on the Viennese piano in the Classical period, the influential role of the English instrument and its literature – in terms of keyboard idiom and compositional style – still remains something of a blind spot. This thesis attempts to address this imbalance by providing an overview of the most significant literature of the period, guided by the premise that the characteristics of the English instrument led to a style of keyboard writing that is distinct from the Viennese Classical style. The advent of the piano in England is traced, establishing the traits of the ‘English grand’ piano in the English harpsichord and other early instruments. This is followed by an overview of early piano concerti by James Hook, J.C. Bach, and Schroeter. Stylistic evolution in the early works of Clementi and Dussek is analysed, as well as that of Haydn’s London works. The thesis concludes with a chapter examining the interaction c. 1800 between the London and Viennese schools, demonstrating how contact with the more progressive London school precipitated changes in the Viennese keyboard style and the instrument itself.

APA, Harvard, Vancouver, ISO, and other styles

5

Dixon, Wendy. "Selection procedures relating to Australian vocal repertoire for mid-adolescent HSC performers." Connect to full text, 2006. http://hdl.handle.net/2123/1590.

Full text

Abstract:

Thesis (M. Mus. (Mus. Ed.)--University of Sydney, 2006.
Title from title screen (viewed 19 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Music (Music Education) to the Sydney Conservatorium of Music. Includes bibliographical references. Also issued in print format.

APA, Harvard, Vancouver, ISO, and other styles

6

Sousa, Gary Donn. "Musical conducting emblems : an investigation of the use of specific conducting gestures by instrumental conductors and their interpretation by instrumental performers." Connect to resource, 1988. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1217257892.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Ely, Mark Christopher. "The effects of timbre on intonational performance and perception by college performers of selected woodwind instruments /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487592050227073.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

George, Aimée. "An exploration of the gender and sexual dynamics for women performers in the Cape Town jazz community." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33739.

Full text

Abstract:

This research explores the dynamics of gender, sexuality and power for women performers within the jazz community in Cape Town. Although the history and development of South African jazz has been extensively researched, very few texts mention the presence and impact of women performers and has yet to include how questions of gender, power and sexuality influence both the cultures of jazz and the experiences of women jazz artists. The current study is strongly influenced by feminist theory, which seeks to uncover experiences obscured by patriarchal epistemologies. A qualitative methodology is used to ensure each narrative remains at the forefront of the research. Interviews were conducted with jazz women musicians involved in various roles within the jazz industry in Cape Town. These semi-structured interviews allow for these women to narrate their turbulent musical journeys. What is revealed and subsequently further explored are the rich identity politics involved in being women “performers”, what is assumed and expected of them, the role “boys clubs” play in their exclusion, and the pressures and implications of stringent gender stereotypes, beauty ideals and vicious hyper-sexualization. Moreover, I explore the analytics of power within this specific culture and its' effect on jazz women. Their accounts reveal how the Cape Town jazz community remains saturated with gender stereotypes and is seemingly committed to continuing violent displays of misogyny. The study argues that despite the prevalence of this misogyny, women jazz artists actively design strategies which skilfully and innovatively allow them to pursue influential careers, deepening the meaning of “jazz” in Cape Town and beyond. The research thus both extends the analysis of feminist jazz theorists in Cape Town, and suggests that understanding the contemporary dynamics of gender and sexuality in South African jazz artists' experience deserves more research.

APA, Harvard, Vancouver, ISO, and other styles

9

Liertz, Carmel, and n/a. "Developing performance confidence : a holistic training strategies program for managing practice and performance in music." University of Canberra. Communication & Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060817.132817.

Full text

Abstract:

The thesis aims to address a perceived gap in the training and development of music performers, namely the lack of a practical strategies framework for developing performance confidence, especially self-efficacy (situational selfconfidence) in music performance. To this end, a Training Program with Training Manual was designed to assist musicians in the management of practice and performance, using a framework of six integrative mental and physical strategies taken from Sport Performance and applied to Music Performance. Five musicians trialed the Training Program for five weeks. Five individual case studies were constructed to explore and interpret the musicians' practice and performance experiences before and after using the Training Program / Manual. Analyses of in-depth interviews and a follow-up questionnaire revealed that the Training Program had produced positive changes in mental and physical behaviour, along with increased concentration ability and coping skills in stressful situations, resulting in a sense of control in performance. A cross-case analysis revealed that the shared issues of significance for the musicians were Concentration, Stress and Lifestyle Practices, and Sense of Control in practice and performance. This qualitative study demonstrates that a training program addressing the lifestyle context of music performance is beneficial for practice and the lead-up to performance. Confidence in playing ability develops, when practice and performance are perceived to be effectively self-managed and practice becomes a positive experience. The findings of this study suggest the need for a holistic approach to music performance, based on awareness of the mind-body connections involved in performance.

APA, Harvard, Vancouver, ISO, and other styles

10

Denhard, August. "Lute realizations for the English cavalier songs (1630-1670) : a guide for performers /." Online version, 2006. http://www.cs.dartmouth.edu/~lsa/associated/Denhard/index.html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Chudy, Magdalena. "Discriminating music performers by timbre : on the relation between instrumental gesture, tone quality and perception in classical cello performance." Thesis, Queen Mary, University of London, 2016. http://qmro.qmul.ac.uk/xmlui/handle/123456789/18378.

Full text

Abstract:

Classical music performers use instruments to transform the symbolic notationof the score into sound which is ultimately perceived by a listener. For acoustic instruments, the timbre of the resulting sound is assumed to be strongly linked to the physical and acoustical properties of the instrument itself. However, rather little is known about how much influence the player has over the timbre of the sound - is it possible to discriminate music performers by timbre? This thesis explores player-dependent aspects of timbre, serving as an individual means of musical expression. With a research scope narrowed to analysis of solo cello recordings, the differences in tone quality of six performers who played the same musical excerpts on the same cello are investigated from three different perspectives: perceptual, acoustical and gestural. In order to understand how the physical actions that a performer exerts on an instrument affect spectro-temporal features of the sound produced, which then can be perceived as the player's unique tone quality, a series of experiments are conducted, starting with the creation of dedicated multi-modal cello recordings extended by performance gesture information (bowing control parameters). In the first study, selected tone samples of six cellists are perceptually evaluated across various musical contexts via timbre dissimilarity and verbal attribute ratings. The spectro-temporal analysis follows in the second experiment, with the aim to identify acoustic features which best describe varying timbral characteristics of the players. Finally, in the third study, individual combinationsof bowing controls are examined in search for bowing patterns which might characterise each cellist regardless of the music being performed. The results show that the different players can be discriminated perceptually, by timbre, and that this perceptual discrimination can be projected back through the acoustical and gestural domains. By extending current understanding of human-instrument dependencies for qualitative tone production, this research may have further applications in computer-aided musical training and performer-informed instrumental sound synthesis.

APA, Harvard, Vancouver, ISO, and other styles

12

Mayne, Richard Gary. "An investigation of the use of facial expression in conjunction with musical conducting gestures and their interpretation by instrumental performers." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248972542.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Chen, Kuo-Hua. "Effects of different performers and newly made violins on musicians' and non-musicians' perceptions of recorded violin performances /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055677.

Full text

Abstract:

Thesis (D.M.A.)--University of Oregon, 2002.
Reproduction fo typescript. Includes vita and abstract. Includes bibliographical references (leaves 114-120). Also available for download via the World Wide Web; free to University of Oregon users.

APA, Harvard, Vancouver, ISO, and other styles

14

Lee, Chu-Yunn. "Pablo de Sarasate his life, music, style of performance, and interactions among other performers and composers /." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/lee_chu-yunn/index.htm.

Full text

Abstract:

Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Feb. 9, 2004, Nov. 15, 2004, Apr. 18, 2005, and Oct. 9, 2006. Includes bibliographical references (p. 37-[39]).

APA, Harvard, Vancouver, ISO, and other styles

15

Hayes, Eileen M. "Black women performers of women-identified music : "they cut off my voice, I grew two voices" /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10623.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Walker, Tyler B. "An Exhibition on Cheerful Privacies." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1288968111.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Kim, Jun Y. "A Performer's Guide to Violin Orchestral Excerpts from Baroque to the Twentieth Century Compositions." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377873196.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Johnston, Dennis A. (Dennis Alan). "Trained Musical Performers' and Musically Untrained College Students' Ability to Discriminate Music Instrument Timbre as a Function of Duration." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935621/.

Full text

Abstract:

The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to discriminate timbre better than musically untrained college students, musicians cannot discriminate timbre significantly better then those subjects who have not participated in musical ensembles. Additionally, instrumentalists tended to discriminate timbre better than vocalists, but the discrimination is not significantly different. Recommendations for further research include suggestions for a timbre discrimination measurement tool that takes into consideration the multidimensionality of timbre and the relationship of timbre discrimination to timbre source, duration, pitch, and loudness.

APA, Harvard, Vancouver, ISO, and other styles

19

Marshall, Anne, University of Western Sydney, of Arts Education and Social Sciences College, and School of Social Ecology and Lifelong Learning. "Ngapartji-ngapartji : ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience." THESIS_CAESS_SELL_Marshall_A.xml, 2001. http://handle.uws.edu.au:8081/1959.7/556.

Full text

Abstract:

All forms of cultural interaction are expressive and creative. In particular, what the performing arts express is not always the conscious, the ideal and the rational, but more often the preconscious, pre-verbal, asocial and irrational, touching on darker undercurrents of human and extra-human interrelations, experiences, beliefs, fears, desires and values. So what is performance and how does it differ in cultures? A performance is a translation of an idea into a synaesthetic experience. In the context of this thesis, however, translation does not imply reductive literal translation as can be attempted by analogy in spoken or written descriptions and notation systems. The translation is one through which participating groups and individuals seek to understand the being in the world of the Other by means of mutual, embodied negotiation of meaning - sensually, experientially, perceptually, cognitively and emotionally - that is, by means of performance. As a contribution towards a social theory of human performance, the author offers reflections on an exchange between two performance ecologies - those of a group of Aboriginal Australian performers from Mimili, Central Australia and a mixed ethnic group of Australian performers from Penrith, NSW, Australia.
Doctor of Philosophy (PhD)

APA, Harvard, Vancouver, ISO, and other styles

20

Gorin, Pablo César. "Alberto Ginastera’s Variazioni e toccata sopra “Aurora lucis rutilat,” op 52, an analytical overview for performers." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6428.

Full text

Abstract:

This essay is a musicological, analytical, and performance practice investigation of Variazioni e Toccata sopra “Aurora lucis rutilat,” op. 52 by Alberto Ginastera. Commissioned by and written for the Twin Cities Chapter of the American Guild of Organists, this piece was premiered during the National Convention of the AGO on June 18th, 1980 in Minneapolis, Minnesota, by the renowned American organist and pedagogue Marilyn Mason. Mason championed the composition for years on the concert platform, but the composition suffered neglect both by performers and scholars alike. Today, there exists not a single comprehensive study on this work, and only two recordings available. This essay seeks to clarify the composition by addressing 1) the relation between manuscript sources, the correspondence between composer and performer during and after the compositional process, recordings, and 2) by analyzing the form of the piece, by investigating its melodic relationship to the Gregorian tune, as well as by providing an examination of the text and its connection to medieval sources. I will devote a chapter to Ginastera’s biographical background, a review of the current scholarship, as well as a chapter devoted to the analysis of each single variation, thematic placement, and an overview of the harmonic relationship of endings.

APA, Harvard, Vancouver, ISO, and other styles

21

Clark, Stephen J. "The intuitive and the intellectual aspects of personal compositional voice and its complex and intuitive processes in relation to astronomical observations and elementary and advanced performers /." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/38730.

Full text

Abstract:

Thesis (Ph.D.) -- University of Western Sydney, 2008.
A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy awarded by the School of Communication Arts, College of Arts, University of Western Sydney. Includes bibliography.

APA, Harvard, Vancouver, ISO, and other styles

22

Davis, Adam Benjamin. "The Art of Marimba Articulation: A Guide for Composers, Conductors, and Performers on the Expressive Capabilities of the Marimba." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248483/.

Full text

Abstract:

Articulation is an element of musical performance that affects the attack, sustain, and the decay of each sound. Musical articulation facilitates the degree of clarity between successive notes and it is one of the most important elements of musical expression. Many believe that the expressive capabilities of percussion instruments, when it comes to musical articulation, are limited. Because the characteristic attack for most percussion instruments is sharp and clear, followed by a quick decay, the common misconception is that percussionists have little or no control over articulation. While the ability of percussionists to affect the sustain and decay of a sound is by all accounts limited, the ability of percussionists to change the attack of a sound with different implements is virtually limitless. In addition, where percussion articulation is limited, there are many techniques that allow performers to match articulation with other instruments. Still, percussion articulation is often a topic of little concern to many musicians. The problem is not that this issue has been completely ignored, but rather that a vast number of contradictory and conflicting viewpoints still permeate pedagogical methods and literature. This is most certainly the case with the marimba, where a review of method books reveals a multitude of confusing statements about marimba articulation. It is clear that there is still widespread confusion about marimba articulation from composers, conductors, and most importantly percussionists themselves. This study attempts to advance percussion pedagogy in this area through a better understanding of the terminology of musical articulation, the acoustical principles of the marimba, and the techniques that affect sound production on this instrument. After a review of these three areas, this study examines 166 recordings, which look at the actual effect of specific techniques carried out on the marimba. Finally, the project offers a set of recommendations for composers, conductors, and percussionists on all aspects of marimba articulation, in the goal of increasing marimbists' potential for greater musical expression.

APA, Harvard, Vancouver, ISO, and other styles

23

Wiggins, Dana C. "From Countrypolitan to Neotraditional: Gender, Race, Class, and Region in Female Country Music, 1980-1989." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/history_diss/21.

Full text

Abstract:

During the 1980s, women in country music enjoyed unprecedented success in record sales, television, film, and on pop and country charts. For female performers, many of their achievements were due to their abilities to mold their images to mirror American norms and values, namely increasing political conservatism, the backlashes against feminism and the civil rights movement, celebrations of working and middle class life, and the rise of the South. This dissertation divides the 1980s into three distinct periods and then discusses the changing uses of gender, race, class, and region in female country music and links each to larger historical themes. It concludes that political and social conservatism influenced women’s country performances and personas. In this way, female country music is a social text that can be used to examine 1980s America.

APA, Harvard, Vancouver, ISO, and other styles

24

Sorensen, Randall J. "Original repertoire for the American Brass Quintet, 1962-1987 : a guide for performers and composers." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118241.

Full text

Abstract:

This dissertation examines the following works from the original repertoire of the American Brass Quintet (ABQ): Charles Whittenberg, Triptych for Brass Quintet; Ralph Shapey, Brass Quintet; Gilbert Amy, Relais; William Lovelock, Suite for Brass; Leonardo Balada, Mosaico; Virgil Thomson, Family Portrait; Elliott Carter, Brass Quintet; Jacob Druckman, Other Voices; Robert Starer, Evanescence; Dan Welcher, Brass Quintet; Vladimir Ussachevsky, Dialogues and Contrasts; David Sampson, Morning Music; Maurice Wright, Quintet; and Eric Ewazen, Colchester Fantasy. These works represent a small part of the ABQ's repertoire and attest tothe significance of the ensemble's contribution to brass quintet literature. The purpose of this study is to bring these works to the attention of performers and to provide a guide for those wishing to perform them. Composers will be interested in the discussion of compositional techniques. The fourteen works are studied in chronological order and in the following manner: composer biography, historical background of composition, descriptive analysis (form, harmony, melody, rhythm, texture), and performance considerations (range, special techniques, use of basstrombone or tuba, and equipment needs). Program notes from the ABQ's performances of the works, many written by the composers, are included.Through the study of these works the following conclusions are reached: (1) the ABQ has influenced the development of university brass programs and has helped to make brass quintet experience an integral part of brass education, (2) it has encouraged composers to write for brass quintet, and (3) the ABQ has played a significant role in developing an original brass quintet repertoire. Through its residencies at the Aspen Music Festival and the Juilliard School of Music and touring, the ABQ has reached a large number of students, performers, and composers throughout the world. The quintet's performances of new music has inspired composers to write for brass quintet; the group receives many unsolicited scores each year. Since its founding in 1960, the ABQ has been a leader in the commissioning of original works for brass quintet and has played a significant role in the development of the brass quintet repertoire.
School of Music

APA, Harvard, Vancouver, ISO, and other styles

25

ROONEY, KIMBERLY DIANNE. "Compositional Trends in Solo Horn Works Composed by Horn Performers (1970-2005): A Survey and Catalog." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218545699.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Rottcher, Janette. "Die bydrae van Unisa se Oorsese Musiekstudiebeurs vir Voordraers tot die ontwikkeling van musiek in Suid-Afrika." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/30716.

Full text

Abstract:

In hierdie studie word die invloed van Unisa se Oorsese Musiekstudiebeurs vir Voordraers op musiekontwikkeling in Suid-Afrika ondersoek. Ten einde hierdie doel te bereik, is twee navorsingsmetodes gevolg. Eerstens is ’n literatuurstudie gedoen. Daardeur is die loopbane van gevestigde en aspirerende uitvoerende kunstenaars ondersoek, die term ‘professionele musikus’ omskryf, die invloed van formele en informele musiekonderrig op jong musiekstudente bestudeer en ook die verhouding tussen ’n onderwys- en uitvoerende loopbaan bloot gelê. Tweedens is ’n vraelys aan al die beskikbare Unisa Oorsese Musiekstudiebeurswenners tussen 1970 en 2000 gestuur. Die doel van die vraelys was hoofsaaklik om inligting oor die persoonlike ervaring wat die persone in die steekproefgroep gedurende hul opleiding in die buiteland en daaropvolgende loopbane opgedoen het, in te win. Beide kwantitatiewe en kwalitatiewe data is deur die navorsingsmetodes bekom. Hoewel die responskoers redelik laag was, is waardevolle inligting ingewin oor die invloed wat Unisa se Oorsese Musiekstudiebeurs op die beurswenners gehad het. Die data het die hoedanighede van die beurswenners se loopbane asook die bydraes wat hulle in uitvoerende en onderwys kapasiteit lewer, aangedui. Die resultate het getoon dat die meerderheid beurswenners wel in Suid-Afrika gevestig is, terwyl die meeste van dié wat oorsee is, Suid-Afrika steeds besoek op ’n professionele basis. Die feit dat die meeste beurswenners suksesvolle musiekloopbane volg en ook meestal hoogs gekwalifiseer is, dui daarop dat Unisa se Oorsese Musiekstudiebeurs ’n integrale deel vorm van die ontwikkeling van Suid-Afrika se musiekbedryf. ENGLISH : This study examines the influence of Unisa’s Overseas Music Scholarship for Performers on the music development of South Africa. Two research methods were used to achieve this. Firstly, a literature study was conducted. This was done to obtain existing information regarding the careers of performing artists, define the term ‘professional musician’, study the influence of formal and informal music education on young music students as well as to uncover the relationship between teaching and performing careers. Secondly, a quesionnaire was sent to all available Unisa Overseas Music Scholarship winners between 1970 and 2000. The aim of the quesionnaire was to gain information regarding the winners’ personal experience of their education and careers. Quantitative and qualitative data was gained through this research method. Although the respons rate was low, valuable information was gathered regarding the influence that the Unisa Overseas Music Scholarship had on the scholarship winners. The data showed the capacity of the scholarship winners’ careers as well as the contribution they make in the performing and teaching environment. The results showed that more scholarship winners settled in South Africa, while many of those who settled overseas, still visit South Africa on a professional basis. The fact that most of the scholarship winners lead sucsessful music careers and are mostly highly qualified, indicates that Unisa’s Overseas Music Scholarship forms an integral part in the development of South Africa’s music industry.
Dissertation (MMus)--University of Pretoria, 2011.
Music
Unrestricted

APA, Harvard, Vancouver, ISO, and other styles

27

Dubinas, Andrius. "Muzikos atlikėjų marketingas internetu: iššūkiai ir galimybės." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130805_104604-20719.

Full text

Abstract:

Muzikos ir muzikos atlikėjų marketingas internetu. Internetinės muzikos platinimo ir atlikėjų informacijos sklaidos terpės, jų naudojimo iššūkiai ir teikiamos galimybės. Skaitmeninės muzikos vartojimo įpročiai ir piratavimo reiškinio tyrimas. Tradicinės ir naujosios medijos informacijai bei muzikai skleisti.
Music Performers' Marketing Over Internet: Challenges and Opportunities.

APA, Harvard, Vancouver, ISO, and other styles

28

White, Christopher K. "The communication of musical expression : as exemplified in jazz performance." Diss., Manhattan, Kan. : Kansas State University, 2010. http://hdl.handle.net/2097/2376.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

VanPelt, Michael O. "A Performers Guide to the Music of Edison Denisov: Understanding the Interpretive Implications of his Musical Language in Sonata for Alto Saxophone and Piano, Deux Pieces, and Sonata for Alto Saxophone and Cello." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384427385.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Allgeier, Anthony Joseph III. "The Works for Clarinet Commissioned by the Concours International d'Exécution Musicale de Genève: A Critical Survey and Performance Guide." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31524/.

Full text

Abstract:

Beginning in 1939, the Concours International d'Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. These works are examined as well. This survey provides a critical, analytical, historical, performance-related and biographical review of the published and unpublished works commissioned for the clarinet by CIEM. The composers, competitors and the significance of these works and winners in the clarinet literature and history are included. A chapter is dedicated to each piece which includes performance considerations, critical, analytical, and historical information as well as biographical information regarding the composer and the competitors where available.

APA, Harvard, Vancouver, ISO, and other styles

31

Nam, Minjung. "Franz Liszts Fantasy and Fugue on the chorale Ad nos, ad salutarem undam:." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367945991.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Ana, Klem Aksentijević. "Rod i profesija u umetnosti: diplomirane izvođačice na gudačkim instrumentima na akademijama umetnosti u Novom Sadu, Banja Luci i Zagrebu (1990–2014)." Phd thesis, Univerzitet u Novom Sadu, Asocijacija centara za interdisciplinarne i multidisciplinarne studije i istraživanja, 2016. https://www.cris.uns.ac.rs/record.jsf?recordId=100753&source=NDLTD&language=en.

Full text

Abstract:

Danas je gotovo nepoznat podatak da na katedrama za gudačke instrumente na akademijama umetnosti u regionu od ukupnog broja diplomiranih kadrova većinu čine žene. Otuda je vredna istraživačke pažnje analiza procesa obrazovanja i profesionalnog delovanja u njihovim sredinama tog značajnog broja muzički visoko obrazovanih žena. Upoređivanjem podataka iz tri akademske sredine jugoslovenskog prostora dolazimo do značajnih zaključaka za istoriju ženskog muzičkog nasleđa u regionu na ovom prostoru i za metodiku rada sa budućim kadrovima.Cilj istraživanja je prikupljanje, selekcija i interpretacija podataka o životu diplomiranih izvođačica na gudačkim instrumentima u Novom Sadu, Banjaluci i Zagrebu od osnivanja akademskih institucija do danas, kako bi se skrenula pažnja na pitanje konstruisanja identiteta izvođačica tokom i nakon visokog muzičkog obrazovanja.Hipoteza 1 je da značajan broj diplomiranih izvođačica na gudačkim instrumentima doprinosi promeni svesti o važnosti rodnog identiteta u muzičkoj umetnosti u regionu.Hipoteza 2 je da povećan broj diplomiranih izvođačica na gudačkim instrumentima ne doprinosi promeni svesti o važnosti rodnog identiteta u muzičkoj umetnosti u regionu.Hipoteza 3 je da je profesionalni identitet diplomiranih izvođačica na gudačkim instrumentima nadređen svim drugim komponentama identiteta, uključujući i rodni.Korpus obuhvata diplomirane muzičarke gudačkih instrumenata sa Akademije umetnosti u Novom Sadu (20), u Zagrebu (4)i u Banjaluci (8).Analiza 13 komponenata identiteta (detinjstvo, školovanje, devedesete godine 20. veka, brak, deca, maternji jezik, zatim nacionalni, verski, profesionalni identiteti, zdravlje, članstvo u strukovnim udruženjima i političkim strankama, hobi).Rezultati pokazuju da je prva hipoteza samo delimično tačna, te da je treća hipoteza tačna za ukupan uzorak: sve muzičarke prednost daju profesionalnom identitetu od ranog detinjstva. Empirijski podaci ne potvrđuju stereotip da profesija muzičarke i braka, porodice i dece ne idu zajedno.Rezultati istraživanja su važni koliko za novo sačinjavanje istorije muzike i žena u toj oblasti toliko i za rodne studije, koje se staraju za afirmaciju žena u različitim profesijama u današnjem vremenu. Posebno rezultati treba da obogate nastavnu i metodičku praksu u domenu muzike na svim nivoima obrazovanja kod nas. Podaci iz ovog rada bi mogli (zapravo, morali) da postanu deo udžbeničke literature. Na ovo se nadovezuju i podaci do kojih je došlo ovo istraživanje, a koji svedoče o tome da je u svetu i u regionu jugoslovenskog prostora značajan broj žena doprinosio i još uvek, možda i više nego ikada ranije, doprinosi razvoju muzike i muzičke kulture.
Today is almost unknown the fact that on the string department at the academies of arts in our region most of the graduated students are women. The analysis of this process is worth the research attention of education and professional activities of this, relatively significant number of graduated women string instrumentalists. By comparing data from three cultural backgrounds of ex-Yugoslav territory we come to significant conclusions for the history of women's musical heritage in the region in this area and the methodology of work with future personnel.The aim of the research is the collection, selection and interpretation of data about the life of graduated women performers on stringed instruments in Novi Sad, Banja Luka and Zagreb since the establishment of these academic institutions to present day, in order to draw attention to the issue of constructing identity of women performers during and after the higher music education.Hypothesis 1 is that a significant number of female music performance graduates on string instruments contributes to improving the awareness of the importance of gender identity in the music art in the region.Hypothesis 2 is that the increased number of female music performance graduates on string instruments does not contribute to improving the awareness of the importance of gender identity in the music art in the region.Hypothesis 3 that professional identity of the female music performance graduates on string instruments is superior to all other components of identity, including gender.The corpus includes female music performance graduates on string instruments from the Academy of Arts in Novi Sad (20), Zagreb (4) and Banja Luka (8).Analysis of the 13 components of identity (childhood, education, nineties of the 20th century, marriage, children, mother tongue, then national, religious, professional identities, health, membership in professional associations and political parties, hobbies).The results show that the first hypothesis is only partly true, and that the third hypothesis is true for the total sample: all the female musicians prefer the professional identity from early childhood. Empirical data do not confirm the stereotype that the profession of a female musician exclude marriage, family and children.The research results are as important as the new drafting history of music and women in this area so much and for gender studies, which are undertaken for the advancement of women in various professions in modern times. In particular, the results would enrich teaching and methodical practice in the field of music education at all levels in our country. Data from this study could (indeed, must) become a part of textbooks. In addition the data that occurred in this research testify to the fact that in the world and in the region Yugoslav territory a significant number of women contributed, and still, perhaps more than ever, contributes to the development of music and musical culture.

APA, Harvard, Vancouver, ISO, and other styles

33

Bloss, Laura. "Natural Trumpet Music and the Modern Performer." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1350316386.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Tung, Margaret. "Dale Clevenger: Performer and Teacher." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259738449.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Ruiz, de Gauna Moisés. "Federico Mompou and The Piano: a Performer's Guide." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243303271.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Jacobs, Charles. "On Editions of Music in Tablature and the Performer." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38343.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Waddington, Caroline Elizabeth. "Co-performer empathy in expert ensemble playing." Thesis, University of Hull, 2014. http://hydra.hull.ac.uk/resources/hull:11525.

Full text

Abstract:

This thesis, comprising four empirical studies, investigates the process of co-performer empathy in expert ensemble playing. Following an extensive review of the existing literature relating to both optimal experiences of performance and empathy, it begins by probing the relationship between ensemble musicians’ optimal experiences of performance and their experiences of co-performer empathy through a series of focus group interviews. In addition to co-performer empathy, spontaneous interpretative flexibility (SIF) in performance is identified to be a central feature of optimal experiences of expert ensemble performance. Through observational case studies, involving video-recall, acoustic analyses, and heart-rate measures, a model of process of co-performer empathy and the related process of SIF is constructed. The final model shows co-performer empathy to be a cyclical process grounded in a pre-requisite shared approach, both to the music and to working together. It is often characterised by a special connection between players. It involves the identification of a co-performer’s expressive intention, followed by an appropriate expressive response. Co-performer empathy appears to be a context-specific form of musical empathy that emerges as a group process during ensemble playing, and does not seem to be directly related to trait empathy. Finally, from the findings of these empirical studies, potential techniques for strengthening co-performer empathy and the production of SIF in ensemble playing are proposed.

APA, Harvard, Vancouver, ISO, and other styles

38

Wilkes, Christina Faye 1967. "A performer's guide to the marimba music of Daniel McCarthy." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290664.

Full text

Abstract:

This document examines the marimba music of Dr. Daniel W. McCarthy. The focus is on his compositional techniques, his musical style, and his innovative textural and technical uses of the marimba as represented in the compositions: Rimbasly (1990), Concerto for Marimba, Percussion and Synthesizers (1992), Chamber Symphony for Marimba and Winds (1993), and Song of Middle Earth (1995). This discussion is directed toward the advanced marimba performer. Chapters one and two present a biography and a discussion of McCarthy's compositional style and technique--with focus on his compositional use of four-mallet marimba techniques. Chapter three presents his marimba compositions in chronological order and discusses performance requirements and style characteristics of each work.

APA, Harvard, Vancouver, ISO, and other styles

39

Kraft, Arvid. "Ordets performans : En konceptuell och praktisk ingång i Ordets performativa förmåga." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3512.

Full text

Abstract:

Ordet, text och rösten har kommit att bli några av min största intressen för estetisk och konstnärlig behandling under de senaste åren. Ordets roll i min musik har förvandlats till ett estetiskt behov, vilket har lett till att nästan alla mina musikaliska kompositioner under de senaste åren har inkorporerat text och röst på något sätt. I min strävan att hitta essensen av vad ordet är genom ett utforskande av alla dess aspekter, även filosofiska och lingvistiska, har min musik de senaste åren ändrat fokus till vad ordet kan ha för olika sorts funktion i en scenisk, performativ, men i synnerhet musikalisk kontext, både för hur vi skriver, hur vi talar och hur vi sjunger. I denna text har jag samlat mina erfarenheter och mina tankar om ordet för att redogöra för ordet i min konstnärliga praktik, samt hur jag applicerar mina idéer praktiskt i det som jag kommer att kalla för textpartituret.

APA, Harvard, Vancouver, ISO, and other styles

40

Ko, Eunbyol. "Music and Image a performer's guide to Maurice Ravel's Miroirs /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1172781745.

Full text

Abstract:

Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Title from electronic thesis title page (viewed Apr.3, 2007). Includes abstract. Keywords: Ravel; Miroirs; Performer's Guide; Image; Impressionism; Symbolism; Eunbyol Ko Includes bibliographical references.

APA, Harvard, Vancouver, ISO, and other styles

41

Hays, Andrew Paul. "A performer's guide to the saxophone music of Sherwood Shaffer." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1440/umi-uncg-1440.pdf.

Full text

Abstract:

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Steven Stusek; submitted to the School of Music. Includes bibliographical references (p. 62-64).

APA, Harvard, Vancouver, ISO, and other styles

42

Holmes, Patricia A. "The performer's experience : psychological, philosophical and educational perspectives." Thesis, City University London, 2011. http://openaccess.city.ac.uk/7791/.

Full text

Abstract:

This portfolio represents a body of original research into components of elite erformance that had hitherto not been investigated. There are three main categories of focus. New perspectives on learning and memorisation, and also expressive use of timbre in elite performance are offered. Additionally, a substantial body of work is concerned with investigating whether certain psychological characteristics may figure as determinants of the ability to perform at elite level. The submission is strengthened by collaboration with other disciplines - predominantly sports psychology and psychoacoustics, but latterly, also with education and philosophy. The purpose of this Critical Analysis is to specify originality and coherence within the portfolio and to evaluate its strengths and weaknesses. The contemporary relevance of the work, in all but the most recent paper, is shown by consideration of ideas suggested by the findings, in the context of subsequent research. In the interests of on-going research in a similar area, for the most recent paper, perspectives that further develop the most interesting emergent themes are offered. Qualitative and quantitative methodologies are critically evaluated in relation to the studies undertaken and limitations are acknowledged. Reference to recent developments in research techniques and processes provides some insight into potential refinement of the chosen research methods that might inform future similar research.

APA, Harvard, Vancouver, ISO, and other styles

43

Suchodolski, Heather Blase. "Douglas Campbell: American Horn Pedagogue and Performer." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500009/.

Full text

Abstract:

While the word “pedagogue” may evoke a vision of an instructor who is dogmatic and set in his own ways, the word descends from Greek origins: ped “child” + agogos “leader.” A pedagogue is, by definition, literally the servant who escorts the child to and from school – the “pedagogue” accompanies the student on the journey for knowledge. True to this definition, Douglas Campbell is model pedagogue – one who gently guided his countless students throughout their musical journeys. As Professor of Music (Horn) at Michigan State University for 45 years, and Horn Instructor at Interlochen Arts Camp for 25 years, Campbell was a significant influence on many developing hornists. Following their study with him, Campbell's students eventually won orchestral and college teaching positions across the United States and throughout the world. Having influenced an extraordinary number of horn students during his tenures at Michigan State University and Interlochen Arts Camp, Douglas Campbell's life and career serve as an excellent example of contemporary horn pedagogy in the United States. This dissertation provides a detailed biography of Douglas Campbell and provides evidence of his contributions to American horn pedagogy, while documenting Campbell’s performing career with the Richards Quintet, which toured the United States, Canada, and China. Additionally, compositions written for or commissioned by Campbell (Harmonielehre: Variations for Solo Horn [1996] and Epitaph [2012]) are discussed, to illustrate Campbell's influence on solo literature for the horn.

APA, Harvard, Vancouver, ISO, and other styles

44

Chen, Ching-Yi. "A Performer's Guide to John Musto's Song Cycle, Quiet Songs." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1331099604.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Harding, Michael David 1960. "A performer's analysis of Hans Werner Henze's "Royal Winter Music", Sonata I." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288945.

Full text

Abstract:

Royal Winter Music (First and Second Sonatas on Shakespearean Characters) by Hans Werner Henze is the largest composition for solo classical guitar written to date. It is comprised of nine movements, each movement a musical portrait of a character from Shakespeare's plays. My discussion focuses on the first sonata, comparing a detailed examination of the Shakespearean characters, and any applicable dialogue, with Henze's musical portraits. The musical analysis is from a performer's viewpoint and does not offer a strict theoretical analysis. Instead, my intention is to find key components of form, harmony, and other musical elements that illuminate the inner workings of Henze's music and its relationship to the Shakespearean character.

APA, Harvard, Vancouver, ISO, and other styles

46

Sieger, Crystal Anne. "Identity Perceptions of Music Performance/Music Education Double Majors: A Qualitative Study." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/268353.

Full text

Abstract:

Undergraduate students who double major in music performance and music education often face issues with identity perception unlike those of their single-major counterparts. As they simultaneously develop both identities, double majors cope with additional challenges as they determine who they are and who they hope to become. Some easily adapt to both identities--incorporating values of both majors to create a well-rounded persona--while others struggle to find balance between the two identities. The purpose of this study was to investigate the early stages of performer-teacher identity by examining double majors in various stages of their programs of study who aspire to become a performer and music educator. Using individual and focus-group interviews and e-mail prompts, I investigated the experiences of five undergraduate students majoring in music education and music performance. Participants were asked to describe influences that led them to the double major. They were also asked to consider which of their majors they felt to be more prominent, and how they intended to utilize each major in their future. Participants also described qualities of ideal performers and teachers. They responded to questions regarding training received and perceptions of superiority and inferiority within the school of music. Six themes emerged from the analysis. I found that participants were enveloped in varying degrees of blended musician identity depending on the length of their experience. Participants had been socialized primarily by family and teachers, and secondarily by applied professors and practical experiences. They felt most like performers or teachers when involved in hands-on experiences, and those experiences that were considered in real-life situations were the most helpful in identity development. Participants expressed concerns regarding heavy workloads and their ability to develop adequate skills for success. I also discovered a tendency of participants to cater to the perceptions of those within their environment. Concern for the opinions of others often led to a superiority/inferiority conflict between performance majors and music education majors both within and across applied studios. Implications for music school faculty and music students are included.

APA, Harvard, Vancouver, ISO, and other styles

47

McCabe, Brent Poe. "A performer's guide and new critical edition of Frank Martin's "Quatre Pieces Breves"." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/298797.

Full text

Abstract:

This three-part study traces the history and chronology of Frank Martin's Quatre Pieces Breves provides an introduction to Martin's compositional style, and examines elements of the work in regard to their significance for the performer. This study also addresses the discrepancies between the various sources of Quatre Pieces Breves , defines the role of Martin's collaborators, and justifies the new critical edition, which is based upon the author's conclusions. Frank Martin's 1933 piano score; GUITARE-Quatre Pieces Breves, published by Universal Edition in 1976, number UE 15041, is used as the primary interpretive model for the new critical edition because the author believes it preserves the composer's original intentions regarding this work. The result is a new, more authentic interpretation that is designed to serve as an alternate to the current, published edition.

APA, Harvard, Vancouver, ISO, and other styles

48

Morrison, Krystal. "Musicology, Discourse, and the Performer’s Body: Understanding Music from the Inside." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37129.

Full text

Abstract:

Current research in music scholarship appears to be trending towards the “embodied” yet from the vantage point of the performer this progression seems to be lacking a key component of such an embodied discourse: their voice. In this thesis I argue that the oversight of the performing body and its importance to the field of musicology is a result of conceptual dualities that attempt to conceal the body in its role within thought, culture, and meaning. Illustrating this oversight with the gaps in the current academic discourse, I show how many in the field either consider the body only in a metaphorical sense, or see the performer as an object of study. An examination of the contributions of three performer-scholars to this field demonstrates ways in which the gap can be filled, and lack addressed. Their approaches are then combined in an embodied analysis of Messiaen’s “Abîme des Oiseaux” from Quatour pour la Fin du Temps which reveals the potentialities of depth and breadth that can be considered when the performer’s body is permitted to be a site from which a musical analysis might originate. This thesis concludes that the performing body must be reintroduced into musicological discourse with a new understanding of its value, and that this can best be accomplished by addressing the “embodied” within the academic music curriculum, alongside traditional tonal and formal analyses.

APA, Harvard, Vancouver, ISO, and other styles

49

Hólmgeirsson, Jón Helgi. "Enhancing the Performer-Spectator Communication at Electronic Concerts." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22468.

Full text

Abstract:

During the traditional electronic musical performances there is a lack of communication between the performer and spectator. Communication is necessary to a performance as it is a social act, created both by the performer, as well as the spectator. Through exploring the augmentation of visibility and physicality in regards to the electronic performance I attempt to enhance that communication through a concept called Sonicality, created out of the findings of this paper, that addresses the use of tactile vibrations, controlled by a performer in a visible manner, received on the spectator’s body, in relation to the music heard. Through the validation of this concept I manage to get an insight into the spectators’ needs and desires, grounding the validity of the concept as something that augments experience, interaction and understanding, enhancing the performer-spectator communication.

APA, Harvard, Vancouver, ISO, and other styles

50

Field-Bartholomew, Tana Rene. "A Performer’s Guide to the Songs of GwynethWalker." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187014865.

Full text

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!