Dissertations / Theses on the topic 'Nature in music History and criticism'
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Guy, Stephen. "The nature of community in the Newfoundland rock underground /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81493.
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Twenty-five years of independent, underground, or punk rock music-making in St. John's, Newfoundland, have been defined by geographic isolation. In tracing a historical record of the small city's punk/indie scene, this project seeks to evaluate recent academic discussion surrounding the role of collectivity in artistic 'independence' and examine the impact of prevailing international aesthetics and changing communication technologies on local practice. The self-containment and self-sufficiency of the St. John's music community, largely the product of the city's isolated position on the extreme eastern tip of a large island off the east coast of North America, provide a unique backdrop against which to foreground a discussion of the distance between indie/punk rhetoric and reality. I contend that 'scene' in popular and academic use refers to the casual aggregation occasioned by similar interest and shared location, while 'community' hints at effort, co-operation and productive support.
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Thomas, Lisa Cheryl. "Native American Elements in Piano Repertoire by the Indianist and Present-Day Native American Composers." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28485/.
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My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the "Indianist" composers between 1890-1920 and other composers known primarily as "mainstream" composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the "Indianist" movement around 1920, but has enjoyed a new creative activity in the area called "Classical Native" by current day Native American composers. The findings are that the creative interest and source of inspiration for the earlier "Indianist" compositions was thought to have waned in the face of so many other American musical interests after 1920, but the tradition has recently taken a new direction with the success of many new Native American composers who have an intrinsic commitment to see it succeed as a category of classical repertoire. Native American musical elements have been misunderstood for many years due to differences in systems of notation and cultural barriers. The ethnographers and Indianist composers, though criticized for creating a paradox, in reality are the ones who saved the original tribal melodies and created the perpetual interest in Native American music as a thematic resource for classical music repertoire, in particular piano repertoire.
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Yang, Shu-mei. "Piano Music of Native Chinese Composers, with Particular Focus on the Piano Works Since 1950: a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, L.v. Beethoven, S. Prokofiev, F. Chopin, R. Schumann, J. Brahms, M. Ravel, and A. Skryabin." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331819/.
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This documents aims at the identification of the sources of influence upon the styles of selected 20th century Chinese composers. Personal influences are reflected as well as those general influences specific to the different stylistic periods discussed. Most important, however, is the description of the methods by which these composers employ contemporary compositional devices to project musical gestures that are uniquely Chinese: elements of culture which are fundamentally programmatic and intimately related to the lives of the Chinese people. The introduction of Western music and musical instruments to China in the early 17th century and cultural exchanges with Japan served to gradually westernize the musical environment and training. The establishment of decidedly Western schools was accomplished at the beginning of this century, with the founding of Peking University and Shanghai National Conservatory. Music theory was taught, as well as history and composition, but with an emphasis on the practices of the 18th and 19th centuries. Compositions from this period reflect Western techniques from these eras, with some use of the pentatonic scale. In the 1930's, nationalism arose, a mirroring of the 19th-century European nationalistic trends. This philosophical conception has remained essentially unchanged to the present, as composers have aimed to utilize Western techniques to create artistic works and compositional styles which are uniquely Chinese. The musical works examined are limited to works for piano solo, as it is believed these are often more immediately revealing of compositional techniques and stylistic idioms.
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Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.
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The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.
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Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music." Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.
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555 pagesThis 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.
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Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.
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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.
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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.
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Sarmast, Ahmad Naser. "A survey of the history of music in Afghanistan, from ancient times to 2000 A.D., with special reference to art music from c.1000 A.D." Monash University, School of Music-Conservatorium, 2004. http://arrow.monash.edu.au/hdl/1959.1/9685.
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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.
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Schmitz, Michael David. "Oriental influences in the piano music of Claude Achille Debussy." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187118.
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This paper explores the influences of Vietnamese and Indonesian music in the piano compositions of Claude Debussy. A brief background of Debussy's formative years and of pertinent social trends in Paris at the turn-of-the-century is provided. This paper then looks at two specific musical events that affected the way Debussy composed for the piano: the Javanese and Annamite exhibits at the Exposition Universelles de 1889 and 1900 in Paris. The musical styles and timbres of these two countries are explored, backed up by accounts of what Debussy actually experienced at the Expositions. Following a look at specific musical effects used by Debussy that reveal the influence of the Orient, this paper surveys an extensive body of his piano music chronologically, focusing on compositional techniques that were learned from the Asian ensembles at the cultural exhibits of the Paris Expositions. This paper reveals the depth of the Oriental influence in Debussy's piano music.
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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.
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Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.
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Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.
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Chapman, Christopher Adam 1964. "Regional traditions of Lao vocal music : lam siphandon and khap ngeum." Monash University, School of Music-Conservatorium, 2002. http://arrow.monash.edu.au/hdl/1959.1/7867.
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Chow, Cheuk-wing, and 周卓穎. "Nostalgia, nature, and the re-enchantment of modern world in Hayao Miyazaki's anime." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B4839449X.
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The association between nostalgia, nature and disenchantment has been and still is a very common trope in cultural and literary studies (Saler 138) within the scope of modernity. In fact, it has almost become “a cliché of our time” (Saler 138) in which people often view modern experience as an oppressive status of disillusionment rather than a liberating condition of enlightenment.
Since this thesis aims to open up and point at different dimensions of modernity and become “part of a grandiose modernist project yet to be finished” (Hu 23-4), I would like to use Miyazaki’s works to argue that modernity is never a simple, one-sided condition of being ‘disenchanted’ as proclaimed by many scholars.
In order to pinpoint some of the contradictory impulsions and potentialities of the experience of modernity, this thesis would first start with a brief overview on the ideas of ‘disenchantment’ and ‘nostalgia’ and their relations to the experience of modernity.
The second part would be a general introduction to Miyazaki’s anime, briefly introducing his works in terms of style, content, characterization and such. In particular, I would like to point out how Miyazaki’s works have created alter-tales about disenchanted modernity by showing the multiple facets of modern life and exploring the possibility to (re)enchant modern experiences through his childlike protagonists and the fantastical form of anime.
Part three to five would be comprehensive textual analyses about Laputa: Castle in the Sky (1986), Nausicaa of the Valley of the Wind (1984) and Spirited Away (2001) respectively, examining their relationships with and responses to the ambivalent experiences of modernity.
The concluding part of this thesis would reflect on the contribution as well as the limitation of my research in regards to the writing of modern experiences and the ongoing modernist project.published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
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Epstein, Heidi. "The nature of the relationship between music and theology according to Oskar Söhngen and Oliver Messiaen /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59296.
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This dissertation investigates a "universal" question--what the exact nature of the relationship between music and theology is--by examining two particulars: (1) the music and thought of the French Roman Catholic composer Olivier Messiaen, and (2) the theology of music of Protestant theologian/musicologist Oskar Sohngen.It should be emphasized, however, that the main focus of the paper is upon the "particulars," since the primary objective of this study is to demonstrate the remarkable similarity of thought which exists between the theory of Sohngen and the musical practice of Messiaen. After an exposition of Sohngen's three categories of relationship between music and theology (music as science, as worship, and as creatura) there is an extensive examination of Messiaen's compositional techniques which reveals the latter's implicit use of these same three categories.
In the final chapter of this work, after a discussion of several problems which are inherent in each of the particular approaches to music and theology, there is a return to the universal question, in response to which a precise, working definition is finally established.
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Sipley, Tristan Hardy 1980. "Second nature: Literature, capital and the built environment, 1848--1938." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10911.
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x, 255 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This dissertation examines transatlantic, and especially American, literary responses to urban and industrial change from the 1840s through the 1930s. It combines cultural materialist theory with environmental history in order to investigate the interrelationship of literature, economy, and biophysical systems. In lieu of a traditional ecocritical focus on wilderness preservation and the accompanying literary mode of nature writing, I bring attention to reforms of the "built environment" and to the related category of social problem fiction, including narratives of documentary realism, urban naturalism, and politically-oriented utopianism. The novels and short stories of Charles Dickens, Herman Melville, Rebecca Harding Davis, Charlotte Perkins Gilman, Upton Sinclair, and Mike Gold offer an alternative history of environmental writing, one that foregrounds the interaction between nature and labor. Through a strategy of "literal reading" I connect the representation of particular environments in the work of these authors to the historical situation of actual spaces, including the western Massachusetts forest of Melville's "Tartarus of Maids," the Virginia factory town of Davis's Iron Mills, the Midwestern hinterland of Sinclair's The Jungle, and the New York City ghetto of Gold's Jews without Money. Even as these texts foreground the class basis of environmental hazard, they simultaneously display an ambivalence toward the physical world, wavering between pastoral celebrations and gothic vilifications of nature, and condemning ecological destruction even as they naturalize the very socio-economic forces responsible for such calamity. Following Raymond Williams, I argue that these contradictory treatments of nature have a basis in the historical relationship between capitalist society and the material world. Fiction struggles to contain or resolve its implication in the very culture that destroys the land base it celebrates. Thus, the formal fissures and the anxious eruptions of nature in fiction relate dialectically to the contradictory position of the ecosystem itself within the regime of industrial capital. However, for all of this ambivalence, transatlantic social reform fiction of the late-nineteenth and early-twentieth century provides a model for an environmentally-oriented critical realist aesthetic, an aesthetic that retains suspicion toward representational transparency, and yet simultaneously asserts the didactic, ethical, and political functions of literature.
Committee in charge: William Rossi, Chairperson, English; Henry Wonham, Member, English; Enrique Lima, Member, English; Louise Westling, Member, English; John Foster, Outside Member, Sociology
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Peter, Timothy Layne. "Johann Mattheson's "Das Lied des Lammes": Progressive tendencies in the evangelist recitatives." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186414.
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This document examines the compositional style of Johann Mattheson's passion, Das Lied des Lammes. Specifically, this document will examine the stile recitativo of Italian opera seria in Hamburg during Mattheson's years at the Domkirche. Mattheson's ideas regarding the role of the recitative in his passions are verified in Mattheson's article entitled "Des fragenden Componist" (1724), which appeared in the fifth volume of his journal Critica Musica, thus giving clear evidence supporting a non-emotional approach with the evangelist recitatives. These new approaches found in Critica Musica, derived from Italian opera in connection with Mattheson's writings, are in comparison to the musical devices in recitatives used by Mattheson's predecessors Schutz, Bernhard, Theile, and Keiser. The results of these comparisons show a natural progression of stylistic changes in recitatives in passion settings up to Mattheson's years at the Domkirche in Hamburg.
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Matambo, Lotta Eleonoora. "The solo piano music of Einojuhani Rautavaara." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002311.
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Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part of his compositional aesthetic. Analyses of eight piano works (1952-2007) provide a cross-section of Rautavaara's output which, together with a consideration of biographical factors and analytical focus on the intertextual elements of his writing, offers a rationale for determining the development of his musical identity. The analyses conclude that intertextual elements, which appear through a diverse array of expressive modes (such as mysticism, nationalism and constructivism) are an essential part of Rautavaara's eclectic compositional style and contribute to an understanding of the on-going development of his musical identity.
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Burns, Kristine Helen. "The history and development of algorithms in music composition, 1957-1993." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902512.
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This dissertation traces the history and development of algorithms in musical composition from ca. 1957 to 1993 and attempts to clarify related terminology from the contexts of computer science, information science, and music theory and composition.The first of three sections begins with an extensive definition of the term algorithm. Because this term is relatively new to musical vocabulary, the definition appearing in this dissertation will include both musical and non-musical applications.Historically and currently, there are three major approaches to algorithmic composition with computers: 1) algorithms for sound synthesis; 2) algorithms for compositional structure; and 3) algorithms for the correlation of sound synthesis with structure. Consideration will be given to the latter two approaches, algorithms for the generation of the micro- and macrostructural elements of musical composition.Several different processes exist under the umbrella of algorithmic composition. Included in the body of this dissertation are detailed explanations and descriptions of specific software and hardware from the following processes: stochastic, chaotic, rule-based, grammars, and artificial intelligence.Second, an historical survey of musical compositions and related written literature covering musical and non-musical resources organized into three chapters: 1957-1972, 1973-1982, and 1983-1993. These compositions and written resources have had significant impact on determining how subsequent composers made use of computers for composition.In the third section an annotated study of the algorithmic compositions from ca. 1957-1993 will be presented. Special emphasis has been placed on information garnered from personal correspondence and interviews.Five appendices are devoted to relevant cross-disciplinary information from the fields of computer science, information science, and music theory and composition; included are: 1) a list of terms; 2) an alphabetical listing of algorithmic compositions; 3) a discography; 4) a bibliography of relevant information from the disciplines discussed; and 5) a list of algorithmic computer systems, languages, and programs covered in this research. There is significant overlap in the use of computer algorithms by the scientific and the musical communities, therefore, the inclusion of definitions and terminology is necessary for a deeper understanding of the musical applications.School of Music
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Card, Patricia Pierce. "The influence of klezmer on twentieth-century solo and chamber concert music for clarinet with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others /." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/card%5Fpatricia/index.htm.
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Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.
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Dufresne, Virginie. "De Versailles à Clarens : nature et politique dans les jardins littéraires de l'âge classique." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99589.
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During the 17th and 18th centuries, the French garden history witnesses the triumph and then the decline of the French formal garden, to which succeeds the fashion of landscape gardening of foreign inspiration. Integrating and nourishing this debate, the literary texts of that period enable to grasp the stakes that it brings up. The garden notably lends itself to the expression of an emerging sentiment of nature, as well it also serves that of a political thought enlightened by new ideas. Effectively, the treatment that these texts give to the garden is a witness to the revival that installs itself in the way of conceiving nature, and the relation that nature holds with man and the art of the gardens. The garden's topic and scenography are a testimony of changes that in turn affect its imaginary and that of the walk. Finally, the critical discourse exploits the analogy that establishes itself between the art of the gardens and the exercise of power, polarizing the debate around the political metaphor.
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Rhodes, Carol Shirley. "The dance of time: The evolution of the structural aesthetics of the prepared piano works of John Cage." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187153.
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John Cage, (1912-1992) pioneer in new music, innovator, inventor of the happening and philosopher, writer and artist was one of the most creative forces of the twentieth century. His earliest works were 25-tone contrapuntal compositions. He later developed a strong interest in writing for percussion ensembles and collected instruments that were both found and made. He conducted his own percussion orchestras and discovered that they were the answer to his philosophy of the sounds of the future. He considered percussion music the transition from keyboard-influenced music to music which allowed for all sounds and silences. From 1939-1951 John Cage composed several works for prepared piano that used time as a structural device. Many of these works were written for the dance in collaboration with Merce Cunningham. This document addresses the historical significance of these works and relates Time to other areas that influenced Cage--including Zen and the Dance. This document provides descriptive analyses of Bacchanale, Music for Marcel Duchamp and selected Sonatas from the Sonatas and Interludes. To this writer's knowledge there have not yet been any analyses of Bacchanale or Music for Marcel Duchamp. The analyses reveal Cage's primary structural techniques in which he uses duration of spaces of time. Time lengths and the square root method appear to be the most important. These techniques first appeared in Imaginary Landscape #1 and First Construction in Metal--both dating from 1939. A brief description of all his prepared piano works is included to demonstrate Cage's commitment to rhythmic structuring. All of these works have been studied by this writer and several have been performed in concert by this writer. These include: Music for Marcel Duchamp, Primitive, For a Valentine Out of Season, A Room, Prelude for Meditation, Amores (Movements I and IV), and selected Sonatas from Sonatas and Interludes. A section has been included which explains the nature of materials used for preparations and their timbral effects. A Conclusion is provided demonstrating that Cage chose rhythm over harmony to structure his music. This information is drawn from the influences on Cage, his early percussion works, procedures employed in the percussion works and transferred to the prepared piano and the influence of dancers and Oriental philosophy. An Appendix is included with charts of the Sonatas. A Bibliography which shows the references consulted is included.
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Vendrix, Philippe Pierre 1964. "Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.
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L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.
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West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.
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Ryan, Robin Ann 1946. ""A spiritual sound, a lonely sound" : leaf music of Southeastern aboriginal Australians, 1890s-1990s." Monash University, Dept. of Music, 1999. http://arrow.monash.edu.au/hdl/1959.1/8584.
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Smith, David John. "The instrumental music of Peter Philips : its sources, dissemination and style." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:d1af3140-2553-4f58-8437-a1eee66d7f13.
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There are fifty-one instrumental pieces by Philips, many of which occur in versions for ensemble, keyboard and lute. The sources have a wide geographical and chronological span. This research is based upon an extensive first-hand examination of the sources of Philips's instrumental music, and a detailed comparative study of the textual variants of each piece. The thesis divides into three parts. In the first, a biographical chapter relates Philips's instrumental music to the changing nature of his employment. Then the main sources of his instrumental music, the manuscripts copied by Francis Tregian, are discussed at length. The remaining keyboard sources are considered, followed by consort and lute sources. In Part 2 the technique of intabulation is shown to be central to Philips's keyboard style. A distinction is made between arrangements made by Philips of his own works, those made by him of other composers' works, and settings of his music made by others. A case study of the 'Dolorosa Pavan' is used to illustrate how widely Philips's music was disseminated, and allows us to establish a stemma of sources which helps us to elucidate - and improve - our understanding of their inter-relationships. A second case study attempts to establish the origins of the pavan dated by Tregian to 1580: the original 'model' on which the keyboard piece is based has not survived. The thesis ends with an attempt to place Philips's instrumental repertory in the context of his contemporaries, using Philips's music as a 'touchstone' to refer to relationships (mostly stylistic) with other composers. Part 3 comprises transcriptions of Philips's instrumental pieces. The texts of each source for a piece are given in parallel with the minimum of editorial adjustment: Part 3 is intended to be a reference tool, not an edition.
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Johnston, Gregory Scott. "Protestant funeral music and rhetoric in seventeenth-century Germany : a musical-rhetorical examination of the printed sources." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27359.
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The present thesis is an investigation into the musical rhetoric of Protestant funeral music in seventeenth-century Germany. The study begins with an exposition on the present state of musicological inquiry into occasional music in the Baroque, focusing primarily on ad hoc funeral music. Because funeral music is not discussed in any of the basic music reference works, a cursory overview of existing critical studies is included. The survey of this literature is followed by a brief discussion of methodological obstacles and procedure with regard to the present study.
Chapter Two comprises a general discussion of Protestant funeral liturgy in Baroque Germany. Although numerous examples of the Divine Service in the Lutheran Church have survived the seventeenth century, not a single order of service for the funeral liturgy from the period seems to exist. This chapter provides both the social and extra-liturgical background for the music as well as a plausible Lutheran funerary liturgy based on documents from the period and modern studies.
Prosopopoeia, the rhetorical personification of the dead, is the subject of Chapter Three. After examining the theoretical background of this rhetorical device, from Roman Antiquity to the German Baroque, the trope is examined in the context of funerary sermonic oratory. The discussion of oratorical rhetoric is followed by an investigation into the musical application of the concept of prosopopoeia in various styles of funerary composition, from simple cantional-style works to compositions in which the personified deceased assumes certain physical dimensions.
Chapter Four includes an examination of various other musical-rhetorical figures effectively employed in funeral music. Also treated in this chapter are musica1-rhetorical aspects of duple and triple metre, where triple metre in particular, depending on the text, can be understood figuratively, metaphorically or as a combination of both. As this chapter makes clear, owing to the perceived antithetical properties of metre and certain figures, musical rhetoric was often used to illustrate the distinction between this world and the next.Arts, Faculty of
Music, School of
Graduate
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Baquet, N. Eugene. "Blues Story: Narratives of Cultural Identity." Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/BaquetNE2006.pdf.
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Hausfeld, Gretchen Gayle. "The treatment of the bassoon in three chamber works of Igor Stravinsky." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186265.
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This document examines Stravinsky's treatment and use of the bassoon in three of his chamber works: L'Histoire du Soldat, Octet, and Septet. The research contained within will, in part, assess the extent to which Stravinsky has affected the development of the bassoon's role in a chamber ensemble, and will provide a general evaluation of his varied treatment of the bassoon in terms of technique, range, articulation, and ensemble. Another aspect of this study considers the possibility that Stravinsky wrote for the French system bassoon. A comparison of the two types of bassoon systems will demonstrate why Stravinsky's works seem so ungrateful to many modern bassoonists who have been trained on the German system instrument.
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Dube, Michelle Claire. "Prelude of Suite V for cello solo by J. S. Bach: Options for performance." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186392.
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There exists no autograph manuscript for the six suites for solo violoncello by J. S. Bach. Three manuscript copies of the suites by Anna Magdelena Bach, J. J. H. Westphal, and J. P. Kellner are available but vary in many aspects including pitches, slur markings, and scordatura tuning. These differences make it difficult for the cellist to determine what most accurately displays Bach' s intentions for performance. A version of Suite V for the lute survives in its original manuscript form by J. S. Bach. Although much of the version is not playable on the cello, due to the lute's many strings, significant and pertinent information can be gained from this manuscript. Chords, intervals, differing sequence patterns, and differing pitches are all evident when comparing the lute version with the manuscript copies. Many of the added notes from the lute version are playable on the cello and add to the resulting harmony. These playable notes are included in the Appendix in the author's own edition of the Prelude to Suite V based upon the lute score. While a cellist may not choose to follow the lute score, many questions stemming from the variances found in the manuscript copies can be made clearer. The Prelude to Suite V was written in the French overture form. There is much controversy as to the manner in which a French overture should be performed. Thus, the performance practice of the French overture style is discussed and presented. Proponents of the style feel it pertained to music of the Baroque period, irregardless if it was written by a French composer, while others feel that no such style existed and there was no basis to include Bach's music in the use of the French overture style. Both sides of the French overture style are presented and related to the performance, specifically, to the Prelude of Suite V for cello solo.
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James, Douglas Goff. "Luigi Rinaldo Legnani: His life and position in European music of the early nineteenth century, with an annotated performance edition of selections from 36 Capricci per Tutti I Tuoni Maggiori E Minori, Opus 20." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186632.
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Luigi Legnani (1790-1877) was an important guitarist/composer of the early nineteenth century Italian Romantic school. In addition, he was also a highly skilled singer, violinist, and luthier. Legnani's guitar compositions represent the logical next step after Giuliani; fully evocative of the operatic vocal style characterized by Rossini, and technically adventurous in much the way Paganini's compositions were for the violin, although not to the same degree. His contributions to guitar literature form an important link in the chain of compositional and technical development during the nineteenth-century. This study is in two parts. The first will present as concise a biography as possible, particularly regarding Legnani's concert itineraries, contributions to guitar construction, and relationship with Paganini. An examination of little-known contemporary reviews of his performances will serve as a means of both documenting his concertizing and developing a concept of Legnani's performance style. The second part, an annotated performance edition of selections from Legnani's most famous composition, 36 Capricci per tutti i tuoni maggiori e minori, opus 20, will provide a basis for the understanding and successful performance of Legnani's music by modern guitarists. In conclusion, Legnani's unique contributions to both guitar composition and construction are reevaluated, and an up-to-date list of compositions appended.
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Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.
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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, voix de ville, dialogue, and air de cour. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the Académie de Poésie et de Musique), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the ballet de cour, to dance forms, and to solo instrumental styles such as stile brisé are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the air de cour commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the voix de ville to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.
36
Nercessian, Andy Hagop. "Marxism-Leninism, national identity, and the perception of Armenian music." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619554.
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Keightley, Keir. "The history and exegesis of pop : reading "All summer long"." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22458.
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The study of popular music has experienced an astonishing growth in the past two and a half decades; however, the detailed analysis of musical texts has lagged far behind other areas, such as the sociology of the youth audience and analysis of the visual components of music video. This thesis undertakes a survey of recent approaches to popular music at the textual level, before examining the construction of an individual song, the Beach Boys' 1964 recording of "All Summer Long". While many parameters affecting the creation of the cultural significance of the text in question are discussed, ultimately the exegesis serves to problematize larger issues in scholarly work on popular music, particularly the dominance of the paradigms of rupture, rebellion, and authenticity in relation to the historiography and criticism of the formation known as "rock".
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Perry, Shirley Mercedes. "Selected Psalms, Old Verses and Spiritual Songs of the Canadian Doukhobors: Transcription and musical analysis." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185897.
Full textAbstract:
The purpose of this research was to select songs specific to the Doukhobor song repertoire which were not previously notated and to record, notate and analyze the melodies for use in music education. The first limitation of the study was to focus on the sacred repertoire which is comprised of three genre of song, namely the Psalms, the Old Verses and the Spiritual Songs. A comparison of the song titles of Old Verses and Spiritual Songs which are found in the two major Canadian Doukhobor song text collections was made with other Russian song text collections to determine a subset of songs unique to the Doukhobor tradition. The second limitation of the study was then applied, which was to select those Old Verses and Spiritual Songs believed to exist prior to the beginning of the twentieth century. Forty-five melodies, comprised of 11 Psalms, 18 Old Verses and 16 Spiritual Songs were included in the study. The notation of each example is accompanied by one verse of Russian text and transliteration and by documentary information stating the genre, the Doukhobor song text collection reference number, the singers' names, and a tape source in the researcher's private collection. Full and/or partial translations of the texts are provided.
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Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
Full textAbstract:
In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
40
Linekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.
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Kotze, Hanneli. "Agogiek in historiese perspektief met spesiale verwysing na die 18de eeu." Thesis, Stellenbosch : Stellenbosch University, 1987. http://hdl.handle.net/10019.1/65460.
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Thesis(M.Mus.) -- Stellenbosch University, 1987.VOORWOORD Die twintigste eeu beleef 'n besondere belangstelling in die outentieke uitvoering van ou musiek en dit is 'n studieveld wat reeds uitgebreid nagevors is. Desondanks bestaan daar steeds baie vraagstukke aangaande sekere uitvoeringspraktyke en styltipes en hoe ouer die musiek, hoe meer problematies word 'n outentieke uitvoering, veral as gevolg van die groot verskille tussen die moderne en ou instrumente, die speeltegnieke en die dikwels ontoereikende notasie. Die teoriee wat die twintigste eeuse musici aangaande die uitvoeringspraktyke geformuleer het, is hoofsaaklik gebaseer op ou geskrifte, verhandelinge en onderrigboeke uit die onderskeie styltydperke. Daar bestaan baie teenstrydighede tussen hierdie teoriee, veral met betrekking tot die musiek van die Barokperiode. Die uitvoering van musiek van die Klassieke en veral die Romantiese periodes is minder problematies en die redes hiervoor is hoofsaaklik die volgende: Die notasiesisteem het reeds tydens die Hoog-Klassieke tydperk tot sy huidige vorm ontwikkel. Verder het musiekkritiek en -geskiedskrywing segert die agtiende eeu toenemend meer aandag geniet en bestaan daar dus meer inligting aangaande uitvoeringspraktyke. Ten spyte daarvan dat hierdie na vorsing reeds dekades gelede begin het, is daar steeds groot onkunde daaromtrent en word daar dikwels min aandag gegee aan die outentieke uitvoering van ou musiek. Hierdie studie is 'n paging om die navorsing wat reeds gedoen is krities te ondersoek en 'n moontlike samevatting daarvan te gee.
Digitized at 300 dpi B/W PDF format (OCR), using ,KODAK i 1220 PLUS scanner. Digitised, Rebecca Patterson on 28 August 2013. Digitization of Music Thesis Project
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Hurley, Therese. "Jeanne d'Arc on the 1870s Musical Stage: Jules Barbier and Charles Gounod's Melodrama and Auguste Mermet's Opera." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12991.
Full textAbstract:
The purpose of this study is to examine the presentation of Joan of Arc's life in two lyric works, Jules Barbier and Charles Gounod's Jeanne d'Arc (1873) and Auguste Mermet's Jeanne d'Arc (1876), that premiered in Paris following the upheaval of the Franco-Prussian War and Paris Commune. Relying on Parisian journals of the day, I follow two trends: some critics called for a historically-informed presentation of Joan's life and others appealed to retain certain supernatural elements, specifically the Fairy Tree and the Voices, of Joan's story. In addition to these trends, I consider an article printed shortly before the premiere of Mermet's opera and discuss the political and religious implications of the final scene (Charles VII Coronation in Reims or Joan's execution in Rouen) in these two stage works.
After an introductory chapter and a chapter tracing the geneses of the melodrama and the opera, the remaining chapters each deal specifically with one of the three above-mentioned lines of inquiry as they relate to Joan of Arc's story. Chapter III discusses historical characters (Charles, duc d'Orléans, King René, and Agnès Sorel), historical music (minuet and Vexilla regis), and music believed to have been sung in the presence of Joan of Arc (Veni Creator Spiritus and Orate pro ea). Chapter IV addresses the continuing presence of legendary, supernatural elements--specifically the Fairy Tree and the Voices--and how these elements have changed in nineteenth-century stage works about Joan. In Chapter V, the difficulty of adapting Joan's life on the stage is examined. A closer look reveals that differing views existed during the 1870s as to exactly what her mission entailed. The two works reflect the changing attitudes on this topic.
As a whole, this dissertation offers an examination of two rarely discussed stage works that reveal the political, religious, and musical climate surrounding the figure of Joan of Arc in the 1870s.
43
Stein, Eric 1973. ""Living right and being free" : country music and modern American conservatism." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21267.
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The rising popularity of country music in the United States since WWII is a cultural phenomenon intimately related to the ascendance of conservative values, leaders, and movements over the same period. By routinely celebrating themes like heterosexual love, the patriarchal nuclear family, hard work, individualism, freedom, patriotism, religion, and small-town life, country music provided the soundtrack for the insurgent conservatism of politicians like George Wallace, Richard Nixon, and Ronald Reagan. In the sixties and seventies, while other forms of popular music (rock, folk, soul) articulated the values of liberals, socialists, hippies, war protestors, feminists, and civil rights activists, country music alone stood for the "traditional" values cherished by the so-called "silent majority" that powered the rise of the Right. The spread of both country music and conservatism is also a reflection of the "southernization" of America---the diffusion across the nation of cultural and political traits long associated with the South.
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Rudakova, Irina V. ""Uncertain nature" : history of the castrato singer in the early modern gender paradigm /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10233.
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McMahon, Orlene Denice. "Listening to the French new wave : the film music and composers of postwar French art cinema." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610716.
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Broman, Per F. "Bengt Hambræus's notion of World Music : philosophical and aesthetical boundaries." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28042.
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The concept of World Music is important for the explanation of various twentieth-century musical phenomena but its application to virtually every genre of music creates an inevitable confusion. In the 1980s, World Music was a term useful for describing popular music in fusion with ethnic music. That fact has lead many to an association of the term exclusively with that new genre. In this study I define World Music in Western art-music---from an historical perspective as well as with regard to musical style, ideology, and aesthetics and give examples of various composers' approaches. In the ideological discussion, the debate over "exotic" music and musical borrowings turns out to have many points of contact with the notions of modernism and postmodernism. I exemplify and test my ideas by using the stylistic development of Swedish-Canadian composer Bengt Hambraeus as a case study and discuss ideological and musical applications to the concept of World Music in relation to Hambraeus's piece Nocturnals for Chamber Ensemble (1990).
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Leskinen, Saara. "Reliable knowledge of exotic marvels of nature in sixteenth-century French and English texts." Thesis, Warburg Institute, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.564418.
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Stafford, Andrew. "Pig city : from The Saints to Savage Garden." Thesis, Queensland University of Technology, 2004.
Find full textAbstract:
She comes from Ireland, she's very beautiful
I come from Brisbane, and I'm quite plain Pig City
- The Go-Betweens, Lee Remick
If popular music really is a universal language, it's curious how easily a song - even a commercially obscure one - can come to symbolise a city's identity. The stories of
London, Liverpool, Manchester, Dunedin, Detroit, Memphis, Nashville, New York, New Orleans, San Francisco and Seattle are inextricably entwined with the music made there. Robert Forster, however, could never have imagined that his self-deprecating paean to an actress would become so fabled in his home town.
This is understandable. Queensland's often stifling subtropical capital doesn't exactly spring to mind when discussing the world's great musical cities. Partly this comes down to Australian pop and rock's poor-relation status next to the United States and
the United Kingdom. Inside Australia, too, Brisbane for decades wore a provincial reputation as a big country town, at least in the southern capitals of Sydney and Melbourne.
Of course, one of the most successful bands in recording history began life in Brisbane in the late 1950s. But the Bee Gees didn't so much outgrow the city as outgrow Australia. Struggling for recognition, the Brothers Gibb began an exodus of musicians out of the country when they left for their native UK at the beginning of 1967, the year before a peanut fanner, Joh Bjelke-Petersen, took control of
Queensland's ruling Country Party (later the National Party).
The literature on Australian pop is only beginning to accumulate, so again it is understandable that Brisbane, so far, has rated little more than a footnote. The bigger problem is that the footnote has remained the same, recycled in various contexts by various authors: that music in Brisbane especially the punk scene of the late '70s -
was overwhelmingly a reaction to the repression of the Bjelke-Petersen era.
This is partly true. Bjelke-Petersen's rule of Queensland between 1968 and 1987 was nothing if not iron-fisted. Public displays of dissent were often brutally suppressed;
the rule of law was routinely bent to the will of those charged with its enforcement; minorities were treated as simply another obstacle on the path to development. To top
it all off, the electoral system was hopelessly rigged in favour of the incumbents. 'Here,' writes Rod McLeod, 'in a city practically under police curfew, you fucked and
fought, got stoned, got married, or got out of town.'
But it makes little sense to give a politician too much credit for the creation of a music scene. Major cultural movements result from an intersection of local, national and
international factors. The Saints were not so much a reaction to living in a police state as they were a response to the music of not just the Stooges and the MC5, but the Easybeats and the Missing Links. And it's doubtful the national success of a string of Brisbane acts in the '90s - from Powderfinger to George - could have happened
without the nationalisation of the Triple J network.
Of course, it would be naïve to suggest that growing up in a climate of fear and loathing did not heavily distort the prism through which these artists saw the world. As Saints guitarist Ed Kuepper says, 'I think the band was able to develop a more obnoxious demeanor, thanks to our surroundings, than had everyone been really nice.' In the words of Australian music historian Ian Mcfarlane, 'That Australia's most conservative city should give rise to such a seditious subcultural coterie is a sociological phenomenon yet to be fully explored.
This book is my attempt to document the substantial yet largely unsung contribution that Brisbane has made both to Australian popular culture and to international popular
music. In doing so, I aimed to chart the shifts in musical, political and cultural consciousness that have helped shape the city's history and identity. In its broadest
sense, Pig City is the story of how Brisbane grew up.
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Cheung, Kwok-hung Stephen, and 張國雄. "Traditional music and ethnicity : a study of Hakka shange." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195958.
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This research is an investigation into Hakka shange 客家山歌 (Hakka mountain songs) and their relationship with Hakka ethnicity, with principal discussions on the interplay between music making and ethnic/cultural identity in the Hakka populations. Hakka is a complex ethnic and cultural phenomenon which stepped into the limelight of history beginning in the 19th century. This study includes research into archival materials for an in-depth understanding of Hakka ethnicity and Hakka shange in the context of historical development, aiming to obtain new information/data and insights into historical data and theories documented by earlier studies. In this study, both synchronic and diachronic aspects are covered. Framed in an ethnomusicological paradigm, which posits music as part of culture and social life and utilises ethnography as a major means of gathering data, the study incorporates fieldwork carried out on location in Hong Kong and the Chinese mainland as an essential component.
Seeing cultures as fluid and adaptable to outer forces rather than as a monolithic entity, the aim of this study is not to seize the “last opportunity” to preserve records of Hakka shange, before this musical tradition declines further into oblivion, but rather, to account for the processes by which traditional music adapts to the global system at various local levels. It is noteworthy that, in the local-global continuum, a society is not conceived as a static and structured system in which music is performed as a mere cultural marker that connects to or reflects the other structural parts of that society. On the contrary, a society is seen as a flexible and fluid social space in which music plays an active, transformational role.published_or_final_version
Music
Doctoral
Doctor of Philosophy
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Ntombela, Sipho Albert. "Amasu asetshenziswa ngomasikandi besizulu emculweni wabo." Thesis, 2011. http://hdl.handle.net/10500/10622.
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This research on the subject is one of a few written in the medium of isiZulu. Further, it is one of the few conducted on masikandi music in this depth. It identifies and analyzes strategies used by Zulu masikandis in their music.
The researcher in this study demonstrated that Zulu masikandis comprise males and females and that at present male masikandis are dominating this genre. Besides that, the study also revealed two categories of Zulu masikandis: those who recorded their music and those who could not. The researcher demonstrated also that Zulu masikandis use different effective strategies for different purposes in their music. He demonstrated that Zulu masikandis use different strategies to introduce themselves to their followers and their counterparts, to brag about certain members of their groups, to coin and use nicknames, to reveal their themes, to reveal their emotions, to use various types of imagery and to use strategies which are the results of influences of factors like Christianity, riddles, folktales and praise-poems.
Some of the challenges are that other masikandis find it very difficult to record their music owing to financial problems, other producers are corrupt, as masikandis are influential figures in public there is a danger that they can mislead the public by coining and spreading unstandardized Zulu expressions through their songs.
Finally, it must be pointed out that the study of masikandi music, particularly strategies used by Zulu masikandis, makes a great contribution to the study of literature. The reason is that it introduces a new path, the different strategies used by Zulu masikandis in their music, categories of Zulu masikandis, nicknames for Zulu masikandis which are coined by themselves and sometimes
by members of the public and different methods of collecting data to be used by other researchers. Therefore, it is worthy of publication.African Languages
D. Litt. et Phil. (African Languages)