Dissertations / Theses: 'Sad music'

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Taruffi, Liila [Verfasser]. "Why We Listen to Sad Music: Effects on Emotion and Cognition / Liila Taruffi." Berlin : Freie Universität Berlin, 2017. http://d-nb.info/1137509910/34.

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Asquith, Mark Simeon. "The 'Sad Music of Humanity' : metaphysics and musical aesthetics in the novels of Thomas Hardy." Thesis, King's College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369131.

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Mitterschiffthaler, Martina Theresia. "The sound of music, the appeal of pictures and the colour of words : neural correlates of happy and sad affect processing in healthy and depressed individuals." Thesis, King's College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428083.

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Aleksandra, Prodanović Stamenović. "Компаративни ефекти музичких фестивала на локалну заједницу и туризам EXIT versus SZIGET." Phd thesis, Univerzitet u Novom Sadu, Prirodno-matematički fakultet u Novom Sadu, 2015. https://www.cris.uns.ac.rs/record.jsf?recordId=95004&source=NDLTD&language=en.

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По истраживању Туристичке организације Србије (ТОС) догађаји су први на листи туристичких мотива за долазак страних туриста у нашу земљу. Манифестациони туризам је због тога истакнут у „Стратегији развоја туризма Србије“ као веома значајан сегмент развоја туризма у Србији, али и као компаративна предност домаћег туризма. Према подацима Туристичке организације Војводине, у Војводини се годишње одржи 1382 манифестације. Једна од најважнијих манифестација је EXIT фестивал који се већ 15 година одржава у Новом Саду. Овај фестивал је уврштен у 10 најбољих европских фестивала. Маркетинг стратегија Војводине предлаже да се у развоју туризма следи пример Мађарске. У Мађарској се у току године одржи вишеод 3000 фестивала који привлаче 18-20 милиона посетилаца из Мађарске ииностранства, што говори о значају који туризам догађаја има на туризам Мађарске. Будимпешта је главни град Републике Мађарске. Налази се на 300 km од Новог Сада и изузетно је посећена туристичка дестинација. Један од значајнијих туристичких догађаја у Будимпешти је музички фестивал SZIGET, који окупља велики број извођача и посетиоце из преко 70 различитих земаља, чиме доприноси позитивном имиџу Будимпеште на туристичкој мапи Европе.Локално становништво је битан стејкхолдер у развоју туристиче дестинације. У вези са одређеним подручјем и животном средином, има много бољи осећај за то шт а су реалне потребе тог подручја, као и јаснију визију будућег развоја, него централна управа. Због наведеног је потребно укључити визије, жеље и потребе, потенцијале и ентузијазам локалне заједнице у планове за будући развој С обзиром да је врло мало истраживања о ефектима музичких фестивала на локалну заједницу наших простора, анкетирани су становници Новог Сада и Будимпеште, о ефектима које EXIT и SZIGET фестивали остварују, применом модификоване FSIAS скале. Сакупљено је укупно 505 валидних упитника који су даље коришћени у статистичким анализама. Применом експлоративне факторске анализе утврђена је двофакторска структура модификоване FSIAS скале, а фактори су именовани на следећи начин: Ф1 позитивни ефекти - друштвене користи и Ф2 негативни ефекти -друштвени трошкови фестивала.Истраживањем се дошло до сазнања да локално становништво Новог Сада иБудимпеште више перципира позитивне него негативне ефекте фестивала на локалну заједницу, при чему испитаници из Новог Сада обе групе ефеката оцењују вишим просечним оценама у односу на испитанике из Будимпеште. Такође, истраживањем је потврђено да фестивали доприносе развоју туризма, промоцији и имиџу дестинације. Утврђено је које су и јаке тачке оба фестивала, а на које ставке би менаџмет требао више утицати како би се позитивни ефекти мултипликовали, као и који ефекти могу бити занемарени по мишљењу локалног становништва, а да фестивал не губи на квалитету.Социјални утицаји на локалну заједницу нису универзални, оно што има важан утицај у једној заједници може имати занемарљив утицај у другој заједници.
Po istraživanju Turističke organizacije Srbije (TOS) događaji su prvi na listi turističkih motiva za dolazak stranih turista u našu zemlju. Manifestacioni turizam je zbog toga istaknut u „Strategiji razvoja turizma Srbije“ kao veoma značajan segment razvoja turizma u Srbiji, ali i kao komparativna prednost domaćeg turizma. Prema podacima Turističke organizacije Vojvodine, u Vojvodini se godišnje održi 1382 manifestacije. Jedna od najvažnijih manifestacija je EXIT festival koji se već 15 godina održava u Novom Sadu. Ovaj festival je uvršten u 10 najboljih evropskih festivala. Marketing strategija Vojvodine predlaže da se u razvoju turizma sledi primer Mađarske. U Mađarskoj se u toku godine održi višeod 3000 festivala koji privlače 18-20 miliona posetilaca iz Mađarske iinostranstva, što govori o značaju koji turizam događaja ima na turizam Mađarske. Budimpešta je glavni grad Republike Mađarske. Nalazi se na 300 km od Novog Sada i izuzetno je posećena turistička destinacija. Jedan od značajnijih turističkih događaja u Budimpešti je muzički festival SZIGET, koji okuplja veliki broj izvođača i posetioce iz preko 70 različitih zemalja, čime doprinosi pozitivnom imidžu Budimpešte na turističkoj mapi Evrope.Lokalno stanovništvo je bitan stejkholder u razvoju turističe destinacije. U vezi sa određenim područjem i životnom sredinom, ima mnogo bolji osećaj za to št a su realne potrebe tog područja, kao i jasniju viziju budućeg razvoja, nego centralna uprava. Zbog navedenog je potrebno uključiti vizije, želje i potrebe, potencijale i entuzijazam lokalne zajednice u planove za budući razvoj S obzirom da je vrlo malo istraživanja o efektima muzičkih festivala na lokalnu zajednicu naših prostora, anketirani su stanovnici Novog Sada i Budimpešte, o efektima koje EXIT i SZIGET festivali ostvaruju, primenom modifikovane FSIAS skale. Sakupljeno je ukupno 505 validnih upitnika koji su dalje korišćeni u statističkim analizama. Primenom eksplorativne faktorske analize utvrđena je dvofaktorska struktura modifikovane FSIAS skale, a faktori su imenovani na sledeći način: F1 pozitivni efekti - društvene koristi i F2 negativni efekti -društveni troškovi festivala.Istraživanjem se došlo do saznanja da lokalno stanovništvo Novog Sada iBudimpešte više percipira pozitivne nego negativne efekte festivala na lokalnu zajednicu, pri čemu ispitanici iz Novog Sada obe grupe efekata ocenjuju višim prosečnim ocenama u odnosu na ispitanike iz Budimpešte. Takođe, istraživanjem je potvrđeno da festivali doprinose razvoju turizma, promociji i imidžu destinacije. Utvrđeno je koje su i jake tačke oba festivala, a na koje stavke bi menadžmet trebao više uticati kako bi se pozitivni efekti multiplikovali, kao i koji efekti mogu biti zanemareni po mišljenju lokalnog stanovništva, a da festival ne gubi na kvalitetu.Socijalni uticaji na lokalnu zajednicu nisu univerzalni, ono što ima važan uticaj u jednoj zajednici može imati zanemarljiv uticaj u drugoj zajednici.
According to Tourist Organization of Serbia (TOS) research events are the first motive forarrival of foreign tourists in our country. Event tourism is therefore one of the pillars in„Tourism Development Strategy of Serbia" as a very important segment, as a comparativeadvantage of domestic tourism. According to Tourist Organization of Vojvodina, 1382 events are annually held in Vojvodina. One of the most important manifestations is theEXIT festival, held in Novi Sad for 15 years. This festival has been listed as one of the top10 European festivals. In development of tourism Marketing Strategy of Vojvodina suggestsfollowing the example of Hungary. In period of one year more than 3000 festivals are heldin Hungary which are attracting 18-20 million of visitors from Hungary and abroad, that factindicates importance of events in Hungarian tourism. Budapest is the capital of Republic ofHungary. It is 300 km away from Novi Sad and it is highly visited tourist destination. Oneof the most important tourism events in Budapest is Sziget music festival, which gathers alarge number of performers and visitors from more than 70 different countries. ThereforeSziget festival is contributing to the positive image of Budapest on European tourist map.Local population is an important stakeholder in development of tourist destinations. Inrelation to specific area and environment local population can have better sense of what arereal needs, what is more sustainable and can gain more benefit in future development, thanthe central government. As result it is necessary to include vision, desires and needs,potentials and enthusiasm of local community in plans for future development.As there are no studies on effects of music festivals on local community in our area, thisscientific research investigated local population perception on effects of music festivals. Thesurvey about effects of Exit and Sziget festival sampled residents from Novi Sad andBudapest. Appropriate sampling collected total of 505 valid surveys that are used instatistical analysis. Modified FSIAS scale showed positive and negative effects of festivaland what significance these effects have on local community.The results of the study show that local population from Novi Sad and Budapest perceivesmore positive effects from festivals than negative effects. Respondents from Novi Sad gavehigher average grades for both groups of effects. Also, the results confirmed that festivalscontibute to tourism development, promotion and image of destination.Strong points or strengths of both festivals were determined as well as areas that should bemore influenced by management so positive effects could be multiplied. Also low priorityor possible overkill points are defined and can be ignored, as they are not influencingquality of festival.Social impacts on local community are not universal, those that have important impact onone community may have a negligible effect on the other.

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Andersson, Sofie. "I left my scat in San Francisco : Strategier för att stärka förmågan att improvisera vokalt inom jazzgenren." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74037.

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Syftet med arbetet är att undersöka olika övningsstrategier för attutveckla improvisationsförmågan inom jazzgenren. Jag har idag förmågan attimprovisera över låtar, men det jag eftersträvar är att utveckla den föratt få improvisationerna mer varierade. Avsikten med arbetet är attutveckla förmågan att improvisera i form av fler rytmiska och harmoniskaidéer.Jag har använt mig av ett flertal olika gehör- samt notläsningsövningar somjag tror kan påverka ens improvisationsförmåga positivt. Jag har spelat innär jag improviserar före, under samt efter övningsperioden. Jag har äventranskriberat och analyserat mina improvisationer för att undersöka meringående vad jag gör melodiskt och rytmiskt.Undersökningen har resulterat i att jag är mer medveten i minaimprovisationer och gör enligt mig mer intressanta och friaimprovisationer. Förmågan att improvisera har påverkats positivt med hjälpav dessa gehörs- och notläsningsövningar.

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Vickhoff, Björn. "A perspective theory of music perception and emotion /." Göteborg : Göteborgs Universitet, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016671611&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Sanoshy, Bryan. "And God Said." Digital Commons @ Butler University, 2018. https://digitalcommons.butler.edu/grtheses/499.

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And God Said… is a modern interpretation of the well-known Biblical story about the creation of the world. Scriptures tell us that the entire world was formed in mere seven-day span. Each movement is very unique and specific to the corresponding day they represent.

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Fair, Laura. "Music, memory and meaning." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-92319.

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I his paper examines the music and career of Siti binti Saadi, a famous taarab musician who performed in Zanzibar during the 1920s and 1930s. Relying on four distinctive types of evidence: her recorded music, written documentation produced in East Africa, interviews with men and women who heard her perform and records of company executives I compare perspectives regarding the source of power and authority attributed to her voice as well as the meaning of her music. Siti binti Saadi was the first East African to have her voice captured and reproduced on 78 rpm gramophone disks. The production of these records enhanced her status and imbued her voice with a sense of authority that it otherwise may never have attained. Written histories of taarab, particularly those authored in the 1950s and 1960s, often memorialize her as literally, `giving voice to the voiceless,´ allowing the voice of East Afiica to be heard internationally.

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Gaviola, Natalia. "De azufre y sal." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37296.pdf.

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Morrison, Craig. "Psychedelic music in San Francisco : style, context, and evolution." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ54392.pdf.

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Robinson, Jason L. "Improvising California : community and creative music in Los Angeles and San Francisco /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170218.

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Tomić, Đorđe. ""Phantomgrenzen" in Zeiten des Umbruchs." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät I, 2015. http://dx.doi.org/10.18452/17174.

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Der Zerfall des sozialistischen Jugoslawien ließ aus seinen acht föderalen Einheiten sieben neue Staaten ent-stehen. Die einzige bislang unerforschte Ausnahme ist dabei die Autonome Provinz Vojvodina, die weiterhin ein Teil Serbiens bleibt, wenn auch mit einer erheblich eingeschränkten Autonomie. Insbesondere Fragen nach Qualität bzw. Quantität der Autonomie waren Gegenstand heftiger politischer Auseinandersetzungen in der Vojvodina seit Ende der 1980er Jahre. Die politischen Unterschiede zwischen den „Autonomisten“ in der Provinz, die sich auch in den 1990ern für eine breite Autonomie einsetzten, und der Belgrader Zentralregierung, deren Macht auf der Idee eines starken vereinten Serbiens beruhte, wurden von den ersteren zunehmend als historisch vorbestimmte kulturelle Differenzen ausgelegt, die hier als „Phantomgrenzen“ untersucht werden. In Form verschiedener symbolisch verknüpfter Aussagen über die historische Besonderheit der Bevölkerung, Wirtschaft und Kultur der Vojvodina wurden die politischen Forderungen nach mehr Autonomie wiederholt bekräftigt. Diese wiederum wurde auch als Schutz vor dem und Gegenmodell zum erstarkten serbischen Nationalismus der „Ära Milošević“ dargestellt. Im Laufe der inzwischen mehr als zwei Jahrzehnte fügten sich diese Deutungen zu einem neuen Autonomiediskurs zusammen. Wie dieser entstand, d.h. welche Akteure wie und zu welchen Zwecken die Phantomgrenzen der Vojvodina wieder auftauchen ließen, sowie welche Bedeutung die Autonomieidee in der Umbruchszeit der 1990er Jahre im Alltag der Menschen in der Vojvodina erlangte, sind zentrale Forschungsfragen der Fallstudie. Sie bietet damit nicht nur neue empirische Erkenntnisse zur Geschichte des jugoslawischen Staatszerfalls und der postsozialistischen Zeit in Südosteuropa, sondern ermöglicht mit dem verwendeten Modell der „Phantomgrenzen“ auch neue Einblicke in und allgemeine Aussagen über das Wiederauftauchen von Geschichte und historischen Grenzen in Osteuropa nach 1989.
The breakup of socialist Yugoslavia led to the creation of seven new states out of its eight federal units. The only exception, until now unexplored, is the Autonomous Province of Vojvodina, which remains a part of Serbia, although with a substantially restricted autonomy. Notably questions about the quality and quantity of autonomy have been a subject of heavy political conflicts in Vojvodina since the end of the 1980s. Political differences between the „autonomists“ in the province, who also during the 1990s advocated a broad autonomy, and the central government in Belgrade, whose power was based on the idea of a strong unified Serbia, the former increasingly presented as historically predetermined cultural differences, which are explored here as “phantom borders”. The political claims for more autonomy were thus repeatedly reinforced in terms of various symbolically connected statements about the historical distinctiveness of the population, economy and culture of Vojvodina. The autonomy in turn was also represented as an instrument of protection against and alternative model to the growing Serbian nationalism during the “Milošević era”. In the course of meanwhile more than two decades these interpretations merged into a new autonomy discourse. How this emerged, i.e. which agents made how and for what purposes the phantom borders of Vojvodina reappear, as well as what relevance the idea of autonomy gained during the period of radical change in the 1990s in everyday life of the people in Vojvodina are the central research questions of the case study. It hereby offers not only new empirical findings about the history of the breakup of the Yugoslav state and the post-socialist period in Southeastern Europe, but due to the used model of “phantom borders” also permits new insights into and general conclusions about the reappearance of history and historical borders in Eastern Europe after 1989.

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Bergel, Erik. "Musik i förvandling : Bibliotekens övergång av klassifikationssystem från SAB till DDK och dess inverkan på musikområdet." Thesis, Uppsala universitet, Institutionen för ABM, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-297633.

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In November 2008, the National Library of Sweden decided to change their standard classification system from the Swedish Library Classification System (SAB) to the american Dewey Decimal Classification (DDC). One of the main reasons to this transition was the assumption of gaining the possibility to exchange and import catalogue posts by using an outspread international classification system. Throughout the years, it has been disputed whether DDC’s treatment of music has been the most suitable. The system has been criticized for being biased in favor of Western music and not being updated with the growth of new music. The purpose of this study is to examine the opinions among librarians connected to the music area on how this classification transition went, and how it has affected their work. The primary questions concerned with this study are if the interviewees perceive that there is a problem by using DDC for music and if so, how? Additionally, does this change also affect the library users, or is it only the librarians? The method I am using to examine these questions is qualitative interviews based on Steinar Kvale and Svend Brinkmann’s thoughts in their book Den kvalitativa forskningsintervjun. The theories that will be used for this thesis are theories concerning functional requirements of classification systems. The results show that the interviewees’ opinions are that DDC’s notation tends to be long, which affects the usability of the system. The interviewees’ perception is that DDC is also lacking in its treatment regarding musical recordings and the popular music area. One of the main reasons for this shortage is because there is basically no other library outside of Sweden that is classifying such material with DDC, which means that the information exchange with countries abroad has so far been rather exiguous.

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Swarts, Karen. "Studie van die huidige musikale gebruike onder die jeug van die !Xun en Khwe San." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1942.

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Thesis (MMus (Music))--Stellenbosch University, 2008.
This study was undertaken to determine the present state of the musical practices of the youth of the !Xun and Khwe San. The study formed part of the NRF project, Mother’s Milk Mother’s Muse, of which the objective was to document and preserve the music of South Africa’s indigenous cultures. This was done by recording the music of children during a series of mini-festivals. A further aim was to develop a renewed interest in their own traditional musical culture. The writer was chosen in 2003 as the project coordinator of the San people of Platfontein in Kimberley. That project has thus formed the basis of the present study of the current musical practices of the youth of the !Xun and Khwe San. Research was done through literature study and participatory action research. General information on these research methodologies is given in the second and third chapters. The ways in which these methodologies were put into practice in the writer’s own study are discussed in the last chapter. Teachers of the !Xunkhwesa school on Platfontein were asked to give their help with the project. These teachers, who teach the Arts and Culture learning area to various grades at the school, were responsible for completing forms with information on musical items. The children were then asked to bring traditional songs to class in the period before the mini-festival. These items were recorded during the mini-festival in September 2005. Descriptions and analyses of the songs are given in chapter five. Similarities with the characteristics of traditional San music as well as general characteristics of African music are also discussed. The conclusions and proposals are discussed in the last chapter.

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Oyarzún, Sepúlveda Inti. ""Monasterio de Sal" : Om elbasens introduktion i flamencovärlden via Carles Benavent." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-129190.

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Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so, studying relevant literature, listening to phonograms comparatively, transcribing/analyzing ”Monasterio de Sal” and interviewing Mr. Benavent himself were used as main methods. The conclusion has been drawn that there was barely any electrical bass in flamenco before Benavent and that his work with de Lucía (and later others) would entirely reform the way electric bass was perceived from within and outside this genre of music. It is of no less interest to observe that Benavents main influences for this endeavor were the principal figures of contemporary jazz-bass (Jaco Pastorius) and flamenco-guitar (Paco de Lucía) respectively, infusing ”Monasterio de Sal”, with meaningful historical value.

Numera Inti Oyarzun-Jonsson.

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Åberg, Ellinor. "Game music: from composer to consumer." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27285.

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By conducting an experiment involving interviews with successful video game music composers about the emotions they wish to convey to the players with their music, and a survey questioning consumers about what emotions they actually experienced while listening to these musical pieces, this bachelor's thesis tries to provide a deeper understanding for music in games and the impact it has on the player and whether or not the three composers that has been interviewed has succeeded with conveying the emotions they wished to convey to their consumers. The results showed that each composer that has participated has been able to convey the music's intended emotions to their consumers more or less. Almost none of the musical pieces used stood out as wrongly perceived by the survey participants. The preconceptions we have about emotions in music, both generally and in video games, has become so deeply rooted that by only listening to a musical piece one can determine its emotive state and character.

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Collazo, Carmen D. "The effect of after-school music programs in at-risk students' self-esteem and social skills in San Juan, Puerto Rico." FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/2405.

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The purpose of this study was to examine and expand upon the role the Programas de Orquestas Sinfonicas Juveniles (POSJU) experiences play in self-esteem and social skills. The research took place in Felipe Gutierrez y Espinoza School, one of ten POSJU centers, located in the San Juan, Puerto Rico. Thirty-eight students (N=38) aged 7 to 17 participated in this study. Participants rated their self-esteem and social skills using the Rosenberg Self-Esteem Scale (RSES) and the Social Skills Competence Checklist (SSCC). No significant differences between pre- and post-evaluations on RSES and. SSCC were found. For additional information, teachers evaluated all participants using the Teacher Student Report (TSR). Significant differences were found across the construct of social skills, but not self-esteem. Information regarding the POSJU after school program was collected from parents through a Parent Questionnaire Report (PQR). Overall, parents’ responses towards the program show satisfaction with POSJU.

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Boonsermsuwong, Praphai. "A Contextual Approach to Multi-dimensional Analyses of Sai Bhajan: A Vocal Genre from South India." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398093465.

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Rabatoko, Matheanoga Fana. "San indigenous songs as cultural heritage for inclusion in Botswana music education programmes." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65599.

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Botswana is a heterogeneous society and therefore the elements of dualism as well as cultural pluralism should be reflected in social institutions such as schools. The Naro of D’Kar are among the few minority ethnic San groups in Botswana still practicing their indigenous songs. While the government is positively continuing to implement the recommendations of the 1994 Revised National Policy on Education, this study explored Naro music, songs and dances to find possible ways in which these intangible elements of cultural heritage could be included in the music education curriculum. A qualitative ethnomusicological approach was applied in order to provide a systematic and scientific description of the contextual and cultural aspects of Naro music practices. Participants were purposively selected as indigenous culture bearers, including both adults and children. Focus groups as well as semi-structured individual interviews contributed to rich data gathering. Moreover, an extended period of field work allowed opportunities to observe various groups of Naro participating in music, song and dance activities, leading to an in-depth perspective of the research problem. All interviews and observations were audio- or video-recorded. An interpretative data analysis strategy was employed to identify themes. Findings reveal the rich cultural heritage of the Naro of D’Kar and how this is entrenched in their indigenous songs and dances. The purpose of Naro songs are closely linked to spiritual and physical healing rituals. Data analysis unveiled four broad categories in which Naro songs and dances may be classified namely songs for worship; songs for initiation; songs for social commentary; and lastly a broad category of songs for thanksgiving, recreation, hunting and children’s playsongs. The documenting, transcribing and audio/video-recording of Naro songs as performed in their original context and setting, add valuable resources which music teachers can use to facilitate inclusion of Naro music in the Botswana curriculum. This may lead to a paradigm shift in policy development whereby principles of Multicultural Music Education (MME) are embraced. Learners are envisaged to acquire knowledge and understanding of a broader society as well as an appreciation of their own cultural heritage including language, traditions, songs, ceremonies, customs, social norms and a sense of citizenship.
Dissertation (MMus)--University of Pretoria, 2017.
Music
MMus
Unrestricted

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Grankina, Anastassia. "Transcultural Representation of Circassian Music in Mily Balakirev's Islamey: Oriental Fantasy (1869)." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32328.

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This thesis examines the context in which the Russian composer, M. Balakirev, used folk idioms to create a representation of Circassian musical culture in Islamey: Oriental Fantasy. It was composed for piano in 1869 after Balakirev’s trip to the Caucasus during its colonization by the Russian Empire and it is an interesting example of a musical representation of the "Oriental." Based on Edward Said’s theory of the Orientalism, this thesis examines the construction of Circassian stereotype as Russia’s “Other”. It presents the complex historical relations between Russians and Circassians and discusses evidence for treating Islamey as an example of an Orientalist Other, taken from several authors, including Balakirev himself. Ultimately, this thesis describes Balakirev’s representation of Circassian culture and proposes reasons for his appropriation of folk music. It concludes by outlining the benefits of cultural exchanges between the Russian and Circassian nations that took place over the last century.

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Samuels, David William. "A sense of the past : music, place, and history on the San Carlos Apache Reservation /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Farris, Daniel. "Intertextualization, an historical and contextual study of the battle villancico, El más augusto campeón." connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12122.

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Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.

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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.

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Kirk, Douglas Karl. "Churching the shawms in Renaissance Spain : Lerma, archivo de San Pedro ms. mus. 1." Diss., McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=77431.

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Numerous studies have shown that in the sixteenth and seventeenth centuries Spanish churches (both metropolitan and monastic) employed bands of wind instrumentalists to play frequently in liturgies and processions throughout the church year. Exactly what this music was, though, beyond colla parte participation in masses and motets has remained conjectural because not a note of it has been found. This dissertation is a study and edition of a major, newly-discovered manuscript which contained part of the repertory of the minstrels who served the Duke of Lerma, c. 1607, in the collegial church of San Pedro in Lerma. By comparing the repertory in the manuscript with sixteenth- and seventeenth-century instructions to minstrels in Le6n and Palencia, it has been possible to establish typical ecclesiastical performance responsibilities of minstrels and deduce how such a collection of instrumental music would have been used. Furthermore, after study of the surviving inventories of San Pedro, it has been possible to reconstruct the entire polyphonic musical repertory of the church. This enables us to see the sort of musical library available to the typical succentor or chapelmaster of the time, and the place that minstrel repertory occupied. Finally, a significant number of the original Lerma manuscripts and prints have been traced into modern collections, allowing us to know much more about their origins and history than heretofore.
Plusieurs etudes ont demontre qu'au seizieme et au dix-septieme siecle, les eglises espagnoles (metropolitaines et monacales) employaient des ensembles de musiciens utilisant des instruments "hauts" pour jouer dans de nombreuses liturgies et processions tout au long de l'annee. Ce que cette musique etait precisement, au-dela de la participation dans l'accompagnement des choeurs des messes et motets, ne reste que conjectures puisqu' au aucune note n'a ete trouvee. Cette dissertation est une etude et une edition d'un manusmt d'une importance majeure et nouvellement decouvert, identifie comme ayant fait partie du repertoire des menestrels servant le duc de Lerma, c. 1607, qui etaient engages pour jouer a l' eglise collegiale de San Pedro a Lerma. En comparant le repertoire dans le manuscrit avec les instructions des menestrels du seizieme et du dix-septieme siecle a Le6n et Palencia, il a ete possible d' etablir les responsabilites musicales liturgique des menestrels et de deduire comment toute cette collection de musique instrumentale avait pu ~e utilisee. De plus, apres l' etude des inventaires subsistants de San Pedro, on a pu reconstruire le repertoire musical polyphonique dans son entier. Ceci nous permet de voir la collection musicale disponible du chantre ou maitre de chapelle typique du temps, ainsi que la place qu' occupait le repertoire des menestrels. Finalement un nombre significatif de manuscrits et imprimes a ete retrace dans les collections modemes, nous permettant d' en connaitre. fr

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Weiss, Katherine. "‘…long before the stars were torn down...: The Music of Bob Dylan and Sam Shepard." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etsu-works/2271.

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Olson, Ted. "Recording Review of Sam Phillips and the Sun Records Legacy." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1164.

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Lanzoni, Pablo Alberto. "Sinfonia fílmica : aproximações entre o discurso cinematográfico e o discurso musical em 'Sal de Prata'." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/60369.

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Esta pesquisa concentra-se na articulação entre o discurso cinematográfico e o discurso musical, a partir da observação de determinado corpus fílmico: „Sal de Prata‟ (2005) de Carlos Gerbase. O filme, organizado através de intertítulos narrativos, cujo conteúdo semântico o remete à estrutura de uma sinfonia, propicia a reflexão acerca das aproximações e das apropriações entre ambas as manifestações. Inicialmente, se discorre acerca da estrutura em música e da estrutura no cinema, em que se insere a montagem e suas apropriações à terminologia musical. Complementam a discussão vieses cinematográficos e alguns exemplos fílmicos, destacados por outros autores sob a ótica de suas aproximações a formas e estruturas musicais. A estas reflexões segue a apresentação do conceito de sinfonia fílmica e de sua aplicabilidade em „Sal de Prata‟. Para tanto, foram considerados as observações oriundas da música pertencente à trilha sonora; a organização de planos; o percurso dramático do corpus em discussão. Encerra o trabalho, um exame das relações entre uma sequência fílmica e a música a ela combinada. A sequência selecionada compreende a única peça musical que pode ser ouvida em sua totalidade em „Sal de Prata‟: Largo do Concerto n. 5 em Fá menor, BWV 1056, de Johann Sebastian Bach, discutido aqui sob o viés retórico-musical. Entre música e cena percebem-se aproximações e concomitâncias referentes às estruturas observadas que são discutidas no pormenor. Esta dissertação concentra-se na reflexão das utilizações multifacetadas da música, no complexo cinematográfico, visando contribuir para a constituição desta área interdisciplinar de estudos.
This research focuses on the relationship between cinematographic and musical discourses taking as its object the observation of Carlos Gerbase‟s „Sal de Prata‟ (2005) as a film corpus. „Sal de Prata‟ is organized through narrative intertitles that refer to a symphonic structure through their semantic content; they elicit a reflection on the rapprochement and the appropriation between the two events. The thesis discusses the notion of structure in music and movies, including the concept of film editing as it mirrors musical terminology. The discussion is complemented by cinematic biases and film examples which are followed by the introduction of the concept of „film symphony‟ [„sinfonia fílmica‟] as well as its viability as related to „Sal de Prata‟. The soundtrack of the film is discussed, as are its plan organization, its dramatic journey, and the only piece that can be heard in its entirety in the film, the Largo from the Concerto no. 5 in F minor, BWV 1056, by Johann Sebastian Bach. This piece is analyzed under a rhetorical-musical bias and the parallel procedures in film and music are highlighted. This masters‟ thesis aims at a reflection on the multifaceted usage of music in the cinematographic complex, contributing to the construction of this interdisciplinary area of study.

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Galletta, Thiago Pires 1979. "Cena musical independente paulistana - início dos anos 2010 : a "música brasileira" depois da internet." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279205.

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Orientador: Pedro Peixoto Ferreira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Os desenvolvimentos sócio-técnicos observados em torno da internet, ao longo dos anos 2000, são fundamentais para entendermos o processo de formação de uma nova geração produtora e consumidora de música no Brasil. Este processo é especialmente significativo quando se considera a música produzida pela chamada ?cena brasileira independente? contemporânea. Neste contexto, cada vez mais artistas partícipes desta cena, viabilizando seus trabalhos sem o aporte de grandes gravadoras, têm alcançado repercussão significativa junto a públicos segmentados, obtendo crescente reconhecimento em premiações nacionais de música e em uma gama variada de mídias especializadas, nas quais esta produção musical tem sido apontada como responsável por muitas das inovações e contribuições estéticas mais significativas no atual panorama da ?música brasileira? contemporânea. A chamada ?cena independente paulistana? do início dos anos 2010, e seus artistas, têm assumido um papel de relevo neste cenário, projetando muitos dos principais nomes associados ao que tem sido identificado e discursado, no período, como um ?novo momento da música brasileira?. O objetivo principal desta pesquisa foi identificar e analisar - a partir de vasto levantamento de dados sobre o campo enfocado e de entrevistas com artistas e produtores, realizadas presencialmente ou obtidas a partir de publicações na internet - as principais especificidades desta ?cena paulistana? responsáveis por singularizá-la, potencializar suas condições criativas e/ou de produção e a distinguir em relação a: (1) momentos anteriores da ?produção musical independente? no Brasil; (2) o conjunto da produção fonográfica contemporânea no país; (3) a ?cena independente e o novo momento da música brasileira?, mais particularmente. Com respeito aos conjuntos (1) e (2) assume importância fundamental as novidades trazidas pelas tecnologias digitais e pelos novos processos econômicos e novas políticas culturais observados no país nos últimos 15 anos. Na composição da especificidade da ?cena paulistana? em relação à ?cena independente brasileira? mais ampla (3), têm se destacado centralmente as oportunidades privilegiadas encontradas em São Paulo-SP para o desenvolvimento, sustentabilidade e repercussão de trabalhos musicais autorais independentes. Estas oportunidades serão responsáveis pela migração de um conjunto significativo de artistas independentes de outros estados brasileiros para o solo paulistano, nos últimos anos. A contribuição estética variada e diferenciada, trazida por estes músicos migrantes, se somará à peculiaridade da cultura musical paulistana e aos talentos criativos de seus artistas, bem como às vivências urbanas próprias à cidade, compondo-se, assim, a especificidade musical desta cena - cena marcada, de modo importante, por um alto nível de produção colaborativa entre seus agentes, e por trabalhos que tem buscado se afirmar para além de gêneros e categorizações musicais específicas
Abstract: The socio-technical developments related to the Internet between 2000 and 2010 are essential for an understanding of the process of formation of a new generation of music producers and consumers in Brazil. This process is especially significant when one considers the music put out by the so-called contemporary "independent Brazilian scene." Growing numbers of musicians took part in this scene and produced their work with no backing from the large recording companies and they have been very well received by segmented markets. They have won Brazilian awards in music and they have been recognized in a broad range of specialized media, where their musical output has been considered responsible for many of the innovations and significant aesthetic contributions in today's panorama of contemporary "Brazilian music." The so-called "São Paulo independent scene" of the early 2010s and its musicians have assumed an outstanding role in this context, projecting many of the most outstanding names associated with what has been described as a "new moment in Brazilian music." The main objective of the study for this paper was to identify and analyze the main specific aspects of this "São Paulo scene." The research is based on a careful collection of data about the field and on interviews with musicians and producers. Interviews were carried out in person or taken from publications found on the Internet. Several specific aspects of this "São Paulo scene" are responsible for stimulating the creativity and productivity of this phenomenon and, at the same time, distinguish it (1) from preceding historical periods of "independent musical production" in Brazil; (2) from the overall contemporary phonographic production in Brazil; and, especially, (3) from the "independent scene and new moment in Brazilian music." With respect to Items 1 and 2, new aspects brought on by digital technologies, new economic advances and new political-cultural observed in Brazil over the last 15 years have all been particularly important. The exceptional opportunities found in São Paulo for the development, continuation and repercussion of independent musical production have all stood out in the specific character of the "São Paulo scene" vis-a-vis the broader "independent Brazilian scene" (Item 3). These opportunities stimulated the migration to São Paulo of a great many independent musicians from other states in Brazil in recent years. The varied and distinct aesthetic contribution brought by these musicians has joined hands with the peculiar musical culture of São Paulo, the creative talent of its musicians, and the city's intense urban character. It is a scene strongly marked by a high level of cooperative output by its agents and by work that has sought to assert itself beyond specific musical genres and categories
Mestrado
Sociologia
Mestre em Sociologia

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Clavere, Javier. "Semiotic Analysis of Osvaldo Golijov’s Musical Setting of the Passion Narrative in La Pasión según San Marcos." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227221958.

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Salazar, Amador. "Mariachi Music in San Antonio| The Construction of Cultural and Ethnic Identity in a Hybridized City." Thesis, The University of Texas at San Antonio, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10279937.

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The intent of this research is to reveal and understand the symbolic meanings of cultural and ethnic identity that cultural creators and receivers perceive through their involvement in mariachi. This study’s shows the way those involved in mariachi perceive their cultural and ethnic identity while living in a city that infuses Mexican and Texan cultural sensibilities. A mixed-method approach was taken between in-depth qualitative interviews and participant observation. Participant observation was utilized as a means to build a stratified snowball sample of the various cultural producers and receivers of mariachi. The cultivation of this sample was guided by Griswold’s cultural diamond framework. Reliance on semi-structured in-depth interviews as the primary research method of inquiry illuminated the various horizons of meaning that mariachi performers, instructors, gatekeepers, and aficionados held in regards to their efforts to preserve a long standing cultural musical art form in San Antonio, Texas. Some findings include various stories and perspectives on cultural and ethnic identity in mariachi, varying strategies undertaken to preserve mariachi music in the twenty-first century through technology, its institutionalization into a public-education setting, the varying gender dynamics among mariachi performers, the question of authenticity and hybridization in mariachi music, and cultural politics in the mariachi music scene.

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Kim, Hae-Jeong. "Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278255/.

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This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This practice is documented by the increased number of pieces that appear in the manuscripts. Two of the transcriptions from the church of San Lorenzo included in the appendix are selected from this later repertoire.

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Bochanty-Aguero, Erica Jean. "Music that moves television music, industrial travel, and consumer agency in contemporary media culture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Meiggs, Baldeon Enrique Javier. "Nueva sede para la Universidad Nacional de Música (Ex Conservatorio de Música) en San Borja." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652395.

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En el Perú existe una falta de difusión cultural y debido a esto muchas carreras artísticas como la música no tienen el valor que se merece, esta despreocupación ha llevado a que la única casa nacional de educación superior de música se encuentre en un estado lamentable con respecto a su infraestructura. Con este proyecto se busca satisfacer las necesidades educacionales para aquellos interesados en algunas de las 25 especialidades que ofrece La Universidad Nacional de Música (ex conservatorio) y teniendo en cuenta las especificaciones técnicas de los ambientes a desarrollar. El partido arquitectónico busca una relación confortable entre el usuario con el objeto arquitectónico a través del recorrido y estancia. La nueva sede de La universidad Nacional de Música busca brindar una infraestructura adecuada a todos los estudiantes.
In Peru there is a lack of cultural diffusion and because of this many artistic careers, as music does not have the value it deserves, this lack of concern has led to the only national house of higher music education being in a sorry state with Regarding your infrastructure. This project seeks to meet the educational needs for those interested in some of the 25 specialties offered by the National University of Music (former conservatory) and taking into account the technical specifications of the environments to be developed. The architectural party seeks a comfortable relationship between the user and the architectural object through the route and stay. The new headquarters of the National University of Music seeks to provide adequate infrastructure to all students.
Trabajo de investigación

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Webster, Peter Jonathan. "The relationship between religious thought and the theory and practice of church music in England, 1603-c.1640." Thesis, University of Sheffield, 2001. http://sas-space.sas.ac.uk/3208/.

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This thesis explores the ways in which people in early Stuart England understood the place of music in worship, its effect on the auditor, and the task of determining what was appropriate music for the task. Central to this is the task of exploring the validity of the trend in current historiography to assign to the ‘Laudian’ movement a polemically and practically distinctive view of music in worship. Part One deals with the published and manuscript discussions of the nature and role of music. It contends that in the 1630s music became associated with one of the two rival conspiracy theories of Popish tyranny and Puritan profanity and subversion (chapters 1 and 2). In subsequent chapters (3-7), it examines the common language in which music was discussed; the use of Biblical, patristic and continental authorities; and continental and broader philosophical understandings of music. It is concluded that no clear theologies of church music can be attributed to church parties as identified in the historiography to date. In Part Two, the thesis considers the surviving musicological evidence of practice in cathedral and collegiate churches from 1603 onwards, to attempt to discern any patterns of distinctive usage in ‘Laudian’ institutions. It examines the use of musical instruments (ch.9), the incidence of various anthem texts (ch. 11), the singing of parts of the liturgy, and the incidence of compositions in various styles (ch. 12). It is argued that much ‘Laudian’ practice was indistinguishable from that in non-Laudian cathedrals, and that the habit of the scholars to extrapolate a ‘Laudian’ style from the work of John Cosin is a misleading one. Overall, it is then concluded that the necessary place that church music has been given in the Laudian experiment is not a tenable one, either in theory or practice. There was no necessary relationship between Laudian churchmanship and elaborate church music.

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Popolin, Daniela Francine Lino. "Lagrime di San Pietro de Orlando di Lasso : um estudo de preparação e execução através de uma nova edição crítica e revisada." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284519.

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Orientador: Carlos Fernando Fiorini
"O segundo volume apresenta uma nova edição, crítica e revisada, de Lagrime di San Pietro"
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Lagrime di San Pietro é uma das obras mais relevantes dentro da vasta produção de Orlando di Lasso, composta por um conjunto de vinte Madrigais Espirituais e um Moteto. Esta tese teve como principal objetivo um estudo sobre a preparação e a execução desta obra sob a ótica do regente, embasado por um conjunto de pesquisas adjacentes que proporcionassem um suporte teórico, como análise musical, textual e a relação entre ambos, contextualização histórica da obra e do compositor, além do levantamento das dificuldades encontradas durante o processo de execução da obra, partindo da aplicação prática da proposta apresentada. Devido à dificuldade de se encontrar uma edição ideal, foi necessário confeccionar uma nova partitura da obra que pudesse ser utilizada tanto como base para esse estudo como para a sua execução. Assim, o segundo volume apresenta uma nova edição, crítica e revisada, de Lagrime di San Pietro
Abstract: Lagrime di San Pietro is among the most significant works in the huge production of Orlando di Lasso, consisting of a set of twenty Spiritual Madrigals and a Motet. This thesis aimed to a study on the preparation and performance of the work from the conductor's perspective, based on a set of adjacent researches that provide a theoretical foundation and practical implementation of the proposals, such as musical and textual analysis and the relationship between both, a historical background of the work and the composer, and a survey of the difficulties found during the performance of the work, based on the implementation of the proposal. Given the difficulty of finding a right edition, it was necessary to prepare a new score of the work which could be used both as the basis for this study and for its performance. Thus, the second volume presents a new reviewed and critical edition of Lagrime di San Pietro
Doutorado
Praticas Interpretativas
Doutora em Música

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Quaranta, Elena. "Oltre San Marco : organizzazione e prassi della musica nelle chiese di Venezia nel Rinascimento /." Firenze : L.S. Olschki, 1998. http://catalogue.bnf.fr/ark:/12148/cb37001073s.

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Liljeqvist, Björn. "StockholmsOperan, Galärvarvet : En smal sak." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-37316.

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Galärvarvet är på många sätt en utmärkt plats för en ny och framträdande kulturbyggnad i Stockholm. Samtidigt utgöt operans komplexa och omfattande program en stor utmaning. I detta projekt löses konflikten mellan program och plats meddels en långsmal byggnad som bevarar naturvärden och rörelsemönster.
Galarvarvet is in many ways an great site for a new and prominent cultural building in Stockholm. At the same time the complexity and size of the program of an opera poses a great challenge. In this project the conflict between program and site is solved with a stretched out building that preserves environmental values and movements.

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38

Hui, Alexandra Evonne. "Hearing sound as music psychophysical studies of sound sensation and the music culture of Germany, 1860-1910 /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1679374161&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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39

Ilic, Ljubica. "Music and the modern condition investigating the boundaries /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1464115351&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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40

Moroncini, Barbara Serena. "Experimental music after Los Angeles site, power, self, sound /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1706818091&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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41

Gerber, Casey Lynn. "Ear training and music reading methods used by Philip C. Hayden : music literacy through rhythm forms /." Full text available from ProQuest UM Digital Dissertations, 2008. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1850417161&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1279215869&clientId=22256.

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Thesis (Ph.D.)--University of Mississippi, 2008.
Typescript. Vita. "May 2008." Major professor: Alan L. Spurgeon Includes bibliographical references (leaves102-113). Also available online via ProQuest to authorized users.

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42

Ågren, Sofia. "Klippor, vågor, sand : Förhållandet mellan ord och ton i Petter Ekmans verk." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1631.

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I gränslandet mellan notbild och ljudande musik, mellan dirigent, musiker och åhörare finns något som inte går att sätta ord på. Det sker en ordlös kommunikation och ett eller flera budskap förmedlas. Ett nyskrivet verk. Egentligen skulle den första frågan vara 'varför?'. I körsång och solosång har vi dessutom texten som nav i musiken och det finns otaliga sätt att förstärka textens budskap genom den musikaliska gestaltningen. Syftet med arbetet har varit att undersöka förhållandet mellan text och musik i Petter Ekmans verk Klippor, vågor, sand för att närma sig frågan "vad vill verket kommunicera?". Analysen ger en bild av Ekmans verk som en musikalisk gestaltning av jordens skapelse där evolutionen i sig är den egentliga grunden för verket. Ekmans komposition är inte, som mycket musik, en historia berättad i toner istället för ord, utan påminner snarare om ett konstverk, en klingande skulptur där ljuden i sig har ett egenvärde. Verket berättar inte om jordens skapelse, verket är jordens skapelse.

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43

Kleppinger, Stanley V. "Tonal coherence in Copland's music of the 1940s /." Abstract, 2006. http://proquest.umi.com/pqdweb?did=1225126531&sid=2&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Norrington, Dannyel Marie. "Instrumental music instruction, assessment, and the block schedule /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1203567941&sid=15&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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45

Thompson, Gordon Ross. "Music and values in Gujarati-speaking Western India." An electronic book accessible through the World Wide Web; click for information, 1987. http://proquest.umi.com/pqdweb?did=753729281&sid=1&Fmt=2&clientId=78910&RQT=309&VName=PQD.

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46

Weaver, Jamie. ""Del vario stile in cui piango e ragiono" : a study of compositional ethics in Florence and northern Italy during the early seventeenth century /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1288647861&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. "Suggestions for performance practice": leaves 209-230. Includes bibliographical references (leaves 251-270). Also available for download via the World Wide Web; free to University of Oregon users.

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47

Mendonça, Maria Alice Cardoso de. "The evolution and transformation of multi-dimensional music in contemporary culture." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1779690131&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Kwan, Eva Schmidt Charles Punnett. "Secondary choral music education in Hong Kong : relations among motivation to music, meaning of the choral experience, and selected demographic variables /." Electronic version (link to abstract and document) ProQuest document ID:1559848571 Publication Number: AAT 3307724 UMI no. 3307724 Electronic version (link to document), 2007. http://proquest.umi.com/pqdweb?did=1559848571&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Rege, Karen M. "An examination of music technology requirements for undergraduate performance majors." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 110 p, 2008. http://proquest.umi.com/pqdweb?did=1757060791&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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50

Orsen, Jason A. "The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367937563.

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Dissertations / Theses on the topic 'Sad music'

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