Dissertations / Theses on the topic 'Songs with music'
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Hubbard, Colton M. "Tea Songs." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116378208.
Full textChen, Ching-Yi. "A Performer's Guide to John Musto's Song Cycle, Quiet Songs." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1331099604.
Full textNguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.
Full textLanci, Michael P. "Songs for Joe Hill." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin149580760300849.
Full textSahr, Nate. "Song/Casting: Combining Podcasts and Songs to Create a Hybrid Medium." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619174946672814.
Full textBaron, Michael David. "The songs of Franz Liszt." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234717504.
Full textHung, Justin. "Songs about Words." Digital Commons @ Butler University, 2020. https://digitalcommons.butler.edu/grtheses/523.
Full textHood, Errik M. "Teaching the Songs of Ivor Gurney:An Applied Studio Guide to the Utilization of Fourteen Songs." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1448468099.
Full textFisher-Giorlando, Marianne. "Prison culture : using music as data." Connect to resource, 1987. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1214249344.
Full textSigurjónsson, Jóhannes. "Reference Music As Guidelines : Using reference music to create better songs." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-73989.
Full textI detta arbete undersöker jag hur referensmusik kan användas som ett verktyg för att stärka svagheter i mitt eget låtskrivande- och produktionsprocess. Svagheterna hittades genom att analysera feedback från andra studenter på min egen musik. Därefter analyserades fyra referensartister med syftet att hitta lösningar på dessa svagheter. Fyra nya låtar skrevs sedan och producerades genom att implementera lösningarna från referensartisterna till den kreativa processen. Resultaten var mestadels positiva, eftersom låtarna förbättrades på olika svagheter som hittades i feedbackanalysen. Metoden begränsade dock den kreativa processen i vissa tillfällen snarare än att inspirera den. Anledningarna till detta beror dels på valet av referensartister och vilka aspekter av deras musik som analyserna var inriktade på.
Jones, Reba Pestun. "An examination of coal mining song repertoire in the Virginia elementary music curriculum with the creation and incorporation of a suggested coal mining musical unit of study /." < Digital Thesis and Dissertation Collection > Username and password required for access, SU only, 2003. http://www.su.edu/library/digitalthesis/jonesreba.pdf.
Full textVan, Rhyn Chris. "Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.
Full textENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.
Dahlenburg, Jane Elizabeth. "The motet c.1580-1630 : sacred music based on the Song of Songs /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063407z.
Full textBrown, Garrett Amzi. "Songs in U.S. Presidential Campaigns: Function, Signification, and Spin." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492708533163934.
Full textBoston, Kris A. "Stephen Sondheim: Crossover Songs for the Classical Voice Studio." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin985625314.
Full textWood, Kenneth Edward. "An investigation and analysis of selected Victorian art songs /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004204.
Full textNg, Pong-wai Brenda. "The development in Hong Kong of commercial popular songs in Cantonese /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1675959X.
Full textLandau, Gregorio. "The role of music in the Nicaraguan Revolution /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9935470.
Full textBakan, Daniel Lowell. "A song of songs : a/r/tography, autoethnography, and songwriting as music education research." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51903.
Full textEducation, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
Morcom, Anne Frances. "Hindi film songs and the cinema." Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268674.
Full textChang, Debra Wei Kwen. "Songs of the wind." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332464/.
Full textKreider, Paul Kevin. "The art songs of Daron Hagen: Lyrical dramaticism and simplicity with an interpretive guide to "Rittenhouse Songs" and "Resuming Green"." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/288968.
Full textBallinger, Rebecca. "Sacred songs of Dvořák, Menotti, Ravel and Wolf." Kansas State University, 2012. http://hdl.handle.net/2097/13747.
Full textDepartment of Music
Amy Rosine
This report examines the sacred works of four composers that were intended for performance in a secular environment, rather than for any portion of a liturgical service. It will discuss the theoretical, stylistic and performance considerations of each work, as well as biographical information about each composer, their compositional style, and how the work was initially developed. These works include the Biblické písně, Op. 99 of Antonín Dvořák, selections from the Möricke Lieder and Spanisches Liederbuch of Hugo Wolf, Maurice Ravel’s Deux mélodies hébraïque, “Oh, Sweet Jesus” from Gian Carlo Menotti’s’ the Saint of Bleecker Street and the quartet from his Amahl and the Night Visitors.
Walsh, Brian Michael. "Structure, function, and process in the early song cycles and extended songs of the Canadian rock group Rush /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486546889380388.
Full textEckenroth, Karen Louise. ""It is a song that I have made": A performer's perspective on ten early songs of Samuel Barber." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/284070.
Full textKruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.
Full textGraefe, Emily. "Charles Ives and Transcendentalism in the 114 Songs." Thesis, Boston College, 2004. http://hdl.handle.net/2345/486.
Full textThe effect of transcendentalism on American composer Charles Ives (1874-1954) is examined in this study. Certain pieces in Ives' 114 Songs collection are musically analyzed to better understand Ives' interpretation of three main tenets of transcendentalism (the individual, the past, and nature). Scholarly criticism and a historical background of transcendentalism are discussed as well
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: Music
Discipline: College Honors Program
Lin, Pei-Ying. "Development of curriculum materials to teach American children about the culture of Taiwan through Taiwanese children's songs." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4315.
Full textThe entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Includes bibliographical references.
Bidgood, Lee. "Real Imaginary Place in Czech Bluegrass Songs." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1081.
Full textPosner, David M. "Reviving a lost art : piano music of Russian-Jewish origin /." Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.
Full textLien, Anthony Marcus. "Against the grain : modernism and the American art song, 1900 to 1950 /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.
Full textWebb, Adam Michael. "Art songs for tenor : a pedagogical analysis of art songs for the tenor voice." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3401.
Full textTarikci, Abdurrahman. "Analysis Of Turkish Art Music Songs Via Fractal Dimension." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611567/index.pdf.
Full textl (sofyan rhythmic form) to check the statistical significance. Next, fractal dimensions of the these songs are calculated by using two different method and two different scattering diagrams. In the first method, fractal dimensions are calculated via two different box sizes. As for second method, successively decreased box sizes are used. In addition, standard deviation and mean values of the fractal dimensions are calculated to check the relation between fractal dimension and maqam. T test and F test are applied to check the statistical significance. After these calculations, it is verified that fractal dimension can be used as an information source concerning the Turkish art music songs which are nonlinear dynamical systems. Moreover, it is showed that maqams can have their own fractal dimension for low resolutions. On the other hand, it is seen that for high resolutions all songs have almost same fractal dimension.
Manderson, Desmond. "Songs without music, aesthetic dimensions of law and justice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq30435.pdf.
Full textBeard, Ellen Leslie. "Rob Donn MacKay : finding the music in the songs." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20991.
Full textAnderson, Quiliano Nineza. "Kundiman love songs from the Philippines| Their development from folksong to art song and an examination of representative repertoire." Thesis, The University of Iowa, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3726807.
Full textIn the Philippines, a type of love song known as the Kundiman had existed since the early 19th century. But in the early 20th century Kundiman had developed into art song. The term Kundiman comes from the Tagalog phrase “kung hindi man” or “if it were not so”. Written in the Tagalog language, these folksongs were subtly patriotic but typically disguised as love songs. Filipinos, in their long struggle against an oppressive Spanish regime, saw it as a tool that would ultimately unite Filipino revolutionaries to wage war against the Spaniards in 1896 during the Spanish-American War.
The composer Francisco Santiago (1889-1947) is sometimes called the “Father of Kundiman Art Song”. While his masterpiece is considered to be his Concerto in B flat minor for pianoforte and orchestra, one of his most significant piece is his song “Kundiman, (Anak-Dalita)”, the first Kundiman art song. Santiago regarded the Kundiman art song as something “that expresses the lofty sentiment of love, and even heroism in a melancholy mood”. Given the cross-fertilization of Spanish and Filipino cultures in the 19th century, Kundiman art songs were typically a blend of melodic material from native folksong and European music traditions. The result is a song characterized by smooth flowing lines and beautiful melodies. The piano accompaniments are typically full in texture, sometimes containing countermelodies, sometimes merely harmonizing with the vocal line in thirds and sixths. One other significant early composer of Kundiman art songs was Nicanor Abelardo (1893-1934). His songs, together with those of Santiago’s became models for other Filipino composers such as Constancio De Guzman (1903-1982) and Miguel Velarde, Jr. (1913-1986) in the decades following Abelardo’s death.
The purpose of this essay is to shed some light on this unique genre of song, and provide the tools necessary to study and perform these representations of Filipino culture and history. To do this, I have provided brief background information on the origins of Kundiman art song. I have also provided a guide to pronunciation, grammar and the idiosyncracies of the Tagalog dialect. Finally, this essay contains a performance guide for 20 representative Kundiman art songs, including original texts, literal and prose translations, International Phonetic Alphabet (I.P.A.) transcriptions, and suggestions for interpretation and style.
In researching and analyzing these songs I have gained an understanding of the aesthetic appeal of Kundiman art songs. More importantly, these songs are not widely known in the classical world. But because of their unique connection to Filipino history and culture, they deserve serious attention. These songs would indeed make a great addition to a recital program.
Tonsing, Johanna Gertrud. "Searching for the "Good Song" - Determining the quality of Christian songs within the polarities of worship." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/40212.
Full textThesis (PhD)--University of Pretoria, 2013.
gm2014
Practical Theology
unrestricted
Lin, Yanyan. "The Art Songs of Huang Zi: A Selective Study." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594938239554979.
Full textKruckeberg, Lynell Joy. "Federico Mompou: a style analysis of thirty-five songs." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3486.
Full textSnydacker, Sarah Elizabeth. "The new American song: a catalog of published songs by 25 living American composers." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1265.
Full textALFELD, ANNA POULIN. "Unsung Songs: Self-Borrowing in Amy Beach's Instrumental Compositions." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1217521725.
Full textBaltagi, Ibrahim H. "Relationships among folk song preferences of grade five students." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149040252.
Full textChiu, Remi. "Motet settings of the Song of Songs ca. 1500-1520." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99361.
Full textSeveral motets---Tota pulchra es by Ludwig Senfl, Tota pulchra es by Nicolaus Craen, Nigra sum sed formosa by Johannis Lheritier, and the anonymous Vulnerasti cor meum from Petrucci's Motetti de la Corona I print---will be analyzed through the lens of the historical Christian exegesis and generic considerations of the motet. I interpret diverse musical parameters---among them, texture, quotation of pre-existent material, motivic structuring, cadential manipulation, mode and modal commixture---as some of the ways in which the composers responded to their Song of Songs texts.
Ginocchio, John F. "Music style preference : a ranking of musical styles and comparison by age, gender, ethnicity, music training, and rural, suburban, or urban upbringing." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1336616.
Full textSchool of Music
Saunders, Jessica Anne. "Songs of the Kalevala: art song inspired by the Finnish national epic." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5622.
Full textLau, Man-chun. "A study of Hong Kong popular music industry (1930-2000) 1930 zhi 2000 nian jian Xianggang liu xing yin yue gong ye de bian qian /." Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B4389608X.
Full textWeikel, Anthony L. III. "Brahms’s Four Serious Songs: Arranged for Trombone and String Orchestra." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437755386.
Full textLevyatov, Yoni. "A Collection of Ten Schubert Songs Transcribed for the Piano." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236420.
Full textD.M.A.
A Collection of Ten Schubert Songs Transcribed for the Piano Yoni Levyatov Doctor of Musical Arts Temple University, 2012 Doctoral Advisor Committee Chair: Dr. Charles Abramovic The objective of this project is the creation of a collection of ten songs by Franz Schubert, freely transcribed for solo piano: 1) "Gute Nacht" D.911 2) "An die Laute" D.905 3) "Memnon" D.541 4) "Wilkommen und Abschied" D.767 5) "Greisengesang" D.778 6) "Todesmusik" D.758 7) "Der Goldschmiedsgesell" D.560 8) "Das Fischermädchen" D.957 9) "Das Lied im Grünen" D.917 10) "Der Strom" D.565 These are written bearing in mind the general history of piano transcriptions as originated (in the modern sense) by Franz Liszt, the greatest of all transcribers for the piano, as well as other figures, such as Feruccio Busoni and Leopold Godowsky. The primary reason behind Liszt's idea of transcribing several Schubert song cycles, as well as singular lieder, was to popularize those works, and thus make them available to the common 19th century amateur, who was quite at home at the piano and usually wished to be able to reproduce favorite pieces with his own two hands. or in a four-hand collaboration. Liszt was also interested in raising awareness of these works, which were less popular and treated less seriously than they are today. At present such transcriptions may be done not only for the reasons described above, but also as a modern stylization, utilizing the many pianistic and compositional devices that have emerged since the 19th century. Some of the songs transcribed in my collection deviate considerably from the original accompaniment textures. Schubert, particularly in the strophic songs, tends to use consistent figures that hardly change with each repetition. The transcription medium allows an expansion of that, as well as use of many colorful and expressive pianistic idioms to reflect the text and the different stages of plot development. A rather extreme example of transcription taken to the point of re-composition that I discuss and use as a reference is the Schubert's Winterreise-Eine komponierte Interpretation (1993) by Hans Zender - a piece in which the composer explores the textual and musical possibilities in orchestrating his interpretation of the score for a tenor and a small orchestra. A similar treatment of Schubert, but for solo piano, as opposed to an orchestra, is one of the novelties in this project. The song that has been transcribed with a particular reference to Zender's work is Gute Nacht, which opens both Zender's and Liszt's transcriptions, following Schubert's original. Another significant point of reference in this project is taken from Liszt's transcription of "Das Fischermädchen" " from the "Schwanengesang" D.957. It is one of only two lieder in my collection also existing in another transcription which has been a part of the common piano repertoire. Liszt's treatment stands somewhat in between what would be a more common and literal transcription of the day in the 1840s and Zender's psychological re-composition and my transcription pays an homage to that. The implications of this project may bring a wider recognition to the validity of the transcription genre, and an expansion of the modern piano transcriptions repertoire, which is somewhat limited due to its unpopularity among current composers.
Temple University--Theses
Fu, Lok-yi Alice. "Contemporary Cantopop reception of crossover music in Hong Kong /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39634334.
Full textIncludes Chinese version of questionnaire (leave 132-133), transcript of interviewees in Chinese (leave 134-141) and Chinese texts of translated songs (leave 142-154). Also available in print.
Carpenter, Aubrey W. "Songs from the Willow Tree: Staging Collective Inspiration for Creative Songwriting." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/365.
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