Tesis sobre el tema "Avant-garde (music)"
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Rievers, Henrique André Christiano. "Physiological Perspectives of Avant-garde Music". Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://edoc.hu-berlin.de/18452/24062.
Texto completoIt is our thesis that, even though the theatricalization of music is a crucial aspect of the Neue Musik – one that gain even more prominence on the post-1945 scenario –, it is also an expression of a corporeal turn in music. To speak of a corporeal turn in music also means an attempt to overcome a form of dualism. It is an attempt to unify music making and music perception. This is what will be attempted here. Through the works of avant-garde composers, an attempt to build an understanding of music perception in the context of a corporeal turn in music will be made. From the perception of the body and corporeity to the move from “listening” to “perceiving” and, finally, in the concept of the work of music as a phenomenal field, a physiological perception of the avant-garde will be developed.
Pitkin, Carissa. "Against Expression?: Avant-garde Aesthetics in Satie's "Parade"". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595499202615172.
Texto completoBerman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.
Texto completoFrench critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism.
Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.
Rievers, Henrique André Christiano [Verfasser]. "Physiological Perspectives of Avant-garde Music / Henrique André Christiano Rievers". Berlin : Humboldt-Universität zu Berlin, 2021. http://nbn-resolving.de/urn:nbn:de:kobv:11-110-18452/24062-8.
Texto completoMadrid-González, Alejandro Luis. "Writing modernist and avant-garde music in Mexico performativity, transculturation, and identity after the revolution, 1920-1930 /". Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.
Texto completoTitle from first page of PDF file. Document formatted into pages; contains xv, 238 p.; also includes music, graphics Includes bibliographical references (p. 218-238). Available online via OhioLINK's ETD Center
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.
Texto completoSharp, Charles Michael. "Improvisation, identity and tradition experimental music communities in Los Angeles /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1779690111&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Texto completoMing, Christina Tio Ee. "The Avant Garde and its 'others' orientalism in contemporary art music /". Thesis, Online version, 2000. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.364724.
Texto completoSacau-Ferreira, Enrique. "Performing a political shift : avant-garde music in Cold War Spain". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:df601c57-c9f0-4320-9a3a-8493ecf1101a.
Texto completoMaslowiec, Anna. "Sonorism and the Polish Avant-Garde 1958-1966". Phd thesis, Sydney Conservatorium of Music, 2008. http://hdl.handle.net/2123/8205.
Texto completoNicholls, Tracey. "It does too matter : aesthetic value(s), avant-garde art, and problems of theory choice". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100665.
Texto completoScott, Richard Patrick. "Noises : free music, improvisation and the avant-garde, London 1965 to 1990". Thesis, London School of Economics and Political Science (University of London), 1991. http://etheses.lse.ac.uk/1134/.
Texto completoThomas, Helen Christina. "Disturbing times : metaphors of temporality in avant-garde music of the 1960s". Thesis, Lancaster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632545.
Texto completoSavage, R. W. H. "Structure and sorcery : The aesthetics of post-war serial composition and indeterminacy". Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377937.
Texto completoMadrid-González, Alejandro L. "Writing modernist and avant-garde music in Mexico : performativity, transculturation, and identity after the revolution, 1920-1930 /". Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.
Texto completoSeward, P. "Toward a hybrid music theatre : exploring avant-garde compositional techniques within a commercial form". Thesis, University of Salford, 2014. http://usir.salford.ac.uk/31993/.
Texto completoMirza, Adam. "Action Aesthetics| Arendtian Inversions on Politics and Art in the Music of the Avant-Garde". Thesis, New York University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261772.
Texto completoThis dissertation examines the aesthetics of the mid-20th century musical avant-garde from an Arendtian perspective. I focus on three musical figures: Glenn Gould, Karlheinz Stockhausen, and Helmut Lachenmann. Each of these figures worked through the legacy of musical structuralism by staging various encounters with aspects of musical performance. My reevaluation of these musical figures is oriented by a reading of the contemporaneous political theories of Hannah Arendt, as found in The Human Condition, On Revolution, and Between Past and Future, in particular. In these Cold War era texts, Arendt argues that human cultures are constituted through the exemplary actions of individuals, who risk their lives for the sake of communal principles, thereby imprinting these contestable societal norms upon public consciousness.
Arendt’s account of action, revolution and political judgment have much in common with a broader performative turn that was taking place in avant-garde artistic practices of the same time (c. 1950 – 1970). This turn resituated the ontology of the musical work from the notated page to the physical acts and technologies of sound production. Of deeper provenance, however, is the fact that Arendt’s political theories have an important basis in her appropriation of Kantian aesthetics. I argue that the Kantian inspired elisions of politics and art in her theory justifies re-mapping her political concepts onto art. I refer to these re-mappings as inversions to draw attention to the pivotal role that performance plays in Arendt’s theories, operating as a hinge between political and aesthetic categories. I do so also to ground a material history of the encounters with musical formalism that took place in the creative practices of my musical subjects. Thus my title, Action Aesthetics, refers to this attempt to re-infuse Arendt’s political theory of exemplary action into the modernist musical legacy of Kantian aesthetics.
Puebla, Ruben Alexander. "The avant-garde tuba| Analysis and comparisons of interpretations of William Kraft's Encounters II for unaccompanied tuba". Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528027.
Texto completoAvant-garde repertoire is a common choice for young tubists looking for more advanced music with which to challenge themselves. However, atonal music, like William Kraft's Encounters II, presents potentially new difficulties to young tubists. An analysis of the piece will be presented in this project report, discussing organization of pitches, rhythmic elements of the piece, and the significant use of extended techniques. Furthermore, recordings available from different performers will be compared, including; comparisons of instruments used, with specific attention to instrument key and set-up; which of the three available editions were used to learn the piece; and how the individual performers decided to interpret the piece in comparison to the original recording by Roger Bobo. By developing a working knowledge of how the piece is organized and what potential difficulties lay ahead, young tubists can make decisions in order to maximize the success of the learning process.
Hottensmith, Benjamin. "The Avant-Garde Horn: A Select Annotated Bibliography with an Analysis and Comparison of Two Representative Works". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587477229322369.
Texto completoWhyte, Ross. "Perpetual erosion : impermanence in audio-visual intermedia". Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=196018.
Texto completoSong, Sun-Ju. "Music Analysis and the Avant-Garde Compositions of Post-World War II: Four Case Studies". Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367570.
Texto completoThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
Neff, Eoghan. "At the vanguard of antiquity : seeking the avant-garde of the Irish Fiddle in C20th performance practices". Thesis, Cardiff University, 2012. http://orca.cf.ac.uk/36644/.
Texto completoFreire, Guilherme Araujo 1987. "Vanguarda, experimentalismo e mercado na trajetória artística de Tom Zé". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285314.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T18:13:44Z (GMT). No. of bitstreams: 1 Freire_GuilhermeAraujo_M.pdf: 3785916 bytes, checksum: 7074b9f4c38144853c89de9e6f856bab (MD5) Previous issue date: 2015
Resumo: Este trabalho aborda e problematiza as diferentes fases da carreira artística do compositor e intérprete Tom Zé, situadas entre o lançamento do seu primeiro LP em 1968 e o final da década de 1990. Estabelecendo como foco central sua produção musical, concebida com uma postura crítica frente a certos cânones e padrões da canção de massa consolidados no mercado e com práticas criativas experimentais análogas às do repertório das vanguardas do pós-guerra, investigamos a relação tensa estabelecida entre o seu projeto estético experimental e a indústria cultural. Nesse sentido, a pesquisa tentou situar os discursos e quatro discos de Tom Zé nos respectivos contextos históricos e configurações da indústria fonográfica, buscando compreender melhor as especificidades de sua inserção no mercado de música popular, suas estratégias de atuação, o sentido de suas opções estéticas, bem como investigar as transformações ocorridas no seu projeto estético ao longo de sua trajetória
Abstract: This work broaches and problematizes the different phases of the artistic career of the composer and performer Tom Zé, located between the release of his first LP in 1968 and the late 1990¿s. Establishing as central focus his music production, conceived with a critical posture towards certain canons and mass song patterns consolidated in the market and with experimental creative practices analogous to the repertoire of the postwar avant-garde, we investigated the tense relationship established between his experimental aesthetic project and the cultural industry. In this sense, the research tried to position the discourses and four discs of Tom Zé in the respective historical contexts and configurations of the phonographic industry, seeking to better understand the specifics of his insertion in the popular music market, his acting strategies, the sense of his aesthetical options, as well to investigate the transformations occurred in his aesthetical project throughout his career
Mestrado
Música, Teoria, Criação e Prática
Mestre em Música
Vermorel, Fred. "Biography & identity, celebrity & fanhood : researching intersections of avant-garde and popular culture". Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22495/.
Texto completoGordon, Wendy A. "The marriage of musical theater and the avant-garde: The musical theater of Tina Landau as experimental theater". Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/292018.
Texto completoMadrid-Gonzalez, Alejandro Luis. "Writing modernist and avant-garde music in Mexico: performativity, transculturation, and identity after the revolution, 1920-1930". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054237342.
Texto completoOrtega, Paredes Juan Carlos. "ECUADORIAN-FOLK AND AVANT-GARDE ELEMENTS IN LUIS HUMBERTO SALGADO’S SONATAS FOR STRING INSTRUMENTS". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343738160.
Texto completoSilvio, Carl. "The institutional production of literary value studies of African-American popular music lyrics and the avant-garde /". Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2061.
Texto completoTitle from document title page. Document formatted into pages; contains iii, 310 p. Includes abstract. Includes bibliographical references (p. 301-310).
Hausmann, Christiane. "Zwischen Avantgarde und Kommerz die Kompositionen Ennio Morricones". Hofheim Wolke, 2008. http://d-nb.info/989861376/04.
Texto completoFergin, Elias. "Mellan improvisation och komposition : att spela Torsten Nilssons Crucifigatur". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2664.
Texto completoHalfyard, Janet Katherine. "Only connect : European music theatre in the context of Wagner's Gesamtkunstwerk and the early twentieth-century avant-garde". Thesis, University of Birmingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397944.
Texto completoLemos, Gabriel Francisco Barboza 1988. "A música de vanguarda serve ao imperialismo (?) : a relação entre música e ideologia na trajetória de Cornelius Cardew entre as décadas de 1960 e 1970 /". São Paulo, 2018. http://hdl.handle.net/11449/157184.
Texto completoBanca: Alberto Tsuyoshi Ikeda
Banca: Gustavo de Moura Valença Motta
Resumo: Na segunda metade do Século XX, em especial nas décadas de 1960 e 1970, artistas e intelectuais discutiram calorosamente acerca da relação entre a atuação poética (criativa) do artista e sua influência no campo político e ideológico social. Nesse contexto, o compositor inglês Cornelius Cardew (1936 - 1981) se destacou por desenvolver um trabalho composicional e teórico contundente, crítico e autocrítico sobre a vanguarda musical e sua dimensão ideológica. Transitou entre duas das mais influentes orientações estéticas da segunda metade do Século XX, a música de vanguarda e a música politicamente engajada, ambas fundamentais na construção de chaves de leitura acerca da relação entre o compositor e a sociedade ocidental capitalista. Cardew se dedicou no decorrer de toda a década de 1960 na criação e divulgação de obras diretamente influenciadas pela escola americana experimental. Compôs obras que trabalhavam com a aleatoriedade, a improvisação (The Great Learning, Schooltime Compositions, etc.) e a notação gráfica, dentre essas, Treatise (1963-7) se destaca. Em 1969, ainda ligado às diretrizes aleatórias e ritualísticas da escola americana, o compositor fundou a orquestra experimental Scratch Orchestra (1969-74). Não obstante, influenciado pelo trabalho de pesquisa feito em conjunto com a orquestra (haja a existência de um núcleo de estudos teóricos chamado de Ideological Group), nos anos seguintes ao encerramento das atividades do grupo, Cardew se engajou na utilização da (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: In the second half of the twentieth century, especially in the 1960s and 1970s, artists and intellectuals intensify argued about the relationship between the poetic (creative) performance of the artist and his influence on the political and ideological social field. In this context, the English composer Cornelius Cardew (1936 - 1981) stood out for developing a compelling, critical and self-critical compositional and theoretical body of work about the musical avant-garde and its ideological dimension. He transited between two of the most influential aesthetic orientations of the second half of the twentieth century, avant-garde music and politically engaged music, both fundamental in the construction of reading about the relationship between the composer and western capitalist society. Throughout the 1960s, Cardew devoted himself in the creation and dissemination of works directly influenced by the experimental American school. He composed works that worked with randomness, improvisation (The Great Learning, Schooltime Compositions, etc.) and the graphic notation - among these, Treatise (1963-7) stands out. In 1969, still attached to the random approach and ritualistic directives of the American school, the composer founded the experimental orchestra Scratch Orchestra (1969-74). Nevertheless, influenced by the research work done in conjunction with the orchestra (strictly related to the theoretical studies group called the Ideological Group), in the years following the closing... (Complete abstract click electronic access below)
Mestre
Harrick, Stephen. "From the Avant-Garde to the Popular: A History of Blue Man Group, 1987-2001". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1447855816.
Texto completoGodoy, Jr Martin. "Flute Music of Cristóbal Halffter: His Roots in Spanish Tradition and Place in the Avant-Garde Generación del 51". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703350/.
Texto completoHerzfeld, Gregor. "Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik : Charles Ives bis La Monte Young". Stuttgart Steiner, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015759238&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
Texto completoMuenz, Harald. "A portfolio of compositions with commentary". Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/11808.
Texto completoPena, Eder Wilker Borges 1993. "Satierik Musique : da natureza da música humorística em Erik Satie /". São Paulo, 2017. http://hdl.handle.net/11449/151159.
Texto completoBanca: Marcos José Cruz Mesquita
Banca: Celso Luiz de Araújo Cintra
Resumo: O seguinte trabalho tem por objetivo abordar a natureza da música humorística em Erik Satie, sua aplicação, função e caráter estético. Para isto, através de sua obra musical, seus escritos, estudos acadêmicos realizados sobre o compositor, relatos e críticas musicais da época, buscou-se, inicialmente, reconstruir a lógica pessoal e composicional do compositor, ambas inerentes. Em seguida, a fim de tornar possível uma análise adequada do humor em suas obras, procurou-se, através da reflexão existente sobre o tema no âmbito da filosofia, atribuir uma definição clara e prática da natureza do humor, do riso, assim como, determinar a gênese de sua má reputação. A partir disto, com base no conceito de humor e em textos musicológicos sobre a música humorística, desenvolvemos um aparato técnico de reconhecimento e aplicabilidade do humor no âmbito da música. Com este referencial teórico em mãos, fez-se possível a análise da aplicação e função do humor em quinze conjuntos de peças humorísticas do compositor: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d'un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; e Sonatine Bureaucratique. Em seguid... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The following work aims to approach the nature of Erik Satie‟s humorous music, its application, role played and aesthetical disposition. In order to do this, we sought, initially, through his musical works, writings, academical studies about the composer, reports and musical criticism at the time, to rebuild his personal and compositional logic, both inherent. Thereafter, for the purpose of making an appropriated analysis of humor in his works, we searched, through the existing reflection on the subject in the field of philosophy, to ascribe a clear and practical definition upon the nature of humor, laughter, as well as to determine the genesis of its bad reputation. Thus, based on the concept of humor and in musicological texts about humorous music, we developed a technical apparatus of recognition and application of humor in the musical‟s scope. With that theoretical referential in hands, it was made possible an analysis of the applicat ion and function of humor in fifteen groups of humorous pieces written by the composer: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d‟un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; and Sonatine Bureaucratique. Subsequently, through humorous articles published by Satie and critics published on the composer, we made a comparative analysis of the countercriticism role played by Erik Satie‟s humor against the canon and tradition. Thus, we could demystify the superficial and innocuous character and the idea of eccentricity, amateurism and insanity which trespass his humorous practice, (Complete abstract eletronic acess below)
Mestre
Heffner, Steven. "An Analysis of Dave Holland's Free Improvisation in "Waterfall" and Its Pedagogical Applications for Bassists in Avant-Garde Performance". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1609128/.
Texto completoFielder, Jonathan. "Ex Nihilo". Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1330976256.
Texto completoGillick, Amy Suzanne. "Experimentation and nationalism in Francisco Mignone's works for basson a performance guide to the IInd wind quintet and Concertino /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435601&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Texto completoPinson, Koren Heather. "The music behind the image : a study of the social and cultural identity of jazz /". View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3266067.
Texto completoBeckman, Seth. "The traditional and the avant-garde in late twentieth-century music : a study of three piano compositions by Frederic Rzewski (1938- )". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026705.
Texto completoSchool of Music
Percoco, Bryan A. "Perihelion I". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337714862.
Texto completoHenry, Lucas Aaron. "Freedom Now!: Four Hard Bop and Avant-Garde Jazz Musicians' Musical Commentary on the Civil Rights Movement, 1958-1964". [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1110104-224112/unrestricted/HenryL121004f.pdf.
Texto completoTitle from electronic submission form. ETSU ETD database URN: etd-1110104-224112 Includes bibliographical references. Also available via Internet at the UMI web site.
Contreras, Zubillaga Igor. "L'avant-garde musicale espagnole sous le franquisme. Une histoire politique". Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0058.
Texto completoAs previous research has shown, the Spanish musical avant-garde originated under Franco and then forged long-lasting and close connections with State institutions. According to these studies, composers used official organizations as depoliticized spaces in which they could develop their autonomous artistic activity. Thus, most scholars have focused on critical attitudes towards the regime and ignored issues regarding the proximity of these musicians with Franco’s government. This research aims to reconstruct and analyse the relationship between the Spanish musical avant-garde and the Francoist regime in all its complexity. In order to do so, we will closely examine elements – behaviour, rhetoric, events, productions – which show the proximity of certain composers to the political sphere as well as the support that the State provided for them. Situated at the crossroads between history and musicology, this study offers a new perspective on the cultural and political history of Francoism and, moreover, contributes to a general reflection on the interpenetration of music and politics, particularly under dictatorial regimes
Blamey, Peter J. "Sine waves and simple acoustic phenomena in experimental music with special reference to the work of La Monte Young and Alvin Lucier /". View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/25659.
Texto completoA thesis presented to the University of Western Sydney, College of Arts, School of Humanities and Languages, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.
Blamey, Peter J. "Sine waves and simple acoustic phenomena in experimental music : with special reference to the work of La Monte Young and Alvin Lucier /". Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/25659.
Texto completoHeffner, Steven (Bassist). "An Analysis of Dave Holland's Free Improvisation in "Waterfall" and Its Pedagogical Applications for Bassists in Avant-Garde Performance". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609128/.
Texto completoBurt, Warren. "Algorithms, microtonality, performance eleven musical compositions /". Access electronically, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080131.162859/index.html.
Texto completoTypescript. Includes 2 sound discs and 1 DVD-ROM in back pocket. CD 1: The animation of lists; CD 2: And the archytan transpositions. DVD-ROM contains Part Three - Appendix. Includes bibliographical references: leaf 291-301.
Khajehzadeh, Iman. "Gradual: A Sound-Based Composition for Tenor Saxophone and Fixed Electronics, with Critical Essay". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538746/.
Texto completo