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1
François, Philippe. "L'idée de télévision protestante : principe protestant et télévision d'auteur". Université Marc Bloch (Strasbourg) (1971-2008), 1996. http://www.theses.fr/1996STR20061.
Testo completoAbstract (sommario):
Definie en amont des processus de production et a titre heuristique comme emissions ou films produits pour la television selon des principes conformes au principe protestant (tel que defini par tillich), la television protestante herite de la nouvelle vague cinematographique, en particulier des debats autour de la notion d'auteur ; les oeuvres litteraires et filmiques de trois auteurs protestants, alexandre astruc, roger leenhardt et jean-luc godard, permettent de normer, d'un point de vue protestant, l'espace audiovisuel. These : la television protestante est une television d'auteur qui filme des auteurs (l'auteur etant celui qui transforme une intention critique en creation)Defined theoretically and heuristically as programmes or films produced for television in accordance with tillich understanding of the protestant principle, protestant television benefits from the nouvelle vague cinema and discussions on the notion of author ("la politique des auteurs"). Literary and film works of three protestant authors namely alexandre astruc, roger leenhardt and jean-luc godard, have created a framework for audiovisual space considered from a protestant point of view. Thesis : protestant television is a television created by authors who film authors - the author being he who transforms a critical intention into creation
2
Martin, Valérie. "La télévision, média de masse ou média individuel ? De la télévision traditionnelle à la e-télévision". Thesis, Paris 9, 2015. http://www.theses.fr/2015PA090071.
Testo completoAbstract (sommario):
La télévision traditionnelle, « voix de la France » est un média de masse. Avec un taux d’équipement des foyers de plus de 98%, un taux d’écoute de plus de 3h50 par jour, un chiffre d’affaires publicitaires de plus de 4 Mrd EUR , et des « contenus rendez-vous » assurant des audiences record, cette télévision trône dans le salon et réunit la famille. Jusque dans les années 1980, elle reste placée sous le contrôle du pouvoir politique.Sous la Présidence de François Mitterrand, la télévision se libéralise. De nouvelles chaînes privées et commerciales financées par l’audience et la publicité apparaissent, tandis que le secteur public reste principalement financé par la redevance audiovisuelle. Dans les années 90, l’arrivée du câble et du satellite, puis de la TNT en 2005, permettent l’accroissement considérable du nombre de nouvelles chaînes et des offres de télévision (abonnements au câble, au satellite, et à Canal + en 1984). Le numérique révolutionne le secteur de la télévision, les technologies et les usages. Le nombre de chaînes continue de s’accroître de façon exponentielle. On voit se développer la production de contenus générés par les consommateurs (UGC), et l’interactivité est favorisée grâce aux réseaux sociaux. L’évolution des équipements changent les habitudes de consommation du petit écran, notamment pour les plus jeunes. L’ordinateur, la tablette, le Smartphone et la télévision connectée permettent de visionner « la télévision comme je veux, où je veux, quand je veux. ». Ainsi la télévision traditionnelle considérée comme un média de masse, tend à s’individualiser, et s’adapte aux goûts et aux envies de chacun. L’écosystème jusqu’à présent hexagonal est littéralement en train d’exploser pour faire face à l’internationalisation des contenus et à des acteurs audiovisuels majoritairement nord-américains. La réglementation devenue obsolète peine à trouver un nouveau cadre juridique à l’échelle française et européenne. Face à l’offre mondialisée, et les nouveaux usages de consommation notamment les usages délinéarisés (télévision de rattrapage, et Vidéo à la demande), la télévision continue néanmoins à fédérer le public autour de grands évènements d’actualité (évènements sportifs, politiques, journal télévisé du 20h…). Les profondes mutations et les changements rapides qui s’opèrent actuellement laissent planer une grande incertitude sur l’avenir de la télévision traditionnelle et faute de pouvoir s’adapter, celle-ci pourrait à plus ou moins long terme disparaitre…Traditional TV, "Voice of France" is a mass medium. With a home ownership rate of over 98%, a viewing rate of l more than 3.50 hours, advertising revenue of over 4 billion euros , and “contenus Rendez-vous” bringing in record audiences, television rules over the living room, bringing the family together up into the 1980s. It is, however, controlled by the ruling political powers.Under the presidency of François Mitterrand, television was liberalized with the appearance of new private and commercial channels, financed by audiences and advertising, while the public sector continued to be funded by a license fee. In the 90s, the arrival of cable and satellite, followed by TNT in 2005, allowed the amazing increase of a number of new channels and TV services (« subscriptions to cable, satellite and finally Canal + in 1984 )But this evolution continues with the arrival of digital TV, revolutionizing the industry. It increases the number of channels exponentially, expands the production of content generated by consumers, and promotes interactivity through social networks. Technological advances are changing consumer habits with regard to the small screen, especially for young people. The computer, tablet, smartphone and the connected TV let you watch "television as I want, where I want, when I want”. Traditional TV, once considered as a mass media, is now a media that is individualized and that adapts to the tastes and desires of each viewer.The current financial system in France is literally exploding to deal with the internationalization of audiovisual content and players, with most of the content produced in North America.. Obsolete regulations can no longer keep pace with consumer demand in Europe and France. Faced with global supply and new viewing habits (delinearised viewing: replayand video on demand), television still continues to unite the public around major news events (sporting events, political events, the evening news …). The important, rapid changes now occurring in TV content and distribution lead to considerable uncertainty with regard to the future of traditional television, and unless it can adapt, it could more or less disappear in the long term
3
Miyouna, Ludovic-Robert. "La télévision congolaise". Bordeaux 3, 1991. http://www.theses.fr/1991BOR30015.
Testo completoAbstract (sommario):
La television congolaise a t-elle forme l'homme nouveau de la societe socialiste? l'observation de l'experience de sa production et de ses programmes demontre que ce projet a echoue, pour trois raisons principales : 1 - les couches sociales dominantes demeurent attirees par le substrat culturel occidental, en diepit d'un discours officiel de resistance; 2 - l'extreme modestie de la production locale, influencee aussi bien par les pesanteurs politiques du contexte, que par les limites imposees par les ressources financieres et l'utilisation non rationnelle des competences; 3 - l'inexistence d'un modele original d'exploitation de l'instrument televisuel, susceptible de s'appuyer sur une information contradictoire et de dynamiser la creativite nationale. L'acceleration actuelle du processus democratique peut cependant favoriser un renforcement de tele-congo en tant qu'outil de developpement reel, par l'affranchissement de l'information de la tutelle politique d'etat, par la regionalisation effective des activites de production et l'utilisation conjointe les langues locales, par l'accroissement du role des "messages semantiques", la revision des modeles traditionnels de cooperation, et enfin par l'identification d'approches methodologiques nouvelles dans les rapports des differents acteurs sociaux avec les medias, 24que peuvent favoriser les recents progres techniquesDid the congolese television mould the new man toward the socialist society ? its experience of these last ten years in the field of production and programs proves us conclusively that the project failed, for three reasons : 1 - the dominant social stratums are yet attracted by west-european personal qualities; 2 - the local political context, the inadequate human and financial ressources, don't permit enough programs' creation; 3 - the non-existence of a specific model for that television, specially about information and creativity, sure, the present democratic process in congo can intensify the function of television for the national development. The progress of the technology will have good implications in the society, and can change the relationship between people and mass communication means
4
Martino, Luiz Claudio. "Télévision et conscience". Paris 5, 1997. http://www.theses.fr/1997PA05H047.
Testo completoAbstract (sommario):
Qu'est-ce que la télévision ? Cette question constitue l'axe de notre réflexion. Nous essayons de lui donner réponse de trois façons différentes, chacune d'elles correspondant à une partie de ce travail : le savoir, le media, la société. La première partie s'occupe des questions épistémologiques, elle vise notamment à définir l'objet d'étude - dont l'absence jusqu'à nos jours constitue une véritable lacune dans les discours sur la télévision, y compris dans les études spécialisées. Outre la vision naturalisant qui empêche la prise de recul par rapport à l'expérience ordinaire, la définition de la télévision comme objet d'étude se heurte au déterminisme technologique et au déterminisme sociologique : le premier exagère le pouvoir des medias et prétend que la télévision est la + cause ; de certains phénomènes sociaux ; le second, en revanche, abstrait complètement le media et se concentre sur les questions idéologiques du message. La définition de l'objet met en évidence à la fois l'aspect technique et l'aspect social de la télévision. A partir de là, deux développements parallèles se présentent : l'analyse de la dimension virtuelle ouverte par l'expérience médiatique et l'investigation des conditions qui ont permis l'expansion de cette expérience comme pratique sociale. Ces développements correspondent à la deuxième et a la troisième partie du travail, ou nous abordons la spécificité des medias dans l'univers de la technique, la signification de la télévision dans l'ensemble de l'évolution des medias, ainsi que la télévision comme formation de compromis entre le travail et le loisir. Ces deux démarches développent, chacune a sa façon, la thèse que la télévision est une simulation de la conscience. Cette formulation commune est due justement à notre préoccupation de ne pas perdre de vue l'unité de l'objet, en laissant un écart infranchissable entre ces deux registres de la télévision. Bref, il s'agit là de ce que l'on pourrait fixer comme l'objectif du présent travail : montrer la correspondance entre l'expression technique de la télévision et l'organisation sociale sous-jacente a la pratique de la télespectation.
5
Figueiredo, Luís Alberto Cordeiro de. "Jazz, identidade musical e o piano Jazz em Portugal". Doctoral thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/16212.
Testo completoAbstract (sommario):
Doutoramento em Música - Performance JazzAo longo de todo o séc. XX, o jazz construiu um espaço alternativo às dicotomias heurísticas tradicionais, como por ex. tradição/inovação, erudito/popular, composição/improvisação, entre outras. Por entre discursos polarizados, o jazz afirmou-se como domínio musical conciliador de diferenças culturais e sociais, configurando um espaço novo de mediação, um “jazz art world” como definido pelo sociólogo Paul Lopes. Nesse espaço, a individualidade sempre assumiu enorme centralidade, em virtude do papel particularmente criativo do performer e também da sua relação elástica com os «modelos» referenciais para a performance. Assim, o jazz afigura-se um domínio privilegiado para a expressão da individualidade e, por conseguinte, para a construção e identificação de uma «identidade musical», tal como a expressão é proposta nesta tese. Para a discussão destes problemas conceptuais, esta tese recorre, como estudos de caso, a um conjunto de pianistas portugueses: António Pinho Vargas (1951-), Mário Laginha (1960-), João Paulo Esteves da Silva (1961-) e Bernardo Sassetti (1970-2012). É traçada a sua trajectória pessoal e formativa, e é apresentada uma análise da sua produção musical, com recurso à «teoria das tópicas» enquanto modelo particularmente orientado para a análise da música popular. No sentido de compreender os processos de construção das identidades musicais destes pianistas, são ainda abordadas outras temáticas, como a própria definição de «jazz», o jazz enquanto música dialógica, ou os fluxos diaspóricos do jazz (incluindo as respectivas implicações e variantes terminológicas, como “jazz diaspora”, “musical cosmopolitanism” e “glocalization”). Recorrendo a pesquisa bibliográfica, trabalho de campo (mormente a entrevista) e técnicas de análise musical, esta tese realiza uma exploração aprofundada destes tópicos e do trabalho dos músicos em particular. Desta forma, pretende oferecer um contributo para uma reflexão conceptual sobre o jazz em geral no âmbito dos jazz studies, e também para um mapeamento estilístico e identitário do jazz em Portugal.
Throughout the twentieth-century, jazz has built a space that operates as an alternative to traditional heuristic dichotomies, such as tradition/innovation, art/popular, composition/improvisation, amongst others. In the midst of polarized discourses, jazz as a musical domain has functioned as a conciliating force between cultural and social distinctions creating a new space for mediation, a “jazz art world” as defined by sociologist Paul Lopes. In that space, individuality has always been a central element, deriving from the particularly creative role played by the performer and also from jazz’s elastic connections with the “models” for performance. Hence, jazz is a privileged domain for expressing individuality and therefore for the construction of a «musical identity» as it is proposed in this dissertation. In order to discuss these conceptual problems, this dissertation refers to a set of Portuguese pianists as case studies: António Pinho Vargas (1951-), Mário Laginha (1960-), João Paulo Esteves da Silva (1961-) and Bernardo Sassetti (1970-2012). Their personal and professional trajectories are herein outlined, and an analysis of their musical output is presented using the theory of “musical topics” as a model specifically designed for analyzing popular music. In order to understand the processes of constructing these musicians’ musical identity, this dissertation addresses other topics, such as the very definition of «jazz», jazz as dialogic music, or jazz’s diasporic flows (including its implications and terminological variants, such as “jazz diaspora”, “musical cosmopolitanism” and “glocalization”). Making use of bibliographical research, fieldwork (namely interview) and musical analysis techniques, this dissertation carries out a profound exploration of these topics and of the musicians’ work. In doing so, it aims at offering a contribution towards a conceptual reflection on jazz in general within jazz studies, and also towards a stylistic and identitary mapping of jazz in Portugal.
6
Beale, Charles W. "From jazz to jazz in education : an investigation of tensions between player and educator definitions of jazz". Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/10006655/.
Testo completo
7
Farley, Jeff. "Making America's music : jazz history and the Jazz Preservation Act". Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/519/.
Testo completoAbstract (sommario):
The aim of this thesis is to investigate some significant examples of the process by which jazz has been shaped by the music industry and government and their ideas of the place of jazz within American culture and society. The examples demonstrate that the history and traditions of jazz are not fixed entities, but rather constructions used to understand and utilise issues of race, national identity, cultural value, and musical authenticity and innovation. Engagement with such issues has been central to identifying jazz as America’s music, as it earned this status from its worldwide popularity and its identity as an innovative black American art form. Recognition for jazz as American music, in conjunction with its improvisational nature, consequently led to the identification of jazz as ‘democratic’ music through its role in racial integration in America and in its representation of American democracy in government propaganda programmes. The different histories of jazz and its status as democratic, American music have all been especially important to the development of House Concurrent Resolution 57 in 1987, referred to as the Jazz Preservation Act (JPA). Authored by Congressman John Conyers, Jr. of Michigan, the JPA defined jazz as a ‘national treasure’ that deserved public support and inclusion in the education system. Few in the industry have criticised the recognition and public subsidy of jazz, but many have found fault with the JPA’s definitions of jazz and its history that have dictated this support. While the JPA has essentially continued the practice of shaping jazz through ideas of its place within American culture and society, it has provided immense resources to promote a fixed history and canon for jazz. Specifically, the JPA has promoted jazz as the American music, taking a particular stance on the histories of race and discrimination in the industry and the definitions of authentic jazz that had been sources of disagreement, competition, and creativity since the release of the first jazz record in 1917.
8
Dotzek, Karl. "Så ni spelar jazz : Lärares perspektiv om jazz i gitarrundervisningen". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76418.
Testo completoAbstract (sommario):
Syftet med den här studien var att få en överblick om hur gitarrlärare undervisar jazz på estetiska programmet med inriktning musik. Detta är en kvalitativ studie där tre gitarrlärare från södra Sverige intervjuades för att få fram det empiriska materialet. Resultatet visar på att lärarna har olika tankar kring genren jazz i ett undervisningsperspektiv och att lärarna är rätt likasinnade när det kommer till hur jazz i gitarrundervisningen skall bedrivas. Resultatet visar även att planeringsstadiet för lärarna har mycket med individen att göra, alltså eleven eller eleverna som de undervisar styr väldigt mycket. Lärarna i resultatet pratar även om vilka elever det är som fastnar för att spela jazz och hur de introducerar jazzen till elever som inte är vana att lyssna på jazz.The purpose of this study was to make an overview of how contemporary guitar teachers instruct jazz at the aesthetics program with music orientation. This is a qualitative study where three guitar teachers from southern Sweden were interviewed to receive the empirical material to discuss how jazz is introduced for students. The result shows that the teachers have different viewings on the genre jazz in a teaching environment, however that the teachers are somewhat like-minded in their way of educating their students in the jazz genre. The results also shows that during the planning stages of the lessons the student in question have a great deal to do with how the education is brought out. The teachers also shed lights on what sort of students that get a growing interest for playing jazz and how they work with students that are not used to listening to jazz music.
9
Macé, Éric. "Sociologie de la télévision, sociologie de l'expérience : individus et télévision de masse". Paris, EHESS, 1994. http://www.theses.fr/1994EHES0022.
Testo completoAbstract (sommario):
L'objet de cette recherche est de sairir la nature de la relation entre les individus et la televisin de masse. Il est montre que le succes populaire de la television se fonde sur la "connivence" entre une television qui integre dans ses programmes les incertitudes et les tensions de l'experience sociale de son public populaire, et des individus socialement domines qui trouvent de ce fait a la television un espace culturel de subjectivation. La premiere partie presente la construction d'une problematique depassant le clivage, interne a la sociologie des medias, entre les theories de l'alienation par les industries culturelles et les theories de la satisfaction par le marche des programmes. La seconde partie est consacree a l'observation empirique de la fabrication d'emissions a succes, ainsi qu'une etude de reception aupres de sept groupes socialement differencies. On montre ainsi que les individus ne separent jamais leur rapport a la television du cadre plus large de eur experience sociale. La troisieme partie s'attache a determiner la dimension politique de la relation a la television, en montrant, a travers une etude de cas, la maniere dont la television prend en charge et revele uneThe purpose of this study is to understand the nature of the relation between individuals and mass television. We show that television's success with widespread audience is based on the "connivance" between television programs that integrate the uncertainties and tensions of the social experience felt by its wide audeince, and socially dominated individuals who find in this programs a cultural field of subjectivity. The first part of the study presents an analysis that goes beyond the gap, recurrent in media sociology, between theories of alienation througt cultural industries and theories of audience gratification. The second part is devoted to an empirical observation of the making of successful programs, and to a reception analysis with seven socially differentiated groups. We show that individuals never dissociated their relation to television from the larger framework of their social experience. The third part aims at determining the political dimension of individual relation to television. We show, through a case study
10
Hellberg, Stina. "Jazz på harpa". Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-947.
Testo completo
11
Dyson, Kathy. "Learning jazz improvisation". Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/3627/.
Testo completoAbstract (sommario):
The process of learning jazz improvisation is investigated in an exploratory way drawing on schema theory as a possible framework, from both a theoretical and a practical perspective. A schema is considered to be an abstract framework in the mind that both structures and is structured by experience. In this thesis, schema theory relating to a number of disciplines, is explained indetail, focusing on cognitive and motor elements in order to relate these processes to jazz improvisation and thus to provide a theoretical model. The model in turn is used to investigate how conceptual knowledge may be abstracted and generalised; how motor skill in musical improvisation may be developed; how cohesion in improvised lines may be generated; how multi-modal aspects of the skill may be integrated; how novel ideas may occur; how the individual voice is created and how improvised ideas may be communicated. This schema theory for jazz improvisation provides the theoretical ground from which a series of educational workshops (involving both groups and- individual musicians), on jazz improvisation learning was guided, observed and interrogated by the author as investigator in collaboration with the participants. A qualitative research methodology is used to collect and then analyse data from the workshops. Evidence from these practical investigations demonstrates the ability for musicians (mainly classically trained instrumentalists), untrained in jazz or improvisation to develop improvisation skills in a naturalistic and holistic manner, which is consistent with a theoretical account of schema theory. The workshop teaching also reveals the value of singing to improvisation development and the recreative/selective nature of memory. The findings, whilst considered speculative and work in progress have wide ranging implications for understanding dynamic adaptive skill and for educational practice, specifically, how knowledge of the schema might help teachers striving to teach music improvisation.
12
Ahn, Byungkyu. "Journey for Jazz". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4245/.
Testo completoAbstract (sommario):
This written thesis accompanies a 32-minute documentary video, Journey for Jazz, which explores four Korean students who major in jazz at the University of North Texas in Denton. Detailed accounts of the pre-production, production, and post-production of the video guide the reader to understand the challenging and rewarding process of making this documentary. Theoretical issues are also discussed, including Bill Nichols's typology of documentary modes as a useful tool for analysis of hybrid documentaries and conventions of the observational and interactive mode in Journey for Jazz, which is considered a hybrid of both modes. The film focuses mainly on the scholarly and artistic experiences that the four students undergo while studying jazz in the United States.
13
Bilge, Belgin. "La télévision en Turquie". Paris 2, 2002. http://www.theses.fr/2002PA020013.
Testo completo
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Williams, Katherine A. "Valuing jazz : cross-cultural comparisons of the classical influence in jazz". Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12622/.
Testo completoAbstract (sommario):
‘Valuing Jazz: Cross-cultural Comparisons of the Classical Influence in Jazz’ re-examines the interaction of Western classical music and jazz, focussing particularly on developments in North America and Britain in the twentieth century. This dissertation acknowledges and builds on the existing connections that have been drawn between classical music and jazz—both those that underscore the musical differences between the two idioms in order to discredit the latter, and those that acknowledge similarities in order to claim cultural legitimacy for jazz. These existing studies almost universally use outdated evaluative criteria, and I seek to redress this by using contemporary classical-music practices and discourses as my point of reference. By adopting a range of methodologies to investigate both intra- and extra-musical trends, this dissertation offers a thorough and balanced exploration of the topic. Each chosen avenue for exploration is explained with reference to parallel developments in North America, in order to provide a context within accepted jazz history and to highlight the different ways in which jazz developed in Britain. The phenomena under consideration include the emergence of a school of jazz criticism and scholarship that adopted systems of analysis and evaluation from established studies of classical music (Ch. 1); physical characteristics of jazz performance venues and the changing styles of audience reception within (Ch. 2); the adoption by jazz composers of ideologies and musical features from classical repertoire (Ch. 3); and the development of educational establishments and pedagogical systems that mirrored those already present in the classical-music world (Ch. 4). Although by no means exhaustive, these chapter topics provide a range of jazz narratives that provide a clear picture of the degree to which the development of jazz in America and Britain has been conditioned by the practices and characteristics of classical music.
15
Ormsby, Verle A. "John Jacob Graas, Jr. : jazz horn performer, jazz composer, and arranger". Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/560288.
Testo completoAbstract (sommario):
This paper is divided into two broad sections. The first section traces the life and career of John Graas through an examination of the contents of the John Graas Memorabilia and Memorial Library, which contains photo albums, newspaper clippings, records and tapes, approximately one hundred original compositions, and personal correspondence between the author and people who knew and worked with Graas.The second section is an examination and discussion of Graas's original compositions. This discussion traces Graas's compositional development and growth as an acknowledged jazz composer through the melodic analysis of selected original compositions.Findings1. John Graas was a classically-schooled horn player who studied with Max Pottag and Wilhelm Valkanier, and performed with the Indianapolis and Cleveland orchestras.2. He was best known for being the first horn player to achieve prominence in the jazz field. Graas acquired his jazz skills first as a performer with Thornhill, Beneke, and Kenton, and later as a composition student of Lennie Tristano, Shorty Rogers and Dr. Wesley LaViolette. 3. Numbering over one-hundred compositions, Graas’ works range from standard to innovative works for various-sized ensembles, including works for solo horn, solo piano, a television score, and his Jazz Symphony #1, written for full symphony orchestra and nine-piece jazz ensemble.Conclusions1. Graas was acknowledged as the first horn player to achieve prominence in the field of jazz, as recognized by such top, jazz polls as Down Beat, Metronome, and Playboy, from 1955 to 1961.2. His early improvisations helped to open the jazz field to future jazz hornists: Watkins, Amram, Ruff, Varner.3. Graas showed true pioneer spirit by working hard to expand limits placed on the horn by classical tradition, in order to reach a new and different standard of performance.School of Music
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Petty, Simon. "Tasmanian Jazz Identity: A History of Jazz in Tasmania 1917-1989". Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404860.
Testo completoAbstract (sommario):
The Tasmanian Jazz Identity theme is used as the overarching framework for this research, which identifies unique factors in Tasmania’s jazz history compared with other Australian states. Identity, in its broad sense, is a product of geography and history. Australia has a continent-wide jazz regionalism and identity separate from the US; however, there is also much that is distinctive about Australia’s regional jazz scenes. Regional jazz scenes have not been extensively examined in the written histories of Australian jazz. Tasmania is one of the most unique as its isolation has resulted in differences from other jazz sites on Australia’s mainland. Therefore, Tasmania’s jazz scene needs to be understood in its own context; nowhere else in Australia are boundaries so formidable and fixed as Tasmania’s, with the Bass Strait and the Indian and Pacific Oceans.
Despite its small population Tasmania has a high degree of autonomy. The individualism of Tasmania’s jazz scene and identities therein are linked to the broader Australian jazz style, but because of the conditions, geography and circumstances in which they evolved, Tasmania developed a distinct, localised, Australian jazz vernacular.
The importance of this research is in bridging the gap in the existing literature on Australian jazz history by presenting a sequential, chronological account of Tasmania’s jazz scene from 1917 to 1989, and the musicians who created it. Accordingly, this research focuses on seminal musicians, bands, and identities who contributed to establishing and maintaining jazz activity in Tasmania. This is presented as detailed biographical accounts of individuals or ensembles and their principal contributions, together with a comprehensive investigation into the main musicians, bands, major events, locations, and organisations that developed the jazz scene.
This primary research contributes to, and builds upon, the current knowledge and understanding of jazz developments in Australia. It moves beyond the standardised ideas of the Australian jazz identity, by focusing on the broader cultural landscape in order to better understand the role of jazz in the social history of Australia. It provides this information as a foundation for education and a better understanding of Australia’s rich jazz culture and presents a case for the acknowledgment of Tasmania’s important and unique contribution to Australian jazz.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
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Bigeon, Christine. "Choix d'orientation, genre et télévision : Devenir footballeuse ou maïeuticien grâce à la télévision ?" Phd thesis, Conservatoire national des arts et metiers - CNAM, 2012. http://tel.archives-ouvertes.fr/tel-00738838.
Testo completoAbstract (sommario):
Ce travail a pour objectif de tenter de répondre à la question : la télévision a-t-elle une influence sur la division sexuée de l'orientation, sur le fait que filles et garçons continuent à penser qu'il existe des métiers pour les femmes et des métiers pour les hommes ? Si tel est le cas, quelle est la nature de cette influence? Nous n'avons pas trouvé de lien direct entre télévision et choix de métier, même si une partie de ces choix, notamment chez les plus jeunes, concernent des métiers qui ne peuvent être connus que grâce à la télévision. On note par contre le rôle des modèles, des héros choisis qui influeraient sur la construction du genre, dont le choix de métier fait partie. Mais la télévision, grâce à son pouvoir d'attraction, peut aussi être utilisée comme outil pour faire évoluer certaines attitudes des adolescents à l'égard du genre des professions.
18
Katuszonek, N. M. "Jazz, pop, improvisation, national identity and the role of the jazz drummer". Thesis, University of Salford, 2014. http://usir.salford.ac.uk/32827/.
Testo completoAbstract (sommario):
This research is focused on the interrelationship between three themes: the identity of contemporary jazz, the relation between contemporary jazz and popular music, and thirdly, jazz and national identity. Using this triangulation, I examine the constructed nature of musical practice, interrogating the notion that the distinctions between music, whether it is genre specific or geographically determined, are natural and innate. Linking theory to practice, I examine how the areas of my research described above, feed into my role as a professional, contemporary jazz drummer. The restricting effect of defining the role of the contemporary jazz musician in rigid, genre-centred definitions is questioned through examining jazz’s relationship with popular music and the music’s’ standing in the hi-art vs. popular culture debate. This area is practically explored in the performance projects through the juxtaposition of both popular repertoire and technical approaches to popular styles with contemporary jazz performance conventions. The notion of jazz and national identity is examined through reflecting on the personal experiences of my role as an arranger and performer operating in Norway and the UK. Specifically, this research will seek to enhance our understanding of the roles the drummer has to play in negotiating the codes and rules used in this area of creative music making. My research is based on a practice-led methodology pursued through two sets of comparative performance projects that have evolved over the last three and a half years. This work utilizes the process of creating the music, live performances and recordings as case studies for comparison and analysis. The content of each performance project provides a platform for me to engage with the specific areas outlined in the thesis and I use practice as a means of raising and exploring questions and explaining codes and conventions.
19
Sykes, T. G. "Jazz for the Ipod generation : digital media and jazz in the UK". Thesis, University of Salford, 2014. http://usir.salford.ac.uk/31009/.
Testo completoAbstract (sommario):
The central aim of this thesis is to address the research question: In what ways are digital media affecting the dissemination of jazz in Britain? Within this are four sub-questions: 1. Has the changing position of jazz in British culture since 1980 affected its audience? 2. Has digital media had the same impact on the dissemination of jazz as it has on mainstream popular music? 3. How is digital technology affecting jazz scenes in the UK? 4. Is there an ‘online community’ of jazz enthusiasts in Britain? The term ‘digital media’ suggests that geographical boundaries are irrelevant, but basing this project in the UK provides a focus for the research, both in terms of jazz as an established cultural form in Britain and in order to investigate British jazz audiences. Theoretical approaches from several disciplines are drawn upon, including cultural studies, new media studies, ethnomusicology, popular music studies and jazz studies. Research methods include surveys of audiences at selected jazz festivals in Britain using questionnaires along with interviews with the festival directors, online surveys, and interviews with jazz enthusiasts. The broad findings indicate that while jazz is one of many types of music available to contemporary audiences who may also listen to other genres, there are fans of particular styles choosing to attend certain live events – increasingly making use of digital media to find information and facilitate their decisions. Sites such as YouTube are popular with jazz audiences, and there are independent jazz record labels that use digital media effectively, unlike, according to some respondents, certain jazz musicians. Audiences (which include a significant proportion of musicians) are now using social networking sites to create online groups with shared musical interests, but this activity has not prevented jazz being essentially a music of live performance – and indeed may be helping to keep it live.
20
Tudoret, Patrick. "De la paléo-télévision à la sur-télévision : vie et mort de l'émission littéraire". Paris 1, 2007. http://www.theses.fr/2007PA010265.
Testo completoAbstract (sommario):
Au moment où, dans les années 50 et 60, une critique universitaire nimbée de structuralisme entérine la mort sacrificielle de l'auteur au profit du texte et de sa réception, la Paléo-Télévision consacre sa résurrection avant son «assomption cathodique» promue par la Néo-Télévision. Instance d'une nouvelle légitimation, l'émission-littéraire assied son magistère et, par l'avènement d'un véritable dispositif cathodico-littéraire, modifie en profondeur le statut de l'écrivain dont elle procède à la liquidation via le sacrifice du texte et une allégeance forcée au règne de l'assentiment et du plébiscite commercial. L'émission littéraire, exception culturelle à la française, connaît son apogée dans les années 80 et 90 – avec un parangon jamais égalé: Apostrophes -, puis une lente déchéance. Aujourd'hui balayée par le règne du divertissement« sur-télévisuel» - qui s'arroge le quasi-monopole de la promotion du livre n’a-t-elle pas, au fond, voulu endosser des habits trop larges?
21
White, Matthew S. "Visualization in Jazz Improvisation". Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/561.
Testo completoAbstract (sommario):
Three prominent jazz trumpeters, who cite visual experiences of colors, shapes, contours, or transcription – elements not directly related to the aural information typically described in the improvisational process – were selected and interviewed for this study. Each subject was asked to describe their conscious processes and visual experiences while improvising, with emphasis on personal development, content and musical intent. Additionally, each subject selected a recorded improvised solo to be analyzed and discussed, comparing traditional musical analytical techniques to their corresponding visual experiences. Pedagogical elements related to jazz education and personal practice were also included.
22
Dreps, Krystoffer. "Béla Bartók im Jazz". Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-25543.
Testo completo
23
Mandin, Tyler George. "Jazz as serious leisure". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/MQ32179.pdf.
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24
Byrne, Victoria. "Acid jazz in Adelaide /". Title page, contents and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09MU.B/09mu.bb995.pdf.
Testo completo
25
Wells, Jonathan R. "Jazz at Lincoln Center". ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/aa_rpts/101.
Testo completoAbstract (sommario):
The following report documents the internship performed by Jonathan Wells with Jazz at Lincoln Center in spring 2009. Jazz at Lincoln Center is one of 12 resident organizations of the Lincoln Center for the Performing Arts, Inc. in New York City. Jazz at Lincoln Center operates from its administrative offices at 33 West 60th Street, and its venues are housed in the Time Warner Center at Columbus Circle. During his internship, Mr. Wells worked within the Marketing and Creative Services Department under the direction of the Assistant Marketing Director. Among his various responsibilities, Mr. Wells primarily assisted the marketing team with concert and event promotion. An in-depth internship description is provided in this report. Further, this report provides an overview of the organization and an intuitional S.W.O.T. Analysis based on Mr. Wells' observations. The report examines best practices performed by similar arts organizations and corporations, and provides recommendations based on those practices that are unique to New York City and social media. Finally, the report discusses Mr. Wells' contributions as an intern and their effects within the Marketing and Creative Services Department.
26
Vidal, Daniel, e Henry Torres. "Club de Jazz Monk". Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/143105.
Testo completoAbstract (sommario):
TESIS PARA OPTAR AL GRADO DE MAGÍSTER EN ADMINISTRACIÓNDaniel Vidal [Parte I], Henry Torres [Parte II]
El presente plan de negocio contempla la creación de un Club de Jazz en la Ciudad de Concepción. Consistirá en un Pub con música en vivo con bandas de la región y músicos emergentes. Será un espacio para los amantes de la buena música, únicos en este estilo musical en la región, con una ambientación y cartelera que nadie posee. Como pioneros en la industria, de este tipo de club en la ciudad, se estima que la masificación del servicio sea progresiva y cada día se proyecta que nuevos clientes/usuarios vendrán a disfrutar de una entretenida tarde-noche. El propietario de este proyecto será Sociedad “VITO”, sociedad que se encontrará a cargo de la totalidad de las tareas del proyecto. Esta sociedad, será propiedad de dos personas naturales, amantes del Jazz, que aportan el know how de la gestión y desarrollo del negocio. El proyecto contempla una inversión y capital de trabajo de $ 54,6 Millones, la cual será aportado por los 2 socios fundadores más un socio inversionista externo. El proyecto no contempla la generación de crédito de financiamiento. De acuerdo a los resultados del plan financiero el VAN obtenido es de $ 148 millones aproximadamente, considerando una tasa de descuento de un 18,2%. Por otra parte la TIR es de 78 % con un Payback de 2 años, bajo estos criterios de evaluación se recomienda la implementación y ejecución de mencionado plan de negocio, como una alternativa rentable para los inversionistas. Los detalles se encuentran en la parte II del plan de negocio. Club de Jazz “Monk”, nace de la idea de satisfacer un nicho no explotado y abandonado en la ciudad de Concepción, necesidad que nadie a cubierto hasta el día de hoy en la región. La idea es entregar un lugar de encuentro musical y artístico para los amantes de un estilo musical distinto a lo tradicional y que muchos anhelan tener un lugar de encuentro. Dado los estudios realizados preliminares, se llega a la determinación que el club es viable económicamente y estructuralmente, encontrando un porcentaje de ciudadanos de la ciudad dispuestos a cancelar por asistir al lugar. Sociedad VITO, será el dueño de este club, emplazado en Las Lomas de San Andrés, cercano a centros comerciales, universidades, hoteles y accesos muy dispersos. Los socios entregan el know how de la gestión y desarrollo del negocio. El proyecto contempla una inversión y capital de trabajo de $ 54,6 Millones, un VAN de $148 millones app, TIR 78% y payback de 2 años. Contará con alta seguridad, gran infraestructura, gran gastronomía y barra, alta tecnología y sobre todo un ambiente único que el cliente agradecerá, ya que la idea principal es entregar una experiencia de vida al usuario
27
Hargreaves, Wendy Louise. "Jazz Improvisation: Differentiating Vocalists". Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366673.
Testo completoAbstract (sommario):
Improvising jazz musicians have long observed that vocalists differ from instrumentalists. A formal acknowledgement of differences has not yet pervaded jazz education. Little, if any, accommodation is made for the unique attributes of voice students. Instead singers are instructed to act more like instrumentalists in order to correct a perceived lag in vocal jazz improvisation achievement. The approach fails to recognise that giving vocalists and instrumentalists the same tuition is unlikely to produce the same results when fundamental differences exist prior to instruction. A thorough exploration of the vocalist’s characteristics must precede any logical attempt to address the imbalance in achievement outcome. Consequently, this thesis addressed the research question, “How do improvising jazz vocalists differ significantly from their instrumental counterparts?”
The research began by examining and collating the wealth of existing citations of differences found in literature. Thirty-seven perceived differentiations of vocalists were identified and used to provide a preliminary benchmark for the investigation. A two-phase mixed methods study was then designed to explore the nature of each differentiation. Phase one employed a quantitative, anonymous, online survey of 209 Australian jazz vocalists and instrumentalists, investigating their perceptions and experiences of jazz performance and education. The computer program PASW was used to conduct chi square analysis of the datum to determine statistically significant differences. In phase two, 22 qualitative interviews were conducted with Australian jazz vocal performers and/or jazz educators in Australian tertiary institutions. The computer program NVivo was used to assist the organisation of data for thematic analysis by the researcher. A side-by-side presentation of quantitative and qualitative data facilitated comparison and enabled clarity in identifying congruency in the findings. Discussion integrated results and extrapolated meaning.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
28
Cavagnoli, Murilo. "Jazz e improvisação musical". reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/100873.
Testo completoAbstract (sommario):
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Psicologia, Florianópolis, 2012Made available in DSpace on 2013-06-25T23:28:29Z (GMT). No. of bitstreams: 1 313532.pdf: 829089 bytes, checksum: 6f4118e5acf8d41572a6524a695a68a5 (MD5)
Este trabalho tem como objetivo compreender de que modo se dão as relações estéticas e os processos de criação no encontro entre músicos que se dedicam, em coletivos, ao trabalho acústico da improvisação musical. Compreendemos a música como uma linguagem reflexivo-afetiva, capaz de produzir sentidos compartilháveis e ao mesmo tempo singulares, e o sujeito como constituído historicamente por relações dialéticas e dialógicas. Como procedimentos metodológicos, fomos orientados pelos apontamentos de Vygotski e de Bakhtin, além do método progressivo-regressivo de Sartre. Realizamos entrevistas com dois sujeitos de pesquisa e participamos de sessões de improvisação musical, com o objetivo de compreender de que modo a prática da improvisação atua como produtora de sentidos nas relações entre os sujeitos que compõe um pequeno coletivo musical. A criação, compreendida nas perspectivas de Bakhtin e de Vygotski, pressupõe sujeitos em relação dialógica, marcados pela polifonia e envolvidos na produção de uma obra musical em devir. Dentre os resultados, compreendemos que o ato da performance musical em grupo gera as condições para que, na relações entre os músicos que aí se estabelece, se torne possível apreender a música esteticamente. Os participantes de uma sessão de improvisação musical estão engajados na música tanto como ouvintes, interpretando as produções que são objetivadas, subjetivando o material sonoro e as percepções que tem dos outros músicos, quanto como intérpretes e improvisadores. É no encontro com o outro que os músicos ressignificam suas experiências anteriores, em um movimento mediado pela imaginação e pela linguagem musical, capaz de produzir o novo através do processo de criação.
Abstract : This work has the objective of comprehending how the aesthetic relations and the processes of creation occur while musicians dedicate themselves to the acoustic work and musical improvisation. We comprehend the music as a reflexive-affective language, able to produce sharable meanings and singular meanings at the same time, and the subject constituted historically by dialectic and dialogic relations. As methodological proccedure, we were guided by Vygotsky and Bakhtin pointings, in addition of the progressive/regressive method of Sartre. We submitted two subjects to interviews and we joined improvisation music sessions with the objective of comprehend the way improvisation acts as producer of meanings among the subjects that compound the group. The creation comprehended in the Bakhtin and Vygotsky perspectives presumpts subjectives in dialogical relation, characterized by polyphony and envolved in the production of a new musical feature in becoming. In the middle of the sort of results, we comprehended that the act of the group musical performance generates the conditions that, in relations established about musicians, makes possible to learn the music aesthetically. The participants of a jam session are as engaged as listeners, interpretating the productions that are objectivated, subjectivating the sound material and the perceptions that they have about the other musicians, as interpreters and improvisers. It is in the meeting with the other that the musicians ressignify their precedent experiences, in a movement mediated by imagination and by the musical language, capable of producing the new through the proccess of creation.
29
Beddok, Virgile C. "The Gems of Jazz". ScholarWorks@UNO, 2013. https://scholarworks.uno.edu/td/1714.
Testo completoAbstract (sommario):
The Gems of Jazz is a prospective TV series that features local New Orleans Jazz musicians. The purpose of the show, created and hosted by Virgile Beddok, is to look into the lives of the people who make the New Orleans Jazz scene all that it is, and has been. This paper delves into each stage of the creative and production processes that enabled the completion of this pilot episode which features master drummer Herlin Riley as a guest.
30
Kissenbeck, Andreas. "Diastematische Aspekte der Jazzimprovisation /". Hamburg : Kovač, 2007. http://www.verlagdrkovac.de/978-3-8300-3003-4.htm.
Testo completo
31
Kim, Mi Hyun. "La télévision et la politique". Aix-Marseille 3, 1992. http://www.theses.fr/1992AIX32021.
Testo completoAbstract (sommario):
La television et la politique la television et la politique sont interdependantes car si le monde politique propose l'encadrement juridique de la premiere il n'en est pas moins tributaire d'elle. L'evolution du droit francais et sud-coreen illustre la dependance de la television au monde politique et ceci en raison de son pouvoir communicationnel. La television secrete ses propres regles de fonctionnement, regles qui n'ont pas echappe a la communication politique. Objet democratique par excellence la television est en train de deformer la democratoe alors meme qu'elle detient les moyens de lui venir en aide. Mots-cles : television, coree du sud, droit de l'audiovisuel, communication politique, campagne electorale, effets, debats, democratieTelevision and politics the strong relationship between television and politics stems out of legal framework set forth by politicans for television and of the powers bestowed on television by the same politicians. The evolution of french and south korean broacasting law illustrate television dependence on political authorities because of its communicational qualities. Television as a medium obeys to its own rules, riles with are under tje cmpse scritiny of political communication theories. In spite of being the most democratic object, television is undermiming democracy itself whilst it has the means to uphold this ideal. Key-word : television, south korea, france, broadcasting law, political communication, electoral campaigns, effects, debates, democracy
32
Almuzaini, Abdulaziz. "La télévision en Arabie saoudite". Paris 2, 1997. http://www.theses.fr/1997PA020089.
Testo completoAbstract (sommario):
La television est le media le plus present dans la vie du saoudien. Elle a penetre assez rapidement dans la quasi totalite des foyers, pour devenir l'un des plus importants moyens d'information et de distraction. Cette these tente a explorer un domaine quasiment vierge. Elle rassemble des donnees difficiles a obtenir sur les medias d'un pays qui ne cesse de prendre de l'importance tant dans les domatiriels que spirituels. Mes investigations portent sur la creation, le developpement et les effets de ce media dans la societe saoudienne. Cette these s'inscrit dans les recherches qui relevent du domaine des sciences de l'information et de la communication. Son objet, la television en arabie saoudite, est traite de facon a mettre en lumiere le contexte du pays, les caracteristiques de ce media l'analyse de ses programmes et les reactions de son audience. Ce travail a pour but de presenter et d'analyser les aspects qui differencient la television saoudienne des televisions diffusees dans les pays concurrents. Pour ce faire, l'histoire de l'evolution de la television saoudienne est traitee dans ses details. A travers la consulation des etudes d'audience est montree la place actuelle et l'avenir de la television nationale dans le nouveau paysage audiovisuel saoudien. Cette these comporte quatre parties : le contexte socio-politique et economique, l'histoire de l'audiovisuel, la programmation de la television nationale et l'audience de la television en arabie saoudite.
33
Lee, Moon Haeng. "L'économie de la télévision coréenne". Paris 2, 2000. http://www.theses.fr/2000PA020009.
Testo completoAbstract (sommario):
Nees en coree au debut de la seconde moitie du vingtieme sciecle, les chaines hertziennes se sont depuis beaucoup developpees. Toujours aussi, elles ont su repondre aux attentes du public coreen. Mais ces quatre chaines sont, avant tout, une parfaite replique du paysage economique du pays. Devenues de veritable groupes dominant outrageusement le secteur, elles nous rappellent ces gigantesques conglomerats qui dictent leur loi a l'economie nationale. Ni la multiplication des chaines en 1995, ni la crise economique apparue en 97, n'ont pu influencer cette predominance. L'arrivee du cable et des chaines regionales a en fait ete parametre economique. La crise, quant a elle, les a pousses a consolider leur structure. Dans un premier temps, les chaines commencent a concevoir une certaine multiplicite des programmes et dans un second temps, elles achevent leur "dinausorisation". Il semblerait que l'economie du pays soit, aujourd'hui, au stade de la convalescence. La timide relance qui se dessine depuis le debut 99, a eu de suite des effets benefiques sur les chaines hertziennes. Ces moments d'euphorie, puis de tourment vecus par la television coreenne, nous ont permis d'en dresser un etat de lieux.
34
Borges, Rose-Marie. "Les services de télévision transfrontalière". Clermont-Ferrand, 1995. http://www.theses.fr/1995CLF10158.
Testo completoAbstract (sommario):
La diffusion transfrontaliere des emissions de television s'est sensiblement developpee ces dernieres annees grace au recours de plus en plus frequent au cable et, surtout, au satellite. Le caractere transnational des programmes ainsi diffuses a souleve un certain nombre de problemes juridiques dont la resolution ne pouvait etre apprehendee qu'a un niveau supranational. La communaute europeenne constituait un cadre adequat pour elaborer des principes communs a l'ensemble des etats. Le secteur televisuel pouvait alors etre regi soit par la mise en place de regles particulieres a cette activite, soit par l'adaptatioin des regles generales du droit communautaire. L'objectif d'un marche transfrontalier des programmes peut etre realise en harmonisant les legislations relatives aux activites televisuelles et en imposant le respect des regles de concurrence issues du traite c. EProgrammes broadcasted beyond bonders increased in ths last few years thanks to cable television and satellite. However, programmes broadcasted beyond bonders brought up some legal issues which could only be sonted out at a supranational level. The european community was a suitable area to conceive common principles for states. Television industry could indeed be managed either by setting up specific rules for this industry or by adapting general rules from community law. A market for programmes broadcasted beyond bonders could be reached by harmonizing the television industry legislation and respecting competition rules laid down by the e. C. Treaty
35
Olivesi, Stéphane. "Histoire politique de la télévision". Rennes 1, 1997. http://www.theses.fr/1997REN10006.
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36
Rabson, Minoura Kenji. "Repertoire Memorization in Jazz Vol. 2 : Do College Jazz Programs Address the Subject?" Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2295.
Testo completoAbstract (sommario):
The aim of this study is to explore to what extent and how different jazz programs on the college level include repertoire memorization in their curriculums. By repertoire memorization I mean the study and memorization of a certain amount of standard jazz repertoire, which include songs from the so-called great American songbook and tunes by jazz composers that are commonly played by jazz musicians around the world. Whether the schools include repertoire memorization in their official curriculum or course descriptions or leave the subject to the discretion of the individual instructors is explored. Methods for teaching the subject, methods of assessing the students’ memorization, and views of different jazz department heads regarding the importance of the subject are also investigated. A sociocultural perspective is adopted in the study to see if academia attempts to address or perhaps recreate some of the sociocultural contexts that jazz learning existed in before jazz was included in music conservatories and universities. Eleven jazz programs and one jazz educator were asked to be a part of the study and of those, four schools responded. The data was collected in email correspondence with the four different department heads that were from the United States, Finland and Sweden (two schools). The results showed that the programs in Finland and the United States placed great importance on the subject and use required repertoire lists that the students were tested on. One of the Swedish programs had suggested repertoire lists for students without formal testing and the other Swedish program left the subject up to the individual instructors although the subject did seem to be encouraged. One unexpected observation from the repertoire lists used from the schools in Finland and the United States was that there were a surprisingly large number of songs that were not in common to both lists.
37
Hsieh, Terence. "Jazz Meets East: Cultural Dimensions of Asynchronous Jazz Music Development in Modern China". Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1338392142.
Testo completo
38
Muscarella, Susan. "The twentieth century jazz piano trio: the rise of an iconic jazz paradigm". Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/18583.
Testo completoAbstract (sommario):
Considerando a gravação de 1947 The Bud Powell Trio como a gravação referência de
trio de piano de jazz moderno, esta tese centra-se no surgimento e evolução do trio de
jazz moderno cujo líder é pianista. Começando por apresentar, uma resenha dos estilos e
técnicas para piano de da época pre-Powell, esta tese investiga a génese dos trios de piano
jazz e examina três dos mais influeciais pianostas de jazz e lideres dos mais legendários
trios de piano jazz modernos: Bud Powell, Bill Evans e Keith Jarrett. Esta tese também
abordará o paradoxo inerente a um sistema democrático - a expressão própria do
individuo, em justaposição com a responsabilidade para com o todo – e a sua inequivoca
analogia com o gestalt do trio de piano de jazz moderno. Desde a primeira gravação de
um trio de jazz com pianista como líder em 1935, o trio de jazz moderno, evoluiu
tornando-se um exemplo de democracia – um contexto de igualdade em que as funções
rítmicas, harmónicas, e melódicas estão igualmente distribuídas entre os três
instrumentistas, que são ao mesmo tempo solistas e acompanhadores. Esta tese sublinha a
eficácia do trio de jazz moderno – o seu início, e porque subsiste – baseado na sua força e
beleza estética; ABSTRACT:
THE TWENTIETH CENTURY JAZZ PIANO TRIO –
The Rise of an Iconic Jazz Paradigm
by Susan Muscarella
Designating Bud Powell’s 1947 recording, The Bud Powell Trio, as the modern jazz
piano trio benchmark, here, this thesis traces the emergence and evolution of the pianistled,
piano-bass-drums-comprised modern jazz piano trio. Beginning with a general
overview of pre-Powell jazz piano styles and techniques, this thesis investigates the
earliest, most salient pre-Powell jazz piano trios, and examines three seminal modern jazz
pianists and leaders of legendary modern jazz piano trios, Bud Powell, Bill Evans and
Keith Jarrett.
This thesis also brings to the fore the paradox inherent in a democratic system –
individual self-expression juxtaposed with responsibility to the whole – and its
unequivocal analogy to the modern jazz piano trio gestalt. From the earliest recording of
a primarily piano-dominated piano-bass-drums-comprised jazz piano trio in 1935, the
modern jazz piano trio has evolved to become a paragon of democracy – an egalitarian
playing field in which rhythmic, harmonic and melodic roles are evenly distributed
among all three instrumentalists who have come to serve as both soloists and
accompanists.
39
Cottier, Jean-Philippe. "La science à la télévision : pour une approche qualitative des programmes scientifiques à la télévision". Rennes 2, 2000. http://www.theses.fr/2000REN20060.
Testo completoAbstract (sommario):
Quelques études déploraient à la fin des années 80 la disparition des émissions scientifiques dont l'émergence remontait aux premières heures de la télévision. Le paysage audiovisuel français s'est depuis peu à peu réouvert à ce genre de programmes et, si l'ampleur de la représentativité des sciences à l'écran n'est aujourd'hui plus problématique, celle de la qualité de cette représentation mérite d'être posée. Mais qu'est ce que la qualité, appliquée à un objet si complexe que la télévision et si multiple que les programmes scientifiques, à la fois divertissants, éducatifs et informatifs ? Ce travail s'attache à mettre en œuvre une méthode d'approche qualitative, plurielle, qui associe les critères utilisés par les spécialistes, gens de télévision, scientifiques, experts, aux recherches menées dans le domaine des médias de masse et de la vulgarisation scientifique. Trois dimensions de la qualité des programmes scientifiques sont ainsi étudiées : qualité de la programmation, du rapport à la science et formelle. Cette approche met en évidence, contre les énoncés décriant l'univocité et l'uniformité télévisuelle, une programmation relativement diversifiée, une participation du monde scientifique qui ne se résume pas uniquement à quelques figures médiatiques, et des discours qui ne sacralisent pas nécessairement le monde savant. Mais l'analyse montre aussi combien la télévision met plus volontiers en évidence les techniques, supposées à la fois outils de production de la connaissance et applications, que la science et ses méthodes. Cette apologie dessine ainsi une manière de légitimation des sciences par leur technicité, leur "opérativité ". Au mythe de la scientificité, il convient d'adjoindre aujourd'hui, expression du passage à une certaine post-modernité, celui de la technicitéLn the late eighties, many scholars deplored that scientific programmes were disappearing from television. Since that rime, the French television screen has gradually been opening up to these specific programmes. However, though the presence of science is no longer a problem, the quality of the programmes has not really be addressed. What does "quality" mean when the notion is applied to such a complicated abject as television or to scientific programmes which must entertain people, educate them and inform them ? This research intends to set up a qualitative assessment method which associates the criteria used by experts, television professionals and scientists, with academic reflections on mass media and scientific, popularisation. Therefore, the analysis focuses on three dimensions: the programming quality, the quality of the relationship with science and the formai quality. Contrary to most discourses discrediting the univocity and standardisation of television productions, this approach reveals a much wider diversity of scientific programmes than expected as well as the regular participation of scientists who are far from being media stars. It also shows that television does not necessarily regard the scholarly world as sacred. But the analysis proves that television tends to privilege technique - considered as both knowledge production tools and applications -, than science and its methods. This portrays a way of legitimising the sciences through their technicity and their propensity to produce concrete artefacts. Today, the myth of science gives way to a new one which expresses the transition towards the so-called post-modernity : the myth of technique
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Thomas-Caine, Oriane. "La télévision par cable ou par satellite : substitut, complément ou adjuvant à la télévision hertzienne". Paris 2, 2002. http://www.theses.fr/2002PA020003.
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41
Sternfeld, Joshua. "Jazz echoes the cultural and sociopolitical reception of jazz in Weimar and Nazi Berlin, 1925-1939 /". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1432775961&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Leonard, Neil. "Jazz and the white Americans : the acceptance of a new art form /". Ann Arbor (Mich.) : Umi books on demand, 1995. http://catalogue.bnf.fr/ark:/12148/cb37446039b.
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43
Keene, Joel Andrew. "The Influence of Jazz Harmony and Jazz Style on Selected Bass Trombone Solo Literature". Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/351.
Testo completoAbstract (sommario):
The development of solo literature for the bass trombone came relatively late in the history of instruments. Though the development of solo literature for this instrument and the birth and development of jazz occurring at the same time in history may be coincidental, the influence of one on the other is undeniable. Because of the large percentage of solo bass trombone literature that is influenced by jazz due to this coincidence, it is necessary that even a classically trained bass trombonist include jazz as a part of the study curriculum. In order to exemplify the influences of jazz harmony and jazz style on bass trombone literature, it was decided that the pieces chosen would be either from the library of standard bass trombone literature or would be an outstanding example for this topic. Then, the stylistic influences must be proved as being derived from the jazz idiom. The same must be shown true for any jazz harmonies discussed. For this topic, the following pieces were chosen: Eugène Bozza's New Orleans composed in 1962, Alec Wilder's Sonata for Bass Trombone and Piano composed in 1969, and Daniel Schnyder's subZERO: Concerto for Bass Trombone and Orchestra composed in 1999.
44
Cordoba, Derick. "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital". FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.
Testo completoAbstract (sommario):
The purpose of this thesis was to analyze jazz compositions by several great composers. The composers include: Howard Dietz, Arthur Schwartz, Russell Malone, Thad Jones, Dave Holland, Wes Montgomery, Pat Metheny, Hoagy Carmichael, Johnny Mercer and Joe Henderson. Through their unique use of melody, har1nony and rhythm these composers have influenced countless performers and composers over many decades. These compositions served as the repertoire of a graduate jazz guitar recital. The musical group that interpreted these compositions was comprised of: guitar, upright bass, piano, tenor saxophone and drums.
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Thorpe, Christopher John. "Deconstructing “the South African jazz feel”: roots, rhythms and features of South African jazz". Thesis, Rhodes University, 2019. http://hdl.handle.net/10962/76649.
Testo completoAbstract (sommario):
South African jazz has established itself as a distinct and influential genre in modern popular music that merges musical elements from traditional South African musics with influences from U.S.-American jazz. Formed during a time of extreme social inequality in a divided country, South African jazz became the soundtrack of the struggle against social injustice and racial oppression, and was brought to international attention by artists such as Hugh Masekela, Miriam Makeba, and Abdullah Ibrahim who gave poignant musical expression to the hardships of the time. South African jazz is celebrated for its unique sound, original catalogue and all-important “feel”. To many listeners, performers and musicologists, it is this concept of feel that makes South African jazz so distinctive and inimitable. To date, however, much of the scholarly and popular literature on South African jazz has centred on the historical, social and political aspects of the music, with less attention given to close musical-textual analysis. A few studies have considered the melodic and harmonic language of iconic saxophonists and bass players but there are – to date – no close studies of rhythm and feel in South African jazz. Beginning to address this gap in the literature, this study uncovers some of the elements that constitute the South African jazz feel through close rhythmic and more general musical analyses of a selection of South African jazz recordings.
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Bowie, Elizabeth. "The New Orleans Jazz and Heritage Festival and Foundation: the Jazz and Heritage Gallery". ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/aa_rpts/99.
Testo completoAbstract (sommario):
The New Orleans Jazz & Heritage Foundation is a non-profit 501 (c) (3) organization. The Foundation presents the famous New Orleans Jazz & Heritage Festival and utilizes the proceeds from the Festival for year-round community development programs in the areas of education, economic development and culture. The Foundation also owns the broadcast license of radio station WWOZ 90.7. The Foundation is constantly seeking to expand its involvement with the local community. Thus, Mr. Don Marshall, Executive Director of the Foundation, created the Jazz & Heritage Gallery. My internship position was as the first Gallery Director for the newly created Jazz & Heritage Gallery. Throughout the course of my internship I successfully curated three exhibitions: Inspiration Exhibition, Femme Fest 2009, and Outside the Tent. I also managed the various business affairs of the Jazz & Heritage Gallery, including communications with artists and the public, and collaboration with numerous local organizations and seeking grants. This report includes the Foundation and Festival's history, organizational structure, current programming and my contributions to the Foundation. It also includes detailed recommendations based on the SWOT analysis of the Foundation as well as best practices suggestions.
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Silva, Roberto José da. "Jazz da malta: estudo sobre a sustentabilidade da jam session Jazz Standards de Aveiro". Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/23248.
Testo completoAbstract (sommario):
Mestrado em MúsicaA presente dissertação de mestrado apresentada é um estudo sobre a jam session Jazz Standards de Aveiro. Trata-se, primeiramente, da busca pela sutentabilidade de um grupo criado por alunos da licenciatura da Universidade de Aveiro. Apesar da recente criação, tornou-se um importante evento dentro da cidade. A identificação do funcionamento de outras jam sessions, que acontecem em outras cidades do país, foi uma das etapas cumpridas no âmbito deste trabalho. As pesquisas etnográficas realizadas nas jam sessions geraram material de apoio para as futuras pesquisas dentro da mesma temática. Também foi feita uma abordagem sobre as políticas públicas relacionadas à “Lei do Silêncio”, que, de forma indireta, afetam não só o mercado de trabalho dos músicos da cidade, como também as realizações dos eventos da Jazz Standards.
The present master thesis presented is a study on the Jazz Standards jam session of Aveiro. This is the first focus of the search for the sustainability of a group created by undergraduate students at the University of Aveiro and that despite the recent creation, it has become an important event within the city. The search for understanding the operation of other jam sessions that take place in other cities of the country was one of the steps completed within this project. The ethnographic researches conducted in the jam session will generate material to support future research within this theme. An approach was also taken to the public policies related to the "law of silence" that indirectly affected not only the work market of the city musicians but also affected the achievements of Jazz Standards events.
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Bonte, Josette. "La télévision à contrôle d'accès aux Etats-unis du pay-per-view à la télévision intercative". Paris 2, 1996. http://www.theses.fr/1996PA020085.
Testo completoAbstract (sommario):
Echelonne sur plusieurs annees, ce travail definit les parametres de la television a controle d'acces aux etats-unis, il retrace son histoire, esquisse le bilan de ses dix premieres annees d'existence et fait le point sur l'etat des techniques et des systemes qui permettront son essor et sa migration vers le numerique. Le memoire presente un panorama exhaustif de l'offre contemporaine et potentiel de programmes et de services offerst "a la carte", en evoquant a la fois les aspects techniques, economiques, sociologiques et accessoirement juridiques de la genese et de la croissance de la television a acces selectif. Enfin, une importance tout a fait particuliere est accordee a l'analyse de la convergence entre les differents grands groupes industriels des mondes de l'informatique, des telecommunications et des medias qui rend possible l'avenement de la television de demain, devenue interactive et transactionnelleThis thesis starts by defining conditional access television, otherwise known as "a la carte", and takes the reader through its first 10-year history. It discusses the technological, regulatory, sociological and business strategies underlying its development and its migration from analog pay-per-view to fully digital, fully switched, interactive television. The first part comprises an exhaustive review of the various services and program packages currently available on an "a la carte" basis in the united states and provides a description of their related distribution technology. The second part is devoted to an analysis and evaluation of the early forms of interactive television currently available in the united states. Finally, the third part analyzes the convergence between the entertainment, the telecommunications, and the computer industries currently under way, in order to allow the birth of a truly revolutionary new medium: interactive digital video delivered interchangeably via the television or the personal computer
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Vovou, Ionna. "La démocratie à l'ère de la télévision : les débats politiques à la télévision hellenique (1990-1998)". Paris 3, 2000. http://www.theses.fr/2000PA030166.
Testo completoAbstract (sommario):
L'instauration du debat politique comme pratique televisuelle indique une facon specifique de considerer l'espace social. Le genre du debat televise se trouve au carrefour de deux logiques differentes : d'une part, il aspire faire partie du processus democratique et, d'autre part, il releve du domaine de l'offre de programmes. Cette these porte sur les debats politiques a la television grecque entre 1990 et 1998 et vise a eclairer cette forme d'expression de la societe hellenique. Un parcours des concepts theoriques concernant renonciation televisuelle et sa relation avec l'espace politique dessine les contours de notre reflexion. Un retour sur l'histoire de la television grecque et sur l'evolution des programmes politiques introduit egalement notre analyse. L'etude semiologique des regimes scopiques mis en place par les emissions politiques fait apparaitre une construction symbolique du studio, incarnant les principes du dialogue democratique. C'est la raison pour laquelle la premiere partie de notre these est consacree a la comprehension des mecanismes d'attribution de valeurs a cet espace. Les emissions de debat politique construisent une temporalite plurielle qui depasse la notion du temps reel des evenements. L'element temps est integre dans le studio, notamment par le dispositif du direct, et devient conscience holistique et intense d'un espace clos etendu a l'ubiquite. Cette relation entre le temps des emissions politiques et l'espace est aussi mise en relief dans la seconde partie de cette these. Enfin, dans la troisieme partie, on propose une analyse du discours des acteurs participant aux debats. La figure emblematique du presentateur et celle des acteurs politiques prennent une importance considerable dans la representation televisuelle, au detriment de la parole civile. Cette recherche aspire ainsi reveler les conditions de mediation televisuelle de la politique au sein de la societe hellenique.
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Reynold, de Seresin Diane. "De l'industriel à la communication : la télévision, industrie et commerce d'ondes". Paris 10, 1988. http://www.theses.fr/1988PA100004.
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