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Tesi sul tema "Music – England – 20th century"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 1 febbraio 2022

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1

Prozzillo, Nicholas Stefano. "Organ reform in England : aesthetics and polemics, 1901-1965." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:edc38b39-1749-49b6-b35f-1493f605e7e0.

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Abstract (sommario):

This thesis examines organ reform in England between 1901 and 1965, an arena of practical music-making and intellectual and ideological debates in which a number of related practices surrounding the English organ – notably its scholarship, aesthetics of design, liturgical functions, native and foreign repertoires, including J. S. Bach’s organ music – played a central role in transforming the sound, design, and appearance of the instrument. Whilst influential musicians asserted that the English organ of the first half of the twentieth century was a great work of art, and survived in what could

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2

Parry, Simon Halsall. "Why should the Devil have all the best tunes? : 20th century popular- and folk-style church music in England." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369112.

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3

Bray, Michael Robert. "The liturgical canticle settings for chorus and organ of Ralph Vaughan Williams." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186253.

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Within the sacred choral music of composer Ralph Vaughan Williams, little is known regarding his subset of works intended for liturgical use. This study focuses on the canticle settings for choir and organ, written by Ralph Vaughan Williams for use in Anglican Worship. The compositions in this study include: Magnificat and Nunc dimittis (Village Service), Te Deum in G, Service in D Minor and Te Deum and Benedictus. This study provides a discussion of the structure and history of the Anglican service and a description of how canticle settings traditionally function in liturgical worship. Each w

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4

Hopwood, Paul Andrew. "Frank Bridge and the English pastoral tradition." University of Western Australia. School of Music, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0017.

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This study's thesis is that instances of pastoralism in the works of Frank Bridge from 1914 to 1930 demonstrate a gradual darkening of his pastoral vision, and evince his increasingly complex relationship with the genre of pastoral music that flourished in English music in the early twentieth century (referred to in this study as 'the English pastoral tradition'). The study traces the change from the sensual and romantic idyll of Summer (1914-15), through progressively more ambiguous and darker manifestations of pastoral, and eventually to a bleak anti-pastoral vision in Oration (1930). This t

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5

Bagley, Paul Michael. "Mysticism in 20th and 21st century violin music." Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643907.

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<p> “Mysticism,” according to the Oxford dictionary, can be defined as “belief in or devotion to the spiritual apprehension of truths inaccessible to the intellect.” More generally, it applies to the aspects of spirituality and religion that can only be directly experienced, rather than described or learned. This dissertation examines how mysticism fits into the aesthetic, compositional, and musical philosophies of four prominent composers of the 20<sup>th</sup> and 21<sup>st</sup> centuries—Ernest Bloch, Olivier Messiaen, Sophia Gubaidulina, and John Zorn, with a

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6

Tsurtsumia, Rusudan. "The Value Orientation of 20th-Century Georgian Music." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72008.

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7

Hocking, Rachel School of Music &amp Music Education UNSW. "Crafting connections: original music for the dance in Australia, 1960-2000." Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/27289.

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This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further e

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8

Bernier, Kiyono Monique. "Disparate measures: Two 20th century treatments of the Paganini theme." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284086.

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This study investigates the significance of the Paganini theme and variation sets composed by two living composers, Neils Viggo Bentzon and Robert Muczynski. The popularity of the theme and variation form gradually spread to the keyboard repertoire first as entertainment for both courtly and bourgeois audiences, and later as a means of technical display for performing piano virtuosi. Paganini's twenty-fourth Caprice from Op.1 for solo violin is the basis for sets of variations for solo piano by three major pianist-composers: Liszt, Brahms, and Busoni. Bentzon and Muczynski follow in this tradi

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9

Reeh, Tina Alice Bonne. "The Church of England and Britain's Cold War, 1937-1948." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2c197863-2037-4cf9-af48-590f5694abea.

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The thesis deals with Britain's early Cold War history and the political history of the Church of England. It mainly uses primary sources, and contributes to our growing understanding of the early Cold War, especially in its cultural/religious elements. It explores how the Church of England dealt with the development of the early Cold War in Britain. It argues that in order to understand better the Church of England's role, an account of its perspective on issues of state modernisation dating back to at least the 1930s is necessary. It was then, during a decade of authoritarianism, and especia

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10

Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

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11

Bentley, Eileen. "Music in schools in England during the twentieth century." Thesis, University of Manchester, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.561210.

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This thesis traces the development of music in the school curriculum this century, with particular reference to the maintained sector of education. It demonstrates how the subject has expanded from being an activity almost exclusively concerned with the singing of songs, to become a discipline, which by the 1980's embraced instrumental work, musical appreciation, creative music making, examination work and electronic music. This research examines the process of development from the early days of the 20th Century when singing was the most important feature of school music. The significance of s

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12

Kane, Mike. "A consideration of modes of dissonance in 20th-century music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59180.pdf.

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13

Milin, Melita. "The National Idea in Serbian Music of the 20th Century." Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21226.

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If there was but one important issue to be highlighted concerning Serbian music of the 20th century, it would certainly be the question of musical nationalism. As in all other countries belonging to the so-called European periphery, composers in Serbia faced the problem of asserting both their belonging to the European musical community and specific differences. The former had to be displayed by their musical craftmanship and creative individuality, while the latter were conveyed through the introduction of native folk elements as tokens of a specific identity.

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14

Ouyang, Yiwen. "Westernisation, ideology and national identity in 20th-century Chinese music." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/8f19c444-ee12-c022-d86c-879118683355/7/.

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The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages

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15

Leung, Tai-wai David. "Memory, aesthetics and musical quotation four case studies in 20th century music /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/HKUTO/record/B39733919.

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16

Hume, James Cameron. "The Chapel Royal partbooks in eighteenth-century England." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/the-chapel-royal-partbooks-in-eighteenthcentury-england(18b3a468-67ea-42b8-a9a1-1aa51505d33f).html.

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This thesis provides a comprehensive source study of the eighteenth-century Chapel Royal partbooks (London, British Library R.M.27.a–d). The 56 manuscript volumes in this collection, which are now catalogued into four groups (or ‘sets’), were used in the daily choral services at St James’s Palace during the eighteenth and nineteenth centuries. The sources have a complex history since they have an ‘organic’ quality whereby the books continued to be copied into and altered whilst they were in regular use. The first part of the thesis (chapters two to six) examines the physical characteristics of

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17

Tisdall, Laura Alison. "Teachers, teaching practice and conceptions of childhood in England and Wales, 1931-1967." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708670.

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18

You, Xuesheng. "Women's employment in England and Wales, 1851-1911." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/283968.

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19

Ohki, Hitomi. "American Poet Emily Dickinson Set to Music by 20th Century Composers." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.

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When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song. The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the

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20

Dennehy, Anne. "Keeping mum : the condition of working class women in late 20th century England." Thesis, University of Bristol, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265304.

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21

Brindle, Patrick. "Past histories : history and the elementary school classroom in early 20th century England." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/272284.

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22

Leung, Tai-wai David, and 梁大偉. "Memory, aesthetics and musical quotation: four case studies in 20th century music." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39733919.

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23

Munk, James N. "Agency, physicality, space : analytical approaches to contemporary Nordic concertos." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:d4c79a2a-0836-4921-b33c-9a3fd2aa0f8a.

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The concerto enjoys a position of centrality within the oeuvres of many contemporary Nordic composers: the genre often functions as a vehicle for the exploration of advanced compositional techniques and aesthetic preoccupations, and the resulting works are well-represented on recordings and in the concert hall. Yet this repertory has largely been neglected in scholarship. Through detailed analysis of works by Per Nørgård, Kaija Saariaho, Magnus Lindberg, and Pelle Gudmundsen-Holmgreen, this thesis develops analytical technologies for a genre which has received less musicological attention than

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24

Danziger, Renée. "Dimensions of powerlessness : a study of agricultural workers in post-war England." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:543a07f7-a9eb-46f0-83ea-166c638ec7b9.

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This inquiry into the nature of political powerlessness begins with a definition which posits that Q is politically powerless to the extent that it is unable to promote and defend its interests within authoritative processes of value allocation. Political powerlessness is said to derive from Q's lack of relevant power resources; and from T's exploitation of this deficiency through its exercise of power over Q. Contrary to pluralist assumptions, it is argued that T may exercise political power over Q both within and beyond formal arenas of value allocation: the determining factor is not where p

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25

Abernethy, Simon Thomas. "Class, gender, and commuting in greater London, 1880-1940." Thesis, University of Cambridge, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709477.

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26

Bryder, Linda. "The problem of tuberculosis in England and Wales, 1900-1950." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670406.

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27

Kelly, Caleb, and n/a. "Cracked and Broken Media in 20th and 21st Century Music and Sound." University of Canberra. Creative Communication, 2007. http://erl.canberra.edu.au./public/adt-AUC20070601.135617.

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From the mid 20th century into the 21st, artists and musicians manipulated, cracked and broke audio media technologies to produce novel, unique and indeterminate sounds and performances. Artists such as John Cage, Nam June Paik, Milian Kn��k, Christian Marclay, Yasunao Tone, Oval and Otomo Yoshihide pulled apart the technologies of music playback, both the playback devices � phonographs and CD players � and the recorded media � vinyl records and Compact Discs. Based in the sound expansion of the 20th century musical avant garde, this practice connects the interdisciplinary Fluxus movement with

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28

Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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29

Wardhaugh, Benjamin. "Mathematical and mechanical studies of music in late seventeenth-century England." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439685.

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30

Dino, Rose M. "Contemporary ties: wedding 20th-century musical theatre to opera using the same source material." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6724.

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31

Daigle, Paulin. "Les fonctions harmoniques et formelles de la technique 5-6 à plusieurs niveaux de structure dans la musique tonale /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35996.

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This research constitutes a detailed study of 5 - 6 voice-leading technique that is often found in music - theoretical literature and in the tonal repertoire. The study aims to prove that this technique is an essential theoretical and analytical concept for understanding the evolution of tonal music.<br>The first part of this study examines concepts and descriptions of 5 - 6 technique as they appear in the theoretical literature of the eigthteenth and nineteenth centuries and in the writings of Heinrich Schenker and the modern Schenkerian school. The descriptions of 5 - 6 technique in earlier

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32

Trochimczyk, Maja. "Space and spatialization in contemporary music : history and analysis, ideas and implementations." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116333.

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Note: Pages have been removed from this digital copy due to copyright restrictions. A print copy is available in the McGill Library.<br>This dissertation presents the history of space in the musical thought of the 2Othcentury (from Kurth to Clifton, from Varèse to Xenakis) and outlines the development of spatialization in the theory and practice of contenlporary music (after 1950). The text emphasizes perceptual and temporal aspects of musical spatiality, thus reflecting the close connection of space and time in human experience. A new definition of spatialization draws from Ingarden’s notion

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33

Leitão, Simone Azevedo. "Heitor Villa-Lobos's Mômoprecóce Fantasy for Piano and Orchestra (1919-1929): An Historical, Stylistic, and Interpretative Study." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/328.

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The life and works of the Brazilian composer Heitor Villa-Lobos (1887-1959) have been well documented. However, a comprehensive study concerning any of his nine works for piano and orchestra has not been undertaken. Among this prolific output, the Mômoprecóce, fantasie pour piano et orchestra, stands as a faithful representation of the composer's skillful orchestration, descriptive piano writing through the observation of a childhood universe, and his multi-faceted approach to nationalism. The fantasy is a through-composed arrangement of a previous solo piano suite by Villa-Lobos entitled, Ca

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34

Lloyd, Johannah M. "The province of art : the aesthetic in the advent of modernism to London, 1910-1914." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63769.

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35

Hands, Rachel M. "The Nature and Value of Accessibility in Western Art-Music, 1950-1970." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1236091441.

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36

Helyard, Erin. "Muzio Clementi, difficult music, and cultural ideology in late eighteenth-century England." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106325.

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This dissertation takes as its historical point of departure the radical appearance in print in 1777 and 1779 of technically difficult keyboard music, composed by Muzio Clementi. The difficult passages contained within these works are unique amongst keyboard music published for a market that was understood at the time to consist almost entirely of female amateur keyboardists. Clementi's music affords female pianists a new kind of musical expression. This dissertation maps the ideological changes in English and European keyboard culture from 1779 to Clementi's death in 1832 and asserts that Cle

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37

Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.

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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Bri

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38

Belling, Huw. "Dimensions of allusion : synthesis affecting craft in the works of Huw Belling and in 20th and 21st century composition." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:fa0579cf-6405-4ab0-a5bb-90c28a9d36a8.

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This examination of my own works (presented largely in chronological order) and of related music by others, broadly concerns itself with appropriation and allusion on the part of twentieth and twenty-first century composers. It considers how the deliberate synthesis of existing works affects the responding composers' own output. To this end, whether surveying my own music or others', I do so within a four-pronged framework: 1. The philosophical premise and aesthetic of pieces which somehow appropriate existing composition (as claimed overtly by the composer, or inferred from available research

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39

Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.

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40

Mui, Kwong-chiu, and 梅廣釗. "Crossing the musical divides: a collection ofmy musical creations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B3157788X.

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41

Skirpan, Richard. "The Choral Music of Joseph Willcox Jenkins." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/518.

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Abstract (sommario):

Composer Joseph Willcox Jenkins (b. 1928), longtime professor at Duquesne University in Pittsburgh, Pennsylania (since 1961) and the first arranger for the United States Army Chorus (1956-1959), has composed and arranged a prolific amount of choral music, much of which has remained unpublished. After presenting a brief biography of Jenkins, this essay examines a sample of seven of his choral works, with analyses and scores of each. Catalogs of the choral compositions to which he assigned opus numbers and his U.S. Army Chorus arrangements follow, along with a classified list of remaining choral

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42

Finn, Michael Thomas. "The political economy of higher education in England, c.1944-1974." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610463.

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43

Jordan, Christopher. "Steering taste : Ernest Marsh, a study of private collecting in England in the early 20th century." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/5253/.

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The primary aim of this thesis is to focus attention on the bourgeois, 'un-named' collector. The driving force behind most museum and art gallery collections of the Victorian and Edwardian period. British museum and art gallery records of gifted collections, bequests and loans usually note their donors. However, with a few notable exceptions, little is known about the collectors, their activities and motivation in making such presentations. Using the interests and activities of the Quaker miller and collector Ernest Marsh (1843-1945) as a case study, this thesis explores how in the period 1890

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44

Kam, Chi-lim Daniel, and 甘志廉. "Contemporary Chinese music in Hong Kong: the Wuji Ensemble, a case study." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45161859.

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45

Kunkel, Caroline Beth. "Psalms to Plainchant: Seventeenth-Century Sacred Music in New England and New France." W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625537.

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46

Pardee, Katharine. "Perceptions of J.S. Bach and performance of his music in nineteenth-century England." Thesis, University of Oxford, 2013. https://ora.ox.ac.uk/objects/uuid:b45e576e-b727-4afa-b7e8-f55bea10b1a1.

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Abstract (sommario):

At the turn of the nineteenth centudy knowledge of J.S. Bach was limited in England to a very few musicians, mostly German organists connected with the Hanoverian court. By the close fof the century, Bach had won widespread popularity, and England was second only to Germany in numbers of published editions, performances, and the written word. This thesis looks at the reception of J.S. Bach in nineteenth-century England, and considers why England reacted with such enthusiasm to his works. First. the elements important to Bach reception are explored and situated in English culture at the beginni

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47

Fang, Ming-Jian. "Notational systems and practices for the lute, vihuela and guitar from the Renaissance to the present day." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/558361.

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Discussion in this dissertation is directed toward the lute, vihuela and guitar's notational systems and practices: chapters two, three, four, and five are concerned with the stylistic changes in the notations. The history of the tablatures is presented in a paralled fashion with that of the four-course and five-course guitars. An attempt is made to eliminate the guitarist's lack of knowledge about most practices and about subtle differences in performance. This is accomplished by presenting the development of these notations from the Renaissance to the present day.This study is concerned with

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48

Napper, Lawrence. "The middlebrow, 'national culture' and British cinema 1920-1939 : Alf's Button (1920); The Constant Nymph (1928); The Good Companions (1933); The Lambeth Walk (1939)." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395149.

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49

Venter, Carina. "The influence of early Apartheid intellectualisation on twentieth-century Afrikaans music historiography." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2839.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.<br>ENGLISH ABSTRACT: This thesis attempts to understand questions of our past in the present. It is broadly premised on the assumption of complicity as an interpretive frame in which the relationship between Apartheid intellectualisation and Afrikaans music historiography can be elucidated. Its protagonists are Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen and Jacques Philip Malan. In each of the four chapters, I attempt to construct metaphors, points of intersection or articulation between Aparth

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Carter, Stephanie. "Music publishing and compositional activity in England, 1650-1700." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/music-publishing-and-compositional-activity-in-england-16501700(14b13888-a2be-44d4-9e14-66b0980b3fec).html.

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This thesis focuses on the flourishing music-publishing industry in England in the second half of the seventeenth century, and examines its relationship to and influence on the activities of professional musicians. Music publishing as a commercial entity developed in England during this period, particularly, but not exclusively, through the endeavours of the Playford family. By placing the printed music books within the social and cultural contexts in which they were produced, this thesis explores the consequences of printing on the musical text, understanding the purposes for which the printe

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