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1
Ekberg, Sebastian. "Varför låter det så? : En studie av pianospel inom jazz, pop och soul". Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-86665.
Testo completo
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Maxwell, David R. "Augustine's De musica 6.12.34-6.14.48 an ontology of music which saves the soul /". Theological Research Exchange Network (TREN), 2005. http://www.tren.com.
Testo completo
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Curtis, Sandra L. "Singing subversion, singing soul, women's voices in feminist music therapy". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ44871.pdf.
Testo completo
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Paiva, Carlos Eduardo Amaral de [UNESP]. "Black Paul: a soul music no Brasil nos anos 1970". Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127967.
Testo completoAbstract (sommario):
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Esta tese investiga a aclimatação do gênero musical soul music no Brasil dos anos 1970. Por meio da análise da canção de importantes músicos negros da época: Tim Maia, Jorge Ben e Tony Tornado, bem como do chamado movimento Black Rio, sugerimos uma inflexão na formação de uma identidade negra no país, o que representou a emergência de uma estrutura de sentimentos negra e transnacional. Esta estrutura de sentimentos se caracterizou pela sua afirmação étnica e pelo seu internacionalismo vinculado à contracultura negra ocidental. No contexto político repressivo da ditadura, este movimento musical ajudou a aglutinar jovens negros em torno de uma política de identidades, além de fazer uma oposição manifesta ao mito da democracia racial, ideologia oficial do regime civil-militar
This thesis investigates the acclimatisation of soul music genres in Brazil in the 70's by the analysing the songs of important black musicians of the era: Tim Maia, Jorge Ben and Tony Tornado as well as the movement called Black Rio. We suggest an inflection on the formation of the black identity in the country that represented the emergence of a black structure of feelings in transnational levels. This structure of feelings is chacacterised by its ethinic affirmation and its internationalism tied to black western counterculture. In a repressive political context of dictatorship, this musical movement helped bring together young black men around political identity and made a clear objection to the myth of racial democracy, the official ideology of the civil-military regime
5
Paiva, Carlos Eduardo Amaral de. "Black Paul : a soul music no Brasil nos anos 1970 /". Araraquara, 2015. http://hdl.handle.net/11449/127967.
Testo completoAbstract (sommario):
Orientador: Eliana Maria de Melo SouzaBanca: Ana Lúcia Castro
Banca: Dagoberto José Fonseca
Banca: José Adriano Fenerick
Banca: Márcia Regina Tosta Dias
Resumo: Esta tese investiga a aclimatação do gênero musical soul music no Brasil dos anos 1970. Por meio da análise da canção de importantes músicos negros da época: Tim Maia, Jorge Ben e Tony Tornado, bem como do chamado movimento "Black Rio", sugerimos uma inflexão na formação de uma identidade negra no país, o que representou a emergência de uma estrutura de sentimentos negra e transnacional. Esta estrutura de sentimentos se caracterizou pela sua afirmação étnica e pelo seu internacionalismo vinculado à contracultura negra ocidental. No contexto político repressivo da ditadura, este movimento musical ajudou a aglutinar jovens negros em torno de uma política de identidades, além de fazer uma oposição manifesta ao mito da democracia racial, ideologia oficial do regime civil-militar
Abstract: This thesis investigates the acclimatisation of soul music genres in Brazil in the 70's by the analysing the songs of important black musicians of the era: Tim Maia, Jorge Ben and Tony Tornado as well as the movement called "Black Rio". We suggest an inflection on the formation of the black identity in the country that represented the emergence of a black structure of feelings in transnational levels. This structure of feelings is chacacterised by its ethinic affirmation and its internationalism tied to black western counterculture. In a repressive political context of dictatorship, this musical movement helped bring together young black men around political identity and made a clear objection to the myth of racial democracy, the official ideology of the civil-military regime
Doutor
6
Duris, Elizabeth Claire. "Contemporary Implications of Music and the Soul in Plato's Timaeus". University of Toledo / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1588634110162632.
Testo completo
7
Perry, Vincent-Gerard Dulos Perry. "Soul Reborn: An Appropriation of the Motown Aesthetic". Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370959.
Testo completoAbstract (sommario):
In the highly lucrative and cutthroat business of popular music, the goal of record
companies is largely to produce star singers and publish hit records. Formed in 1959,
Berry Gordy’s Tamla Motown dominated the pop and R&B charts throughout the
1960s with its assembly line style of music production, which resulted in a
distinctive sound that was shared by all of the label’s artists. However, much of the
fame and prosperity has gone to only a select few involved in the production process.
Furthermore, until the release of Standing In the Shadows of Motown (Justman,
2002), much was unknown of the involvement and influence of the individuals who
made up the house band—a collection of instrumentalists known as the Funk
Brothers. Inspired by this documentary, I proposed a research project that would
focus on analysing the role of the house band in R&B record production. Central to
this research was forming an ensemble of Brisbane musicians for the purpose of
writing, recording, and producing an album of Motown-inspired original tracks—an
album entitled: Soul Sundays. It was my intention to use this album production as a
case study to analyse the ensemble dynamic within my proposed band. More
specifically I investigated whether or not it was possible to recreate the ensemble
dynamic/relationship of The Funk Brothers and how that interpersonal interaction
affects the production of a new album of recorded tracks. As well as performing the
role as band drummer, I also executed the responsibilities of lead producer and audio
engineer. Between 2014 and 2017, I oversaw the tracking of the initial rhythm
section beds and the subsequent refinement stages. Following on from the research
of Bennett (2012) and Williams (2015), I investigated my “technostalgia” with a
series of vintage instrument and recording gear experiments in order to better
understand the sonic textures that made up the famed “Motown sound.” Furthermore,
I investigated what positive or negative benefits vintage gear brought to a modern
album production. Drawing guidance from Bartleet and Ellis (2009), I utilized an
ethnographic approach to my research combining a creative journal of the production
process as well as insights from my collaborators. Ultimately, my rationale for this
research was to better appreciate the house band concept, better understand how to
appropriate various aspects of the Motown aesthetic in a modern R&B production,
and develop additional production skills in order to evolve from a drummer in to an “artist.”Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
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Harris, Christopher S. "Gods, God, & Soul Food: Young Black Spirituality in Rap Music". Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/448.
Testo completoAbstract (sommario):
Contrary to popular belief, discussions of morality, spiritual sensibilities, and religion are major themes in the lyrics of rap music. The current study provides an exploratory content analysis of rap lyrics in an effort to better understand the ways in which rap artists and audiences thought and think about their spirituality. Results indicate that there existed a fervent and nuanced discourse around spirituality and its various forms during the rise of rap music between the mid 1990s and early millennium.
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Hughes, Timothy Stephen. "Groove and flow : six analytical essays on the music of Stevie Wonder /". Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11410.
Testo completo
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Gonçalves, Eloá Gabriele. "Banda Black Rio = o soul no Brasil da década de 1970". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284466.
Testo completoAbstract (sommario):
Orientador: José Roberto ZanDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho estuda a trajetória da Banda Black Rio, formada em meados dos anos de 1970, cuja produção caracteriza--?se por fusões de múltiplas musicalidades. Através da análise musical de uma amostragem do repertório gravado pela banda, verificou?se nessa produção a presença de elementos característicos de gêneros brasileiros como o samba, o choro e o baião, mesclados aos do jazz, do soul e do funk. A pesquisa revelou que procedimentos adotados pelos músicos nas composições, releituras, arranjos e instrumentação produziram resultados sonoros peculiares. Trata--?se de uma sonoridade híbrida, que, de certa forma, expressa a emergência de uma nova sensibilidade num contexto histórico brasileiro marcado pela presença de um regime político autoritário, do desenvolvimento e da integração da indústria cultural e do advento de novas identidades geracionais e étnicas
Abstract: This work studies the history of the band Black Rio, formed in the mid 1970s, whose production is characterized by a fusion of multiple musicalities. Through musical analysis of a sample of the repertoire recorded by the band, it was verified the presence of characteristic elements of Brazilian genres such as samba, choro and baião, merged with components of jazz, soul and funk. The research found that the procedures adopted by the musicians in compositions, re--?readings, arrangements and instrumentations produced a peculiar sound result. It is a hybrid sonority that, in a certain way, expresses the emergence of a new sensibility in a Brazilian historical context marked by the presence of an authoritarian political regime, by the development and integration of the cultural industry and by the advent of new generational and ethnical identities
Mestrado
Fundamentos Teoricos
Mestre em Música
11
Olson, Ted. "Recording Review of The Sanctified Soul of Arizona Dranes". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1163.
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McDonough, Daniel Thomas. ""-- for the waters are come in unto my soul --" fragments of Psalm 69 /". Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1178139061.
Testo completoAbstract (sommario):
Thesis (M.M.)--Bowling Green State University, 2007.For SATB chorus (up to SSSAAATTTBBB), with flute, clarinet in B♭, horn, bassoon and piano. Document formatted into pages; contains 1 score (vi, 39 p.) Includes bibliographical references.
13
Cotterill, Graeme James. "Music in the blood & poetry in the soul? : national identity in the life and music of Grace Williams". Thesis, Bangor University, 2012. https://research.bangor.ac.uk/portal/en/theses/music-in-the-blood--poetry-in-the-soul-national-identity-in-the-life-and-music-of-grace-williams(6bd35da8-822a-4180-ac47-5a9a0632eaf9).html.
Testo completoAbstract (sommario):
This thesis seeks to determine the relevance of the term 'Welsh composer' to the life and music of Grace Williams (1906-77). It first examines her relationship with the various institutions that have shaped the cultural life of Wales during the twentieth century, questioning particularly whether either party was able to exploit the resources of the other for their own and/or the wider Welsh people's benefit. The Welsh Region of the BBC is discussed in particular detail, but the impact of the policies and practices of Wales's Arts Council, National Eisteddfod, institutions of higher education, and performing artists upon Williams's output are also analysed. The second half of the thesis proceeds to examine those of Williams's works openly identified by their composer as having been influenced by her Welsh heritage: those that include native folk melodies (Hen Walia, 1930; Fantasia on Welsh Nursery Tunes, 1940); depict landscape and history (Four Illustrations for the Legend of Rhiannon, 1939; Symphonic Impressions, 1943); set Welsh texts (Gogonedawg Arglwydd, 1939; Four Mediaeval Welsh Poems, 1962); use poetic structures (Penillion, 1955; Ballads, 1968); or have no acknowledged programme beyond their Welsh-inflected title (Castell Caernarfon, 1969; Missa Cambrensis, 1971). Where otherwise unavailable, a compact history of the composition of each work is supplied (see also the prefaces to the accompanying scholarly editions), but this latter portion of the thesis prioritises musical concerns ahead of matters historical. To conclude, Williams's reception history amongst British and Welsh critics and audiences is examined for evidence that her nationality influenced not only how she composed, and for whom, but how she was widely perceived. The thesis is explicitly designed to be read alongside the present writer's scholarly editions of Four Illustrations for the Legend of Rhiannon, Gogonedawg Arglwydd, Four Mediaeval Welsh Poems, Ballads, Castell Caernarfon and Missa Cambrensis (submitted alongside it and fulfilling the requirements of the PhD degree). The text itself, therefore, includes very few musical examples, pointing instead to the relevant bar references. The Appendix to the thesis comprises a catalogue of Williams's extant works, updating and correcting those previously prepared by the National Library of Wales, Aberystwyth, and by Malcolm Boyd in his Grace Williams (Cardiff: University of Wales Press, 1980). Further material relating to Williams can be found in the present writer's 'Ambition Overshadowed: Grace Williams's symphonies evaluated' (MPhil dissertation, University of Wales, Bangor, 2007).
14
Kim, Yoomi J. "The Evolution of Alexina Louie’s Piano Music: Reflections of a Soul Searching Journey". University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1241858005.
Testo completo
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Hicks, Keisha. "Sumptuous Soul: The Music of Donny Hathaway Everything is Everything Donny Hathaway, 1970". Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400519910.
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Kim, Yoomi J. "The evolution of Alexina Louie's piano music reflections of a soul searching journey /". Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1241858005.
Testo completoAbstract (sommario):
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.Advisor: Joel Hoffman. Title from electronic thesis title page (viewed Jan. 27, 2010). Includes abstract. Keywords: Canada; piano; contemporary; composer; music; Alexina Louie; coloristic; jazz; blues; exotic; Asian; Oriental; Chinese; eclectic; virtuosic; boogie-woogie; interview; performance; In a Flash; Scenes from a Jade Terrace; Fastforward. Includes bibliographical references.
17
Ishihama, Kanako. "Triangles of Soul—Schubert the “Wanderer” and His Music Explained by Neo-Riemannian Graphs". Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23148.
Testo completoAbstract (sommario):
In Schubert’s music, the theme “wandering” is used frequently, closely related to human life and death. I presume that, being stricken by serious illness and facing challenging relationships, Schubert lived his short life with agony and dismay, confronting the life theme “death.” In that sense, Schubert himself was probably the wanderer who kept trudging throughout his life journey. In 1822, Schubert composed the allegorical tale “My Dream,” and in that tale, he writes as follows; “when I attempted to sing of love, it turned to pain. And again, when I tried to sing of pain, it turned to love. Thus were love and pain divided in me” (Deutsch 1977, 227). Schubert lived his life, struggling between love and pain, and between life and death. Human life and death conflict with each other, but exist together in the same place. In other words, death is a root of life. If one can perceive that life and death both exist at the root of one’s life, the form of life should be represented by a circular path, not by a linear formation. This notion accords with Schubert’s musical style, where the same material comes back again and again in a circular formation. I assume that the notion—death as a root of life—is the essential conception of “wandering” that Schubert’s music expresses. In this dissertation, I would like to offer several Neo-Riemannian analyses and graphs of Schubert’s piano compositions; Impromptus D. 899, Moments Musical D. 780, Sonata in C-minor D. 958, and the “Wanderer” Fantasy D. 760. For each work and movement, I will map out the harmonic structure and key progressions on a Tonnetz graph, and suggest a new way to comprehend the nature of “wandering” that Schubert’s music portrays. Through the configurations and harmonic motions on the Tonnetz graphs, I will establish a way to comprehend Schubert’s concept of circular “wandering” visually and geometrically.
18
Allen, Matthew. "The belt’s got soul! an investigation into the vocal characteristics of r&b/soul singing and the production of the ‘belt voice’ within this style". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2024. https://ro.ecu.edu.au/theses/2766.
Testo completoAbstract (sommario):
The dissertation investigates and defines the vocal characteristics of rhythm and blues (R&B)/soul singing within contemporary commercial music (CCM). Over the course of more than 80 years, the R&B/soul style of singing has evolved to become a prominent and influential component of the music landscape. This research addressed the question of whether the ‘belt’ voice is an integral part of R&B/soul singing and investigated the skills required for its sustainability. Furthermore, the project explored, through rigorous acoustic analyses and computed tomography (CT) scanning, the physiological events occurring at the laryngeal level during ‘belting’ by R&B/soul singers.
The study commenced with a comprehensive survey analysis of performances by five pioneering R&B/soul singers, assessed by a panel of recognised industry practitioners and pedagogues from across the globe. Through this evaluation and the accompanying questionnaire, the vocal characteristics of R&B/soul singing were examined and refined. The outcomes challenge and extend the scope of existing literature and reveal the belt voice as the most challenging characteristic of R&B/soul singing to acquire.
The investigation narrowed its focus to the belt voice as a crucial characteristic, leading to five in-depth interviews with renowned practitioners and educators. The findings of these interviews unveiled a novel perspective on the timbral nuances of the R&B/soul belt voice, distinguishing it from traditional belt voices observed in music theatre. This notion acted as a catalyst for the final phase of the study, in which the biomechanical aspects of R&B/soul belting were explored.
A groundbreaking experiment involving CT scanning of 10 vocalists during both comfortable and belted pitches uncovered pivotal insights into vocal fold lengthening, larynx positioning and pharyngeal wall mobility. These results contribute to the emerging understanding of the physiological mechanisms behind R&B/soul belting and highlight its uniqueness within the broader spectrum of vocal styles.
In summary, this research establishes a comprehensive framework for understanding the vocal characteristics of R&B/soul singing, with a significant focus on the belt voice. By fusing artistic analysis, expert surveys, questionnaires, interviews and cutting-edge imaging techniques, this study advances our understanding of the vocal complexities that define this style, shedding light on both its artistic essence and the physiological events that underscore the R&B/soul singer’s performance.
19
Miller, Heather Lynn. ""Vysotsky's Soul Packaged in Tapes" identity and Russianness in the music of Vladimir Vysotsky /". College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3733.
Testo completoAbstract (sommario):
Thesis (Ph. D.) -- University of Maryland, College Park, 2006.Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
20
Roach, Alan. "On the dynamics of DJ subcultures : simulations of northern soul and house music genres". Thesis, University of Surrey, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504798.
Testo completoAbstract (sommario):
Why does the popularity of different music genres change over time? How are new music styles developed and how do they gain mainstream status? This thesis addressed these questions with a social simulation to explore the relationship between music subcultures and genres. This used a version of the 'history friendly' approach: two case studies were qualitatively analysed and these results formalised into two simulations, the outputs of these were then compared back against the: original case studies. This method enabled the models to be validated at the micro and macro levels. J The case studies are the Northern Soul and House music genres and subcultures. These OJ based subcultures were analysed using secondary data describing their histories, collected using a systematic review technique. The Northern Soul scene was chosen as it has a simple history of a rise and fall in the popularity of the scene and involved listening to old records not producing new ones. The analysis identified four stages in this history: gestation, growth, spurt and decline. The House scene has a more complicated history as members produced new records. The scene grew in a similar way to Northern Soul, but after the spurt phase fragmented and split into new subgenres such as Ambient and Progressive House. This fragmentation process continued with new genres being developed, one of which was Jungle. The thesis used a complexity theory framework to identify local 'bottom up' rules of interaction between agents. From the qualitative analysis a theory of subcultural dynamic.s was derived. The main points of this argue that agents gain subcultural capital from participating in a scene, which is related to a taste area, and that agents prefer to associate with those of similar levels of subcultural capital and distinguish themselves, using their tastes, from those of higher or lower levels. The model was a formalisation of this theory and produced the same dynamics of the popularity of both scenes at the micro and macrq level and it was concluded that they provide evidence that these rules could explain the changes in popularity observed.
21
Ford, Jared M. "How One Life Coach Attempts to Inspire Mindful Music: The Morality of the Soul". ScholarWorks @ UVM, 2016. http://scholarworks.uvm.edu/graddis/643.
Testo completoAbstract (sommario):
The purpose of this thesis will be to examine one student's personal struggle in life and how those events have helped him to find his purpose and reason for being. This examination will be done by using a Scholarly Personal Narrative (SPN) approach to explain how music has been at the forefront of all moral and ethical decisions ever made in his life in order to find his true calling or vocation. This thesis will be broken down into 3 main chapters with several sub chapters taking the reader though the life of Jared M. Ford. This thesis will then culminate with the authors own understanding of what he feels is his purpose for living. A fourth and chapter will also be included to show the author's own musical works in an attempt to give the reader a better understanding of how music has helped him to understand his true calling.
22
Williams, Jeffrey C. "Love and Loss: A Contemporary Song Cycle". Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1588778516530969.
Testo completo
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Lynch, Tosca. "'Training the soul in excellence' : musical theory and practice in Plato's dialogues, between ethics and aesthetics". Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4290.
Testo completoAbstract (sommario):
This thesis offers a technically informed examination of Plato's pervasive, though not innocent, use of musical theory, practice and musical concepts more generally within the ambitious ethical project outlined in many of his dialogues: fostering the ‘excellence' of the soul. Starting from Republic 3, Chapter 1 will focus specifically on music stricto sensu in order to assess Plato's interpretation of the basic ‘building blocks' of musical performances, creating a core repertoire of musical concepts that will prepare the way to analyse Plato's use of musical terms or categories in areas that, at first sight, do not appear to be immediately connected to this art, such as politics, ethics and psychology. Chapter 2 examines a selection of passages from Laws 2 concerning the concept of musical beauty and its role in ethical education, demonstrating how Plato's definition is far from being moralistic and, instead, pays close attention to the technical performative aspects of dramatic musical representations. Chapter 3 looks first at the harmonic characterisation of the two central virtues of the ideal city, sophrosyne and dikaiosyne, showing how their musical depictions are not purely metaphoric: on the contrary, Plato exploited their cultural implications to emphasise the characteristics and the functions of these virtues in the ideal constitution. The second half of Chapter 3 analyses the Platonic portrayal of musical παρανομία, studying both its educational and psychological repercussions in the dialogue and in relations to contemporary Athenian musical practices. Chapter 4 looks at how different types of music may be used to create an inner harmonic order of passions in the soul in different contexts: the musical-mimetic education outlined in the Republic, the musical enhancement of the psychological energies in the members of the Chorus of Dionysus in the Laws, and finally the role of the aulos in the Symposium.
24
Smith, Chana. "Tuning the soul : music as spiritual process in the teachings of Rabbi Nahman of Bratzlav". Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/16781/.
Testo completoAbstract (sommario):
This study examines the notion of music as a spiritual process in Nahman of Bratzlav’s thought. Nahman’s teachings, his tales and his biography are analyzed in relation to his rabbinic and kabbalistic sources, focusing on the doctrine of the ‘good points’ and its musical dimension, both literal and metaphoric. The first section introduces the doctrine of the 'good points’, exploring the rich Kabbalistic symbolic of ‘points’ as sefirot that represent ‘beginning’ or ‘centre’ in time, space and the human soul, as well as their use in the sense of musical notes. It establishes the connection between ‘good points’ and hesed (‘loving kindness’). The second section focuses on Nahman’s use of the Talmudic legend of David’s lyre and its kabbalistic interpretations. It shows how music is invested with the power to subdue the imagination and overcome negative spiritual forces, while David, the ‘skilled musician’, is held to be a model of religious devotion. The third section analyses the tzadiq’s personality as a reflection of his dual function, in society as well as in the supernal realm. It focuses on his portrayal as a cantor, who brings out the ‘good’ points’ in each individual and elevates them to holiness through music. The fourth section highlights the importance of creativity and renewal in Nahman’s worldview, expressed in the constant transformation of ‘loving kindness’ into ever new melodies. This transformation bridges the gap that separates human experience, which is finite and temporal, from the infinite, ex-temporal quality of the transcendent God.
25
LOUREIRO, VIVIAN MARIA RODRIGUES. "MUSIC FOR THE EARS, FAITH FOR THE SOUL, TRANSFORMATION FOR THE LIFE: MUSIC, FAITH AND CONSTRUCTION OF NEW IDENTITIES IN THE PRISION". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=14619@1.
Testo completoAbstract (sommario):
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORPROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O presente estudo orientado por um processo reflexivo, mostra a possibilidade de construção de novas identidades através do envolvimento com a música e a religião. Como referência destaca a trajetória da Banda Gospel Javé, formada ainda na prisão e hoje composta por egressos do sistema prisional. Após o cumprimento da pena seus integrantes continuam engajados num projeto musical que se desenvolve com apresentações em igrejas e eventos religiosos. A pesquisa revelou que a música é uma forma de expressarem suas emoções e compartilharem a mensagem religiosa que professam. Além disso, permitiu ampliar a compreensão da importância do significado das manifestações culturais especificamente da música e da crença, como alternativas de novas formas de inclusão social para egressos do sistema prisional.
The present study guided for a reflective process, it shows to the possibility of construction of new identities through the envolvement with music and the religion. As reference we mention the trajectory of the Band gospel Javé, formed still in the prision and nowsday composed for egresses of the prisional system. After the fulfilment of the penalty its integrant ones continue engaged in a musical project that if develops with presentations in churches and religious events. The academic research disclosed that the music is a form to express its emotions and to share the religious message that they profess. Moreover, it allowed specifically to extend the understanding of the importance of the meaning of the cultural manifestations of music and the belief, as alternative for new forms of social reintegration for egresses of the prisional system.
26
Ward, Brian. "Race relations, civil rights and the transformation from Rhythm and Blues to soul, 1954-1965". Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363342.
Testo completo
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Thomas, Maureen E. "The Divine Communion of Soul and Song: A Musical Analysis of Dante's Commedia". Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450117394.
Testo completo
28
Sermet, Vincent. "Les musiques soul et funk : la France qui groove des années 1960 à nos jours /". Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb412854703.
Testo completo
29
Rosdahl, Nilsson Therése. "”It needs to touch your heart or your soul” : en studie om funktionen och relationen till musik, låttext och attribut ur fyra individers perspektiv". Thesis, Växjö University, School of Education, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-5744.
Testo completoAbstract (sommario):
Syftet med studien har varit att undersöka musikens funktion för människor och deras relation till musik, låttext och attribut i kontakt med musik i olika sammanhang. En empirisk undersökning i intervjuform har gjorts bland fyra akademiker från fyra olika studieområden, två kvinnor och två män. De fyra akademikerna har gemensamt att de lever på samma område och att de under fritiden kommer i kontakt med, både med varandra och med musikgenren dance musik. Undersökningen fokuseras därför på dessa akademikers förhållande till och användning av dance och vad för funktioner musiken har för dem. Litteratur och tidigare forskning används för att förtydliga begrepp, jämföra likheter och skillnader med akademikernas svar.
30
Barnard, Jennifer A. "The journey of the soul : the role of music in the Ludus super Anticlaudianum of Adam de la Bassee". Thesis, University of Bristol, 2008. http://hdl.handle.net/1983/9817406c-59e9-44a0-88a5-28dcdc9279a2.
Testo completo
31
Checchini, Luna <1984>. "One Soul at a Time The tradition of rock 'n' roll music in the local communities of New Jersey". Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3185.
Testo completo
32
Scannell, John School of Media Film & Theatre UNSW. "James Brown: apprehending a minor temporality". Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.
Testo completoAbstract (sommario):
This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.
33
Sermet, Vincent. "Musiques soul et funk en France : histoires et cultures des années 1960 à nos jours". Université de Marne-la-Vallée, 2006. http://www.theses.fr/2006MARN0387.
Testo completo
34
Lister, Toiya. "The Soul of Black Opera: W.E.B. Du Bois’s Veil and Double Consciousness in William Grant Still’s Blue Steel". Digital Commons @ Butler University, 2018. https://digitalcommons.butler.edu/grtheses/508.
Testo completoAbstract (sommario):
In The Souls of Black Folk (1903), W.E.B. Du Bois theorized that black peoples were viewed behind a metaphorical “veil” that consisted of three interrelated aspects: the skin as an indication of African Americans’ difference from their white counterparts, white people’s lack of capacity to see African Americans as Americans, and African Americans’ lack of capacity to see themselves outside of the labels white America has given them. This, according to Du Bois, resulted in the gift and curse of “double consciousness,” the feeling that one’s identity is divided. As African Americans fought for socio-political equality, the reconciliation of these halves became essential in creating a new identity in America by creating a distinct voice in the age of modernity. Intellectuals and artists of the Harlem Renaissance began to create new art forms with progressive messages that strove to uplift the race and ultimately lift the veil. William Grant Still (1895–1978), an American composer of African descent, accomplished this goal in his opera Blue Steel (1934) by changing how blackness—defined here as characteristics attributed to and intended to indicate the otherness of people of African or African-American descent—was portrayed on the operatic stage. Still exemplifies what Houston A. Baker called “mastery of form” by presenting double consciousness in the interactions of three characters, Blue Steel, Venable, and Neola, in order to offer a new and complex reading of blackness.
35
Mashego, Shana Thomas. "Music From the Soul of Woman: The Influence of the African American Presbyterian and Methodist Traditions on the Classical Compositions of Florence Price and Dorothy Rudd Moore". Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/193978.
Testo completoAbstract (sommario):
Since its inception, the African American Church has played a vital role in the African American community. During the late eighteenth and early nineteenth centuries, the black Methodist movement began. Methodism was the first separate denomination formed by African Americans in the United States and remains one of the largest denominations populated by African Americans. Presbyterianism became a part of African American culture during the mid nineteenth century. Within many black Methodist and Presbyterian churches, the tradition of the musical liturgy, which included the music of European classical composers, was expected to remain unchanged, and even today many of the churches within these denominations have held fast to a traditional music liturgy.For many black women coming of age during the late eighteenth through to the twentieth centuries, the time of the composers Florence Price (1887-1953) and Dorothy Rudd Moore (b.1940), the music liturgy of the African American Presbyterian and Methodist church aided them in their exposure to European classical composers and their compositions. This document explores the premise that exposure during their formative years to European classical music within their Presbyterian and Methodist churches helped to nurture Price and Moore's approaches to classical music composition. Included in Appendix A and B are works lists of Florence B. Price and Dorothy Rudd Moore. These works lists were organized by the author from various sources and should prove helpful to those interested in the research and performance of the composers' works.
36
Grassy, Elsa. "Le lieu musical : du texte à l’espace, un itinéraire sémantique. Poétique des catégories géographiques dans les musiques populaires américaines (1920-2007)". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040118.
Testo completoAbstract (sommario):
Il existe dans le discours de la presse musicale américaine de nombreux de termes géographiques, dont la fonction n’est pas uniquement de localiser l’origine des courants musicaux ou d’opérer leur catégorisation par genre ou sous-genre : ces mots sont l’indice d’une véritable esthétique géomusicale, par laquelle lieux et musique se donnent sens et valeur. L’ancrage dans un lieu confère à la musique la valeur de vérité et de réalité que recouvre la notion d’authenticité, et donne lieu à des jugements esthétiques imprégnés de déterminisme géographique. Cependant, le lien avec un lieu étant considéré comme un gage de qualité, celui-ci a pu être renforcé ou fabriqué de toutes pièces par l’industrie musicale : paradoxalement, la géomusicalité serait le signe d’une manipulation, du factice, de l’inauthentique. Malgré tout, la musique ayant le pouvoir de rendre le lieu magnétique, en ce qu’il devient l’objet du désir des fans, la fiction musicale peut générer sa propre réalité. Ceci est d’autant plus le cas lorsqu’elle retient l’attention des responsables locaux, et est exploitée dans le cadre d’initiatives de développement économique, notamment sous l’angle touristique – ce qui correspond à une géomusicalité appliquée. Cette étude se donne pour objectif d’explorer les mécanismes de l’esthétique géomusicale, du discours journalistique à ses applications sur le territoire américains. Elle se conclut par une analyse des représentations de la Nouvelle-Orléans en tant que ville musicale au lendemain de l’ouragan Katrina. Les discours qui ont entouré la reconstruction du « berceau du jazz » permettent de mesurer les enjeux de l’association entre musique et lieu aux Etats-Unis, et leurs répercussions sur les identités localesThe discourse on American popular music is fraught with geographical terms whose function is not merely to situate or to categorize music. This lexical field points to the existence of a geomusical imagination around American popular music, which attributes value and meaning to genres and styles that can be traced back to specific locales. Such rootedness is interpreted as a sign of authenticity in the musical discourse. For that reason, geographic authenticity has been fabricated by the music industry in order to increase the value of cultural products. In the same way, local authorities and the tourism industry have promoted the musical image of specifc places in order to make them more attractive to residents and visitors alike. Such initiatives can be considered as applied geomusicality, and decrease the gap between geomusical fiction and geographic reality. This study explores the many facets of geomusicality, from the American journalistic discourse to local initiatives that aim at promoting the musical image of places. It closes on a case study devoted to New Orleans after hurricane Katrina. The way the “cradle of jazz” was represented in the news and in official discourses as well as the musical reactions to the hurricane allow one to assess the many implications of geomusicality and its hold on popular imaginations
37
Berglund, Tobias. ""Trust the soup" : En undersökning av metoder för intuitivt komponerande och strukturerad instudering". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79032.
Testo completoAbstract (sommario):
Sammanfattning: Arbetets bakgrund har handlat om min vilja att hitta en mer intuitivt baserad kompositionsmetod då jag upplevt en begränsning och förutsägbarhet med teoretiska metoder. Inspirationen till detta arbete kom ifrån boken ”Do the work” (Pressfield, 2011) där författaren bl.a. skriver om begreppet ”Trust the soup” och att lyssna efter ”potentiellt existerande låtar”. Jag har även med anledning av osäkra framföranden innan som musiker velat hitta en lämplig instuderings – och inlärningsrutin till mina kompositioner. Syftet med detta examensarbete har varit att utveckla en mer intuitivt baserad kompositionsmetod samt att testa en lämplig instuderings – och inlärningsrutin för genomförandet av mina kompositioner. Syftet har fördjupats i forskningsfrågorna: Hur kan jag utveckla och tillämpa min intuitivt baserade kompositionsmetod baserad på Pressfields citat? Vilka val samt åtgärder har jag behövt ta för att bli klar med mina kompositioner och hur motiverar jag dessa? Hur väljer jag och tillämpar min inlärnings – och instuderingsmetod? Arbetets metoder har bl.a. varit: ”Trust the soup” – metoden, SMART – mål, setsoch reps, andra kompositions metoder och inspelning samt notering. Resultatet blev två inspelade och noterade låtar; Trust the soup och Number 2. ”Trust the soup”-metoden bidrog delvis till en mer intuitiv kompositionsprocess. Setsoch repssamt SMART-mål bidrog till tydligare målsättningar.
38
Nunn, Erich Thomas. "Country music and the souls of white folk". [Gainesville, Fla.] : University of Florida, 2002. http://purl.fcla.edu/fcla/etd/UFE1000149.
Testo completo
39
Silva, Isabela Martins de Morais e. "É, não sou : ensaios sobre os afro-sambas no tempo e no espaço /". Araraquara, 2013. http://hdl.handle.net/11449/131961.
Testo completoAbstract (sommario):
Orientador: Dagoberto José FonsecaBanca: Frank Michael Carlos Kuehn
Banca: Ana Lúcia Castro
Resumo: A presente dissertação coloca em perspectiva os resultados de um processo aberto de investigação poético-política sobre o álbum conceitual de canção popular "Os afro-sambas de Baden e Vinicius", Longplay gravado em 1966 pelo selo carioca Forma, sob a direção de Guerra-Peixe e produção de Roberto Quartin. Os ensaios de interpretação e análise aqui realizados compreendem tanto a atenção formal ao "texto" da parceria musical - as canções do compositor e violonista Baden Powell e do letrista e poeta Vinicius de Moraes - quanto à compreensão ampliada do "con-texto" do tempo-e-espaço em seu devir. Por um lado, trata-se de uma aproximação analítica e material-sensível a elementos de melodia e letra de cada uma das canções - de Canto de Ossanha ao Lamento de Exu -, que se valem dos estudos culturais (Raymond Williams), da filosofia da linguagem «dialético-dialógica» (Mikhail Bakhtin) e da semiótica da canção (Luiz Tatit). Por outro, tem a ver com um distanciamento histórico-crítico e sintético a coordenadas históricas e estruturas de sentimento de uma determinada conjuntura da formação sociocultural brasileira, compreendendo forma e conteúdo em sua inter-relação indissociável. Para além do exame de um objecto, o ato responsável da investigação busca o diálogo com o subjecto, partindo da compreensão (e relação) dos diferentes cronotopos tanto da sujeita pesquisadora quanto da produção estética d'os afro-sambas. Não se trata de questionar a sua consistência musical ou mesmo julgar sua "autenticidade" seja em termos étnico-raciais, religiosos ou ainda de classe social. E nem tomar tais julgamentos a seu respeito como a priori das questões feitas ao álbum. Trata-se, antes, de um exercício de compreensão ativa que mobiliza desde teorias musicais até a sociologia da religião, passando pela escuta sintética e analítica de frases melódicas à assistência de filmes...
Abstract: La presente disertación pone en relieve los resultados de un proceso abierto de investigación poético-política sobre el álbun conceptual de canción popular "Os afro-sambas de Baden e Vinicius", Longplay grabado en 1966 por la etiqueta de Rio de Janeiro Forma, bajo dirección de Guerra-Peixe y producción de Roberto Quartin. Los ensayos de interpretación y análisis aquí realizados comprenden tanto la atención formal al "texto" de la asociación musical - las canciones del compositor y guitarrista Baden Powell y del letrista y poeta Vinicius de Moraes - cuanto a la comprensión ampliada del "con-texto" del tiempo-y-espacio en su devenir. Por un lado, se trata de una aproximación analítica y material-sensible a elementos de melodía y letra de cada una de las canciones - de Canto de Ossanha a Lamento de Exu -, que se valen de los estudios culturales (Raymond Williams), de la filosofía del lenguaje «dialéctico-dialógica» (Mikhail Bakhtin) y de la semiótica de la canción (Luiz Tatit). Por otro, tiene que ver con un alejamiento histórico-crítico y sintético a las coordinadas históricas y estructuras de sentimiento de una determinada coyuntura de la formación sociocultural brasileña, comprendiendo forma y contenido en su inter-relación indisociable. Más allá que el examen de un objecto, el acto responsable de la investigación busca el diálogo con el subjecto, partiendo de la comprensión (y relación) de los diferentes cronotopos tanto de la sujeta investigadora cuánto de la producción estética de los afro-sambas. No se trata de cuestionar su consistencia musical o aún juzgar su "autenticidad" sea en términos étnico-raciales, religiosos o aún de clase social. Y ni tomar tales juicios a su respeto como a priori de las cuestiones hechas al álbun. Se trata, antes, de un ejercicio de comprensión activa que moviliza desde teorías musicales hasta la sociología de la religión, pasando ...
La présente dissertation met en relais les résultats d'un procès ouvert de recherche poétique-politique sur l'álbun conceptual de chanson populaire "Os afro-sambas de Baden e Vinicius", Longplay enregistré en 1966 par l'étiquette de Rio de Janeiro Forma, sous direction de Guerre-Peixe et production de Roberto Quartin. Les essais d'interprétation et analyse réalisés ici comprennent autant à l'attention formelle au "texte" de l'association musicale - les chansons du compositeur et guitarriste Baden Powell et du lettriste et poète Vinicius de Moraes - combien à la compréhension élargie du "con-texte" du temps-et-espace en son devenir. D'une part, il s'agit d'une approximation analytique et matériel-sensible à des éléments de mélodie et lettre de chacune des chansons - de Canto de Ossanha a Lamento de Exu -, que se valent des études culturelles (Raymond Williams), de la philosophie du langage «dialectique-dialogique» (Mikhail Bakhtin) et de la sémiotique de la chanson (Luiz Tatit). Par autrui, doit voir avec un distanciation historique-critique et synthétique aux coordené historiques et structures de sentiment d'une déterminée conjoncture de la formation socioculturel brésilienne, en comprenant forme et contenu en son inter-relation indivisible. Au-delà que l'examen d'un objecto, l'acte responsable de la recherche trouve le dialogue avec le subjecto, en partant de la compréhension (et relation) des différents cronotopos tellement de la sujette chercheuse combien de la production esthétique des afro-sambas. Il ne s'agit de pas remettre en question son consistence musical ou encore juger sa "authenticité" il soit en termes ethnique-raciaux, religieux ou encore de classe sociale. Et ni prendre des tels jugements à son respect comme a priori des questions faites à l'album. Il se traite, allore, d'un exercice de compréhension active que mobilise depuis des théories ...
Mestre
40
House, Ginevra. "Strange flowers : cultivating new music for gamelan on British soil". Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/6793/.
Testo completoAbstract (sommario):
This thesis explores new music created for gamelan in Britain, focusing primarily upon works for Javanese gamelan. It explores the historical conditions and human motivations which have made composition for gamelan such a distinctive part of the UK scene, and explores the range of works created through a series of taxonomical spectra. It considers how composers writing for gamelan in the UK situate themselves amongst the transcultural influences they are at play with in their composition. This is explored through a variety of lenses: looking at how composers use, avoid or mix musical structures associated with gamelan and those from other systems; whether or not they draw upon creative processes and methods of transmission associated with traditional gamelan music; and what happens when gamelan instruments are combined with those from other systems or with electronically-generated sound. It also explores narratives of authenticity and hybridity, and the interrelationship between British gamelan composition and the wider cultural scene. It questions the extent to which the British gamelan scene is distinct from other international gamelan communities, and the extent to which it is not, suggesting that the appearance of difference is in fact more of an inflection, coloured by local conditions, history and individuals, but nevertheless an expression of the same contemporary trans-state cosmopolitan flows (Turino 2003) that characterise gamelan cultures around the world.
41
Hamilton, John C. "Rubber Souls: Rock and Roll and the Racial Imagination". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10873.
Testo completoAbstract (sommario):
This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music "became white." By Jimi Hendrix's death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously. The first is of audience and discourse, and the processes through which a music born of interracialism came to understand whiteness as its most basic stakes of authenticity. This is a story of the deeply ideological underpinnings of genre formation, and the ways that the visual imagination of race is strangely and powerfully elided with the audible imagination of sound. The second story is of music's own resistance to such elisions, and examines a transatlantic community of artists including Bob Dylan, Sam Cooke, the Beatles, Aretha Franklin, Dusty Springfield, the Rolling Stones, Jimi Hendrix and others to fashion an interracial counter-history of Sixties music, one that rejects hermetic ideals of racial authenticity while revealing the pernicious effects of these ideologies on musical discourse. Ultimately, this dissertation provides a new way into the topic of race and popular music--long dominated by essentialist claims of cultural ownership on one hand, and a romantic "colorblindness" on the other--by demonstrating that racial thought is both a producer and product of expressive culture. Rarely has this been truer than in the 1960s, when both popular music and racial ideology underwent explosive transformations that were never entirely separate from each other. Rock and roll music, I argue, did not become white as a result of the music that people made, but rather as a result of discursive forces that surrounded, celebrated, and too often drowned out the music that people heard.
42
Wallbaum, Christopher. "Was soll Gegenstand von Musik in der Schule sein?" Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-33229.
Testo completoAbstract (sommario):
Der Beitrag nimmt seinen Ausgangspunkt bei der Analyse eines Papiers der Konrad Adenauer-Stiftung, das einen Werkekanon für den Musikunterricht vorschlägt. Er führt zu dem Schluss, dass Musik eine besondere Art der ästhetischen Praxis ist, die kulturabhängige Wahrnehmungsinteressen, Vollzugsweisen und dementsprechend gestaltete Musikstücke umfasst. Am Beispiel einer Profiloberstufe wird gezeigt, warum in musikalisch bildender Praxis nicht ethische oder historische, sondern ästhetische Praxis bestimmend sein sollteWhat should be the subject of music education? The article takes its starting point at analysing a paper of the Konrad Adenauer-Stiftung, that suggests an opus- canon. The proposal of the article is, that music is a special kind of aesthetic practice including different ways of perception, which depends on cultural experiences. The example of a general school points out, why aesthical and not ethical or historical practice should dominate the practice of music education
43
Silva, Isabela Martins de Morais e. [UNESP]. "É, não sou: ensaios sobre os afro-sambas no tempo e no espaço". Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/131961.
Testo completoAbstract (sommario):
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La présente dissertation met en relais les résultats d'un procès ouvert de recherche poétique-politique sur l'álbun conceptual de chanson populaire Os afro-sambas de Baden e Vinicius, Longplay enregistré en 1966 par l'étiquette de Rio de Janeiro Forma, sous direction de Guerre-Peixe et production de Roberto Quartin. Les essais d'interprétation et analyse réalisés ici comprennent autant à l'attention formelle au texte de l'association musicale - les chansons du compositeur et guitarriste Baden Powell et du lettriste et poète Vinicius de Moraes - combien à la compréhension élargie du con-texte du temps-et-espace en son devenir. D'une part, il s'agit d'une approximation analytique et matériel-sensible à des éléments de mélodie et lettre de chacune des chansons - de Canto de Ossanha a Lamento de Exu -, que se valent des études culturelles (Raymond Williams), de la philosophie du langage «dialectique-dialogique» (Mikhail Bakhtin) et de la sémiotique de la chanson (Luiz Tatit). Par autrui, doit voir avec un distanciation historique-critique et synthétique aux coordené historiques et structures de sentiment d'une déterminée conjoncture de la formation socioculturel brésilienne, en comprenant forme et contenu en son inter-relation indivisible. Au-delà que l'examen d'un objecto, l'acte responsable de la recherche trouve le dialogue avec le subjecto, en partant de la compréhension (et relation) des différents cronotopos tellement de la sujette chercheuse combien de la production esthétique des afro-sambas. Il ne s'agit de pas remettre en question son consistence musical ou encore juger sa authenticité il soit en termes ethnique-raciaux, religieux ou encore de classe sociale. Et ni prendre des tels jugements à son respect comme a priori des questions faites à l'album. Il se traite, allore, d'un exercice de compréhension active que mobilise depuis des théories ...
A presente dissertação coloca em perspectiva os resultados de um processo aberto de investigação poético-política sobre o álbum conceitual de canção popular Os afro-sambas de Baden e Vinicius, Longplay gravado em 1966 pelo selo carioca Forma, sob a direção de Guerra-Peixe e produção de Roberto Quartin. Os ensaios de interpretação e análise aqui realizados compreendem tanto a atenção formal ao texto da parceria musical - as canções do compositor e violonista Baden Powell e do letrista e poeta Vinicius de Moraes - quanto à compreensão ampliada do con-texto do tempo-e-espaço em seu devir. Por um lado, trata-se de uma aproximação analítica e material-sensível a elementos de melodia e letra de cada uma das canções - de Canto de Ossanha ao Lamento de Exu -, que se valem dos estudos culturais (Raymond Williams), da filosofia da linguagem «dialético-dialógica» (Mikhail Bakhtin) e da semiótica da canção (Luiz Tatit). Por outro, tem a ver com um distanciamento histórico-crítico e sintético a coordenadas históricas e estruturas de sentimento de uma determinada conjuntura da formação sociocultural brasileira, compreendendo forma e conteúdo em sua inter-relação indissociável. Para além do exame de um objecto, o ato responsável da investigação busca o diálogo com o subjecto, partindo da compreensão (e relação) dos diferentes cronotopos tanto da sujeita pesquisadora quanto da produção estética d'os afro-sambas. Não se trata de questionar a sua consistência musical ou mesmo julgar sua autenticidade seja em termos étnico-raciais, religiosos ou ainda de classe social. E nem tomar tais julgamentos a seu respeito como a priori das questões feitas ao álbum. Trata-se, antes, de um exercício de compreensão ativa que mobiliza desde teorias musicais até a sociologia da religião, passando pela escuta sintética e analítica de frases melódicas à assistência de filmes...
La presente disertación pone en relieve los resultados de un proceso abierto de investigación poético-política sobre el álbun conceptual de canción popular Os afro-sambas de Baden e Vinicius, Longplay grabado en 1966 por la etiqueta de Rio de Janeiro Forma, bajo dirección de Guerra-Peixe y producción de Roberto Quartin. Los ensayos de interpretación y análisis aquí realizados comprenden tanto la atención formal al texto de la asociación musical - las canciones del compositor y guitarrista Baden Powell y del letrista y poeta Vinicius de Moraes - cuanto a la comprensión ampliada del con-texto del tiempo-y-espacio en su devenir. Por un lado, se trata de una aproximación analítica y material-sensible a elementos de melodía y letra de cada una de las canciones - de Canto de Ossanha a Lamento de Exu -, que se valen de los estudios culturales (Raymond Williams), de la filosofía del lenguaje «dialéctico-dialógica» (Mikhail Bakhtin) y de la semiótica de la canción (Luiz Tatit). Por otro, tiene que ver con un alejamiento histórico-crítico y sintético a las coordinadas históricas y estructuras de sentimiento de una determinada coyuntura de la formación sociocultural brasileña, comprendiendo forma y contenido en su inter-relación indisociable. Más allá que el examen de un objecto, el acto responsable de la investigación busca el diálogo con el subjecto, partiendo de la comprensión (y relación) de los diferentes cronotopos tanto de la sujeta investigadora cuánto de la producción estética de los afro-sambas. No se trata de cuestionar su consistencia musical o aún juzgar su autenticidad sea en términos étnico-raciales, religiosos o aún de clase social. Y ni tomar tales juicios a su respeto como a priori de las cuestiones hechas al álbun. Se trata, antes, de un ejercicio de comprensión activa que moviliza desde teorías musicales hasta la sociología de la religión, pasando ...
44
Mitchell, Scott Christian. "An Improved MUSIC Model for Gibbsite". Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd831.pdf.
Testo completo
45
Nitzler, Ludvig. "TECH-DEATH & NEO-SOUL : INSIKTER OCH ÅSIKTER". Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-175315.
Testo completoAbstract (sommario):
In this hermeneutic and autoethnographic study I explore and analyze two different music projects, and the process of working with them at the same time. The purpose of this is to find practical, psychological, and artistic insights.The results ascertain that tech-death and neo-soul are linked together by jazz and early twentieth century classical music, both culturally and music-theoretic. Further conclusions illuminated my own constructed role in music production and defined similarities in workflow in terms of both genres.
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Montagnier, Jean-Paul. "The church music of Charles-Hubert Gervais (1671-1744), sous-maître de musique at the Chapelle Royale /". Ann Arbor (Mich.) : UMI, 1995. http://catalogue.bnf.fr/ark:/12148/cb357447093.
Testo completo
47
Contreras, Zubillaga Igor. "L'avant-garde musicale espagnole sous le franquisme. Une histoire politique". Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0058.
Testo completoAbstract (sommario):
L’historiographie de l’avant-garde musicale sous le franquisme a montré à quel point celle-ci s’était développée dans des structures proches du pouvoir. Selon les études produites sur cette question, les compositeurs se seraient emparés des organismes officiels comme d’espaces dépolitisés dans lesquels ils auraient pu mener une activité artistique autonome. Ce sont ainsi les attitudes de prise de distance et de critique face au gouvernement de Franco qui ont majoritairement suscité l’intérêt des chercheurs, laissant de côté la question de la proximité de ces musiciens avec le pouvoir en place. Notre thèse tente de reconstruire et d’analyser dans toute leur complexité les rapports tissés entre le milieu de l’avant-garde musicale espagnole et le régime franquiste. À cet effet, elle s’intéresse aux éléments – conduites, discours, événements, productions – mettant en évidence la proximité de ses protagonistes avec la sphère politique ainsi qu’au soutien que l’État a pu leur apporter. Située au croisement de l’histoire et de la musicologie, cette enquête cherche d’une part à proposer une nouvelle approche de l’histoire culturelle et politique du franquisme et d’autre part à contribuer à une réflexion plus générale sur les interpénétrations entre musique et politique, en particulier sous les dictaturesAs previous research has shown, the Spanish musical avant-garde originated under Franco and then forged long-lasting and close connections with State institutions. According to these studies, composers used official organizations as depoliticized spaces in which they could develop their autonomous artistic activity. Thus, most scholars have focused on critical attitudes towards the regime and ignored issues regarding the proximity of these musicians with Franco’s government. This research aims to reconstruct and analyse the relationship between the Spanish musical avant-garde and the Francoist regime in all its complexity. In order to do so, we will closely examine elements – behaviour, rhetoric, events, productions – which show the proximity of certain composers to the political sphere as well as the support that the State provided for them. Situated at the crossroads between history and musicology, this study offers a new perspective on the cultural and political history of Francoism and, moreover, contributes to a general reflection on the interpenetration of music and politics, particularly under dictatorial regimes
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Clemens, Gabriele. "Britische Kulturpolitik in Deutschland 1945-1949 : Literatur, Film, Musik und Theater /". Stuttgart : F. Steiner, 1997. http://catalogue.bnf.fr/ark:/12148/cb370585898.
Testo completo
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Reeder, Kory Ray. "The Location of Lines". Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1521462083959007.
Testo completo
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Li, Jianzhong. "Investigation on Near-field Source Localization and the Corresponding Applications". Thesis, Nantes, 2017. http://www.theses.fr/2017NANT4007/document.
Testo completoAbstract (sommario):
Mes travaux de recherche se sont focalisés sur le traitement d’antenne multi-capteurs et plus particulièrement sur la localisation de sources en champ proche. La localisation de sources a pour objectif d’estimer les paramètres de position des sources. Quand les sources sont proches du réseau de capteurs (situation de champ proche), le front d’onde du signal est sphérique et deux paramètres sont alors nécessaires pour localiser les sources : la direction d’arrivée et la distance entre la source et le réseau de capteurs. Tout d’abord, trois nouvelles méthodes à sous-espace basées sur les statistiques d’ordre supérieur ont été proposées. La première proposition est basée sur une matrice cumulant (du quatrième ordre) non- Hermitienne. Cette méthode permet d’estimer séparément les DDA et les distances avec une seule matrice spécifique et une seule décomposition en éléments propres. Ensuite, nous introduisons dans cette méthode, le principe des méthodes à sous-espace linéaires. Enfin, nous avons proposé d’agrandir virtuellement l’ouverture du réseau de capteurs afin d’améliorer la résolution et la précision dans l’estimation de la distance. Dans un second temps, une nouvelle méthode CS basée sur les statistiques d’ordre supérieur a été proposée. Les simulations ont montré que la méthode proposée possédait une meilleure résolution et une plus grande précision que les méthodes traditionnelles. Enfin, une méthode CS associée à une nouvelle méthode de réduction de bruit a été proposée pour mesurer les épaisseurs d’un milieu stratifié. Plusieurs simulations et une expérimentation ont montré l’efficacité de notre propositionSource localization is a key technology in array signal processing, which is widely applied in radar, geologic prospecting, sonar, electronic surveillance, medical electronics and other fields. Source localization can be classified into far-field source localization and nearfield source localization according to the distance between the sources and the array. Unlike the far-field situation, where each source is parameterized by only the DOA, the near-field signal wavefront is spherical, and both the DOAs and ranges are required to localize near-field sources. First, this dissertation concentrates on the improvements of the MUSIC-based method for near-field source localization. By making full use of the EVD, we make the proposal to estimate the DOAs and ranges in a decoupled way with only one matrix and one EVD. Then we propose a further improvement based on propagator methods. It allows to avoid the EVD and therefore leads to an even lower computational complexity. The third improvement is to increase the number of effective virtual sensors for the range estimation, which expands the aperture and achieves a notable improvement for the range estimation accuracy. In order to apply CS to near-field source localization, we propose a high-order CS method with a pairing step based on clustering. The proposed method can achieve better accuracy and resolution than traditional methods. This work ends with the application of GPR. An enhanced CS method is proposed to carry out the TDE directly in low SNR scenario