Rozprawy doktorskie na temat „Female musician”
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Jordan, Meggan. "10X THE TALENT = 1/3 OF THE CREDIT: HOW FEMALE MUSICIANS ARE TREATED DIFFERENTLY IN MUSIC". Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2289.
Pełny tekst źródłaM.A.
Department of Sociology
Sciences
Applied Sociology
Weliver, Phyllis. "Singing angel or musical demon? : representations of female musicians in Victorian literature". Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299032.
Pełny tekst źródłaBenard, Charlène. "Le « metal à chanteuse », un genre musical ? Une enquête sur la construction médiaculturelle d’un genre musical par le gender. Le cas du metal symphonique en France". Electronic Thesis or Diss., Paris 3, 2023. https://bsnum.sorbonne-nouvelle.fr/files/original/1338/6773/These_en_cours_de_traitement.pdf.
Pełny tekst źródłaSymphonic metal is a subgenre of metal music, which has the particularity of presenting a majority groups lead by female singers (80% on average). This feature is common to both this predominantly male culture, and to popular music more broadly, as the great majority of female musicians tend to be singers. This dissertation aims to measure the role played by women and by singers in the shaping of a musical genre, through a cultural approach of metal culture and of its situation in France, from the genre’s inception in 1996 to the present day.As the most hated genre of music in France, metal must rely mainly on its own networks in order to subsist and foster in this country: its press and local live scenes. Through the analysis of these two elements, this study considers promotional and evaluative media discourses on metal recordings and the production of concerts in France, from foreign bands touring around the country to the grassroots production of local events. Its aim is to consider not only the role female singers play as performers and creators, but also their involvement in the life of a scene often considered as masculine: their position, both central and negotiated, tends to limit the situation of domination. Through a complementary, comprehensive approach based on a questionnaire and interviews, this thesis also discusses the notions of “feminine taste” and of the “feminization” of a genre and a scene
Pan, Li-Ming. "The image and social status of female musicians in Taiwan". Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/27887/.
Pełny tekst źródłaAu, Wai-man Vivian, i 歐慧敏. "The queer female stardom emerging from transnational Chinese singing contests". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B50162755.
Pełny tekst źródłapublished_or_final_version
Comparative Literature
Master
Master of Philosophy
Reis, Silvanio. "Chiquinha Gonzaga, Brazilian Musical Trailblazer". Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/560254.
Pełny tekst źródłaD.M.A.
Previous literature on the life and music of the Brazilian composer Francisca Edwiges Neves Gonzaga (1847-1935) reveals her as a historical figure of cultural and musical significance. Her contributions to society include political leadership in Brazilian campaigns for the abolition of slavery and artistic copyright. She also became the first female conductor in Brazil and shaped the music of Carnaval as it is known today in Brazil. However, her music is not well-known outside of Brazil, and her piano music has not received the attention that it merits. In addition to a closer look at her compositions for piano, this monograph offers biographical and musical details of Gonzaga’s unique career, including her role as a female composer amidst a patriarchal society; her pioneering synthesis of traditional Brazilian and European classical style, and a discussion of her place among her better-known Brazilian contemporaries, Ernesto Nazareth and Heitor Villa-Lobos. The last chapter presents interviews with living musicians—a pianist, a traditional folk artist and a musicologist—who have each continued the traditions of Gonzaga’s music to the present day.
Temple University--Theses
Lambeth, Dawn. "A woman's place is in the groove: an examination of female jazz musicians, 1900 to the present". Thesis, Boston University, 1994. https://hdl.handle.net/2144/27700.
Pełny tekst źródłaPLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
Kerns, Nancy Jane. "Gretchen Cryer and Nancy Ford| Elevating the Female Voice in American Musical Theater". Thesis, University of Hawai'i at Manoa, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13421232.
Pełny tekst źródłaGretchen Cryer and Nancy Ford, along with most other female creators of musicals, remain in the shadows, in spite of an increased focus by the media on women’s contributions to society. The messages of Cryer and Ford’s dramatic themes and songs have not been fully understood by many critics and audience members. Scholarly and popular writings on women in theater remain scarce, and literature on Cryer and Ford contains errors and promotes misunderstandings.
In this thesis, I argue that Gretchen Cryer and Nancy Ford, a writer and composer of musical theater respectively, tackled contemporary issues in their Broadway and off Broadway musicals, introduced new theatrical forms and musical genres to the stage, and have built a distinguished collaborative career and earned a meritorious position in musical theater heritage by incorporating these issues, in particular, those which pertain to women or those which affect women, into their works. I seek to correct and build upon extant writings and information from media resources. My thesis is the first monograph to detail the lives and works of Cryer and Ford, and to assess their contributions to the musical theater genre. My detailed case studies dissect several Cryer and Ford musicals, which speak directly to prominent images and ideas of the time, and reveal how their works emphasize the importance of interpersonal communication, and endorse humanism and, in particular, feminism. Cryer and Ford are trailblazers for other female musical writers, for whom they have advocated, and for whom I provide a comprehensive overview.
McLaughlin, Adria Ryan. "Navigating Gender Inequality in Musical Subgenres". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2600.
Pełny tekst źródłaMacRory, Pauline Maeve. "She shoots! She scores! : the musical portrayal of female violence in recent Hollywood film". Thesis, University of Strathclyde, 1999. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21400.
Pełny tekst źródłaWolfgang, Nancy Andersen. "Adolescent Female Musical Theater Belt Pedagogy: Preparation, Approaches, and Experiences of Ohio Music Educators". Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1434468398.
Pełny tekst źródłaHawk, Heather L. "“I Gotta Right to Sing the Blues”: Considering the Music of Harold Arlen (1905-1986) for Use by Female Singers in the Classical Voice Studio". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500087/.
Pełny tekst źródłaMoriarty, Bridget Maureen. "Crossing over| Examining the challenges of a classically trained female performing music theater repertoire". Thesis, The University of North Carolina at Greensboro, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3708153.
Pełny tekst źródłaI. Solo Recital: Friday, April 11, 2013, 7:30 p.m., Taylor Theatre. Cendrillon (Jules Massanet) Opera Role.
II. Solo Recital: Saturday, February 8, 2014, 7:30 p.m., Recital Hall. "Warum betrübst du dich," "Wilst du dein Herz mir schenken" (Johann Sebastian Bach); Bachianas Brasileiras No. 5 (Hector Villa-Lobos); "Kennst du das Land" (Hugo Wolf); "Kennst du das Land" (John Duke); "Nur wer die Sehnsucht kennt" (Robert Schumann); "Net tolko tot kto znal;" (Pyotr Ilyich Tchaikovsky); "Aime-moi" (Pauline Viardot); "Vaga Luna" (Vincenzo Bellini); "Aragonese" (Gioacchino Rossini); "Befreit," "Ruhe Meine Seele," "Ständchen," "Amor" (Richard Strauss).
III. Solo Recital: Thursday, March 5, 2015, 7:30pm., Recital Hall. "Youkali," "J'attends un navire," "Wie lange noch?," "Come up from the Fields, Father" (Kurt Weill); "Tom Sails Away" (Charles Ives); "Le disparu," "Bleuet," "C," "Fêtes galantes" (Francis Poulenc); Ariettes Oubliées (Claude Debussy); Cabaret Songs (Benjamin Britten); "Waldseligkeit," "Selige Nacht," "Hat dich die Liebe berührt" (Joseph Marx).
IV. D.M.A. Research Project. CROSSING OVER: EXAMINING THE CHALLENGES OF A CLASSICALLY TRAINED FEMALE PERFORMING MUSIC THEATER REPERTOIRE. This document explores the pedagogy of a classically trained singer as well as that of a music theater performer exploring similarities and differences. Musical examples are referenced throughout. A discussion of style of the megamusical and the 21st century musical provides context. A final chapter on repertoire suitable for bridging the styles provides a reference for the teacher and singer.
Ryan, Charlene Anne. "A study of the differential responses of male and female children to musical performance anxiety /". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36788.
Pełny tekst źródłaJoncus, Berta. "A star is born : Kitty Clive and female representation in eighteenth-century English musical theatre". Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:1e03037b-89a3-4b00-a5ae-81229ccdf5c7.
Pełny tekst źródłaGriffin, Amy. "Sally: Understanding Cabaret and the Politics of Female Agency". Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1183.
Pełny tekst źródłaEllzey, Delilah. "Musical Cognitive Restructuring Based App for Black Females’ Negative Thoughts and Anxiety". Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524174359408583.
Pełny tekst źródłaBjörk, Johanna. "Could musical mastery affect how attractive a person is rated as a prospective partner?" Thesis, Umeå universitet, Institutionen för psykologi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-73419.
Pełny tekst źródłaEvolutionspsykologiska teorier förklarar och predicerar mänskligt beteende utifrån dess adaptiva värde. Vissa uppenbart icke-adaptiva beteenden, som människans hängivenhet till musik, kan förklaras som sexuell selektion av kostsamma signaler, eftersom det kräver tid och möda att lära sig bemästra ett instrument. Deltagare fick skatta bilder på personer av motsatt kön som påstods spela det musikstycke som hördes medan man tittade på varje bild. Musikutförandet var antingen av låg, medel, eller hög skicklighet, och ett bättre utförande förväntades ge högre skattningar av partnerattraktivitet eftersom det är mer kostsamt. Ingen effekt av musiken förelåg, förutom att kvinnorna skattade män som mindre attraktiva för ett längre förhållande när skicklighetsnivån var hög jämfört med när den var medelhög.
Cooke, Tracey. "Investigating register preferences in the female singer of contemporary commercial music". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1978.
Pełny tekst źródłaSnyder, Tara. "NOT QUITE THE INGéNUE: THE DEVELOPMENT OF THE MIDDLE-AGED FEMALE CHARACTER IN MUSICAL THEATRE". Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4085.
Pełny tekst źródłaM.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
Roll, Christianne Knauer. "Female musical theater belting in the 21st century| A study of the pedagogy of the vocal practice and performance". Thesis, Teachers College, Columbia University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3621794.
Pełny tekst źródłaThe female musical theater belt voice has been heard onstage for almost one hundred years, yet the demands for this type of singing continue to evolve. While the style dominates Broadway, an understanding of successful teaching of the female belt voice seems to be lacking. Therefore, this study was undertaken to appropriately address the needs of female musical theater singers, and to establish effective strategies for teaching the female belt voice.
Individual case studies of four nationally recognized master teachers of female belting were created from observations in the studio, interviews with the teachers, and interviews with their students. Thirty-two hours of private voice lessons were observed with 18 female belt students in the studios of these master teachers in an effort to determine the extent to which they employed common techniques in the pedagogy and agreed on the characteristics of the female belt voice. Interview responses and field notes from the teachers and singers were analyzed individually and a cross-comparison of the data was analyzed for consensus or conflicting information on female musical theater belt pedagogy.
Interestingly, there was much consensus among the teachers on the physicality, sound, and strategies for female belting. Included in the findings were that the female belt voice is not a pure chest voice production, and development of the entire voice is key since working in head voice allows a female to create a lighter belt sound and to make the transition into the higher belt range. Distinct techniques for the traditional and contemporary belt voices emerged. The traditional belt, up to D5, uses more chest voice and full, open vowels. The contemporary belt, higher than D5, is produced with more head voice and closed, narrow vowels. Belting is considered speech-like and exciting, and is a joint process between teachers and students.
Based on this research, voice teachers working with musical theater students must be educated and proficient on the specific strategies and techniques of the evolving female belt voice. The female belt voice, though different from classical singing, does have its own set of techniques.
Schopf, Fiona Jane. "Musical gender constructs in the operas of Richard Wagner with specific reference to some of the leading female roles". Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368797.
Pełny tekst źródłaMason, Melissa. "The revenge of the second banana a female sidekick's survival guide". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4803.
Pełny tekst źródłaID: 030646275; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 81-83).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Musical Theatre
Torrissen, Wenche. "The Gaiety girl as a new, 'new woman' : pleasure, female desire and sexual subversion in late-Victorian and Edwardian musical comedy". Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521776.
Pełny tekst źródłaWaddell, Simone. "Communicating artistry through gesture by legendary Australian jazz singer Kerrie Biddell". Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18635.
Pełny tekst źródłaFigueirêdo, Anne Raelly Pereira de. "A estética vocal de cantoras paraibanas: Marinês, Cátia de França e Elba Ramalho". Universidade Federal da Paraíba, 2010. http://tede.biblioteca.ufpb.br:8080/handle/tede/8674.
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This paper presents the research results who try to comprehend fundamental definitions aspects of vocal esthetics in musical expressions of Paraíba´s female singers, specifically focused at three state musicians with local, regional and national recognition, they are: Marinês, Elba Ramalho and Cátia de França. This work was based with views of ethnomusicology and related fields. The methodological research evolved bibliographical research, record, sound, documental research, participative observation and half-structured interviews, as well data analysis and organization resources which could generate a clear, wide and contextualized view of the researched reality. Based on the research realized, the discussions and analysis done throw the paper became evident that the vocal esthetics of each singer was defined by the inter-relation of multiple aspects linked to physiological dimensions and voice techniques, to the use of recording technological resources, voice effects and amplifications and to cultural background in general that point the history of each female singer studied.
Este trabalho apresenta resultados de uma pesquisa que buscou compreender aspectos fundamentais definidores da estética vocal na expressão musical de cantoras da Paraíba, contemplando especificamente três intérpretes do Estado de grande destaque local, regional e nacional, quais sejam: Marinês, Elba Ramalho e Cátia de França. O estudo foi realizado a partir de perspectivas da área de etnomusicologia e de outros campos afins ao foco do estudo. A base metodológica da pesquisa abrangeu pesquisa bibliográfica, pesquisa sonoro-documental, observação participante e entrevistas semi-estruturadas, bem como instrumentos de organização e análise dos dados que pudessem propiciar uma leitura abrangente e contextualizada da realidade investigada. A partir da pesquisa realizada e das discussões e análises concretizadas ao longo da dissertação ficou evidente que a estética vocal de cada cantora é definida a partir da inter-relação de diversos aspectos ligados às dimensões fisiológicas e técnicas da voz; ao uso de recursos tecnológicos de gravação, efeitos e amplificação vocal; e às influências e bases culturais em geral que marcam a trajetória das três cantoras estudadas.
Tramonte, Marcella [UNESP]. "O Coro Santa Cecília, uma análise documental: o papel da mulher como educadora musical na primeira metade do século XX em São João da Boa Vista". Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151758.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Este trabalho tem como foco o Coro Santa Cecília, coro feminino pertencente à associação católica Pia União das Filhas de Maria na cidade de São João da Boa Vista, na primeira metade do século XX. O grupo vocal, “moderno” para sua época, chegou a obter considerável projeção regional e desempenhou importante papel na transmissão de conhecimento na cidade e contexto em questão. Visto que os estudos direcionadas à educação feminina e à participação de mulheres na educação musical ainda se encontra em processo de crescimento, se comparado aos demais estudos sobre história da música e educação musical em geral, este trabalho propõe um estudo da função socioeducacional do Coro Santa Cecília associado à Pia União das Filhas de Maria a partir de fontes documentais primárias presentes no Acervo do Museu de Arte Sacra da Diocese de São João da Boa Vista – partituras, atas de reunião, listas de chamada, cartas, artesanato, fotografias, entre outros - e entrevistas realizadas com ex-integrantes do coro e da associação que o abrigava. Assim, a partir da análise desses documentos buscou-se investigar uma possível contribuição dessas mulheres para a formação de uma elite intelectual na cidade de São João da Boa Vista, e que perdura até os dias atuais.
This work focuses on the Santa Cecilia Choir, a female choir belonging to the Catholic Association Pia União das Filhas de Maria in the city of São João da Boa Vista, in the first half of the twentieth century. The vocal group, "modern" for its time, came to obtain considerable regional projection and played an important role in the transmission of knowledge in the city and context referred. Since studies on female education and on the participation of women in music education are still in the process of growth, if compared to other studies on the history of music and music education in general, this work proposes a study of the social and educational function of the Santa Cecilia Choir associated with Pia União das Filhas de Maria, from primary documentary sources present in the collection of the Museu de Arte Sacra da Diocese de São João da Boa Vista – music sheets, meeting minutes, attendance lists, letters, craft items, among others - and interviews with former members of the choir and the association which sheltered it. Thus, the analysis of these documents sought to investigate a possible contribution of these women to the formation of an intellectual elite in the city of São João da Boa Vista, which continues to this present day.
Canchola, Amy. ""Para qué recorder": Preserving the Legacy of María Grever through Selected Vocal Compositions for Study and Performance". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505196/.
Pełny tekst źródłaHall, Frances L. "Metal Music and Masculinity in the 1980s: Cultural Markers for the End of the Century". Kent State University Honors College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1481478280201701.
Pełny tekst źródłaGerber, Melissa. "Power in Madness : a critical investigation into the musical representation of female madness in the mad scenes of Donizetti’s ‘Lucia’ from Lucia di Lammermoor (1835) and Thomas’s ‘Ophélie’ from Hamlet (1868)". Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/51380.
Pełny tekst źródłaMini Dissertation (MMus)--University of Pretoria, 2016.
Music
Unrestricted
Lee, In-suk. "Aspects of the Korean traditional vocal genre, kagok : female kagok and the call for a new integrative kagok notation : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music in the University of Canterbury /". Thesis, University of Canterbury. School of Music, 2007. http://hdl.handle.net/10092/994.
Pełny tekst źródłaCollingridge, Lorna Marie, i n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen". Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.
Pełny tekst źródłaCollingridge, Lorna Marie. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.
Pełny tekst źródłaThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Theology
Full Text
Stokes, Justine Frances. "We're Changing the Way We Do Business: A Critical Analysis of the Dixie Chicks and the Country Music Industry". Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1228361434.
Pełny tekst źródłaNicol, Jennifer J. "The relationship between creativity and stress levels in female musicians". Thesis, 1993. http://hdl.handle.net/2429/2133.
Pełny tekst źródła"Geechie Wiley: An Exploration of Enigmatic Virtuosity". Master's thesis, 2011. http://hdl.handle.net/2286/R.I.9138.
Pełny tekst źródłaDissertation/Thesis
M.A. Music 2011
"Three Interviews: Diverse Career Paths of Female-Identifying Professional Trombonists". Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.63059.
Pełny tekst źródłaDissertation/Thesis
Doctoral Dissertation Music 2020
Lawrence, Sidra Meredith. "It's just this animal called culture : regulatory codes and resistant action among Dagara female musicians". Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-08-4251.
Pełny tekst źródłatext
QUAINTANCE, COURTNEY. "Performing women: opera, sexuality, and the female voice in Seventeenth-Century Italy". Doctoral thesis, 2022. http://hdl.handle.net/11573/1655246.
Pełny tekst źródłaPrince, April Laine. "Der anmutreichen, unschuldsvollen Herrin : Clara Schumann's public personas". 2009. http://hdl.handle.net/2152/7558.
Pełny tekst źródłatext
Turner, Katherine Lynn 1977. "The musical culture of La Concezione : devotion, politics and elitism in post-Tridentine Florence". 2008. http://hdl.handle.net/2152/9812.
Pełny tekst źródłatext
Chang, Huei-Wen, i 張慧文. "A Taiwanese Female Singer: Lin Hau''s Musical Life in Japanese Colonial Period(1932-1937)". Thesis, 2002. http://ndltd.ncl.edu.tw/handle/55879604273905745092.
Pełny tekst źródła國立臺灣大學
音樂學研究所
90
Lin Hau (1907-1991), born in Tainan (southern city of Taiwan), was a female singer who learned vocal professionally in the early 20th century. This thesis attempts to approach Lin’s musical life in 1930’s through two kinds of methods: the interpretation of historical data and the analysis of musical materials. Through the data interpretation, it was found that there were three channels to make Lin access the western music in her music enlightenment: Japanese style school education, church activities in Tainan area, and phonograph records. After married, with the encouragement of her husband, Mr. Lu Bing-Ding, a significant Taiwanese social movement promoter in late 1920’, she luckily had the chance to keep on her music career. Through the music analysis, it was found that the pieces Lin performed included western, Japanese, Taiwanese composers but the texts were sung mainly in the language of Mandarin, Taiwanese, and Japanese. In addition, it was also found that the characteristics of Taiwanese songs melodies which were mainly established on pentatonic scale, and the orchestration which were arranged by western instruments or half-western, half-Chinese traditional instruments. In conclusion, this thesis interpreted not only the Taiwanese Female singer during the Japanese colonial period, but the interactions of music environment among Taiwan, Japan, Mainland China, and western world.
Hunt, Katrina Margaret. "The Female Voice in American Musical Theatre (1940-1955): Mary Martin and the Development of Integrated Vocal Style". Phd thesis, 2016. http://hdl.handle.net/1885/101933.
Pełny tekst źródłaSitko, Katarzyna Maria, i 思夏. "「Analysis of Female Characters in The Musical〝Billy Elliott〞」—Taking Mrs. Wilkinson, the Grandmother and the Mother as examples". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/gcjp8z.
Pełny tekst źródła國立臺灣師範大學
表演藝術研究所
105
The thesis analyzes the role of the female characters in the musical “Billy Elliot”. It is divided into five chapters. Chapter 1 describes the research motivation and thesis framework. Chapter 2 discusses the roots of Billy Elliot's story, encouraging the deeper understanding of its background. Chapter 2 is divided into 3 sections: Section 1 tells the story of who Billy Elliot is. It explores the changes from the real story to the motion picture and onto the musical. Using the real story background and literature reviews we learn about the background and history of the movie. Section 2 presents the music and translation of the lyrics. Section 3 shows the story and background of the musical introducing the director, screen writer, playwriter, actors and music, as well as the full translation of the lyrics. Chapter 3 gathers an in-depth analysis and study of the musical’s female characters that have influenced Billy Elliot during different stages of his life. Chapter 3 is divided into 3 sections: Section 1 is dedicated to the teacher Ms. Wilkinson, focusing on the influence on her students and how she influenced and supported Billy. Section 2 talks about the grandmother and how she influenced Billy and how it influenced the boys character and personality. Section 3 is about his mother. She has passed away but still shows up in the boys imagination. They have conversations and it also influences his character and builds it. Chapter 4 analyzes the songs of the musical with full translation. The chapter is divited into 7 sections: Section 1 is a description of the lyrics and analysis of the song “Shine”. Section 2 describes the song and lyrics “Born to boggie”. Section 3 describes the song and lyrics of “We’d go dancing”. Section 4 is the description and lyrics of the song “Dear Billy (Mom’s letter)”. Section 5: description and lyrics of the song “Dear Billy (Billy’s reply)”. Section 6: description and lyrics of the song “The strars look down”. Section 7: description and lyrics of the song “Once we were kings”. Chapter 5 is the summary of the conversations of female characters in “Billy Elliot”, influence of the drama review, explaining the feelings behind the female characters. Two attachments : 1 script from the play Billy Elliot the musical. 2 a brief interview with the lead role-actor Hanna Elliott.
"Stefania Turkevych's Heart of Oksana (1969): A Critical Edition of a Lost Ukrainian Opera". Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57052.
Pełny tekst źródłaDissertation/Thesis
Doctoral Dissertation Music 2020
Chung, Tzu-hsuan, i 鐘梓瑄. "A Preliminary Study on Giacomo Puccini’s Opera《Suor Angelica》-The Musical Analysis and Interpretation of the Female Leading Role“Angelica”". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/h9b5wy.
Pełny tekst źródłaChen, Chien-li, i 陳倩俐. "The Research on Chorus Selections of the Female Chorus Group B of the Junior High School in the National Student Musical Competitions". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/59706389545694242429.
Pełny tekst źródła國立臺南大學
音樂學系碩士班
101
The purpose of this study aims to understand the signification of “ The Research on Chorus Selections of the Female Chorus Group B of the Junior High School in the National Student Musical Competitions. ” First, explore the origin and evolution of the “ National Student Musical Competitions ” and the change of the competition regulations. Furthermore, explore the historical development of the Mass and the evolution of the Mass scriptures. Based on the analysis results of the musical performances of three final chosen pieces, repeatedly selected for the musical competitions in the northern, central, and southern areas from 2008 to 2012, twelve choral pieces with lyrics of the Mass scriptures are proposed. In addition to some appropriate singing suggestions, the findings, analysis of the musical performances, are used as reference for chorus educators in need of teaching or instructing.
"Run deep: the voice, authorship and musicianship of Chinese female rock musicians (1979-2012) = 尋深 : 中國女性搖滾音樂人的聲音, 作者身份與音樂才能(1979-2012)". 2015. http://repository.lib.cuhk.edu.hk/en/item/cuhk-1291957.
Pełny tekst źródłaThesis Ph.D. Chinese University of Hong Kong 2015.
Includes bibliographical references (leaves 306-321).
Abstracts also in Chinese; appendix in Chinese.
Title from PDF title page (viewed on 07, December, 2016).
Qu, Shuwen.
Michl, Jakub. "Hudební kultura v konventu alžbětinek na Novém Městě Pražském". Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-390377.
Pełny tekst źródła