Teses / dissertações sobre o tema "Humanities -> music -> music history"
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Rice, Albert R. "A History of the Clarinet to 1820". Scholarship @ Claremont, 1987. http://scholarship.claremont.edu/cgu_etd/106.
Texto completo da fonteCepero, Laura. "The Afro-American Slave Music Project: Building a Case for Digital History". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5615.
Texto completo da fonteM.A.
Masters
History
Arts and Humanities
History; Public History
Army, Priscilla W. "Background music : National Socialist propaganda and the reinforcement of German virtue". Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/59514.
Texto completo da fonteCataloged from PDF version of thesis.
Includes bibliographical references (p. 66-69).
This thesis examines the implementation of official propaganda issued by the National Socialist regime during the years following Adolf Hitler's rise to power in 1933 up through 1945. By analyzing two very different mediums of propaganda used by the National Socialist party, film and advertising in a middle-class German periodical, I compare subtle and overt propaganda methods, as well as the differing approaches the Reich Ministry for Propaganda took when targeting varying audiences. My first chapter is an in depth analysis of the German Film industry under the Third Reich. I looked at three Nazi propaganda films: Triumph des Willens (1934), a film created in order to establish Hitler's role as the leader of the Third Reich, der ewige Jude (1940), a crude, documentary style, anti-Semitic film, and Jud Siij3 (1940), a feature length entertainment film. A comparison of the content of these films and their respective box office results point out the strengths and weaknesses of different approaches to propaganda films. In my second chapter I explore women's advertisements in the popular German periodical die Gartenlaube. By looking at the evolving depiction of women in advertisements for products such as Nivea-Creme and Nur Blond (a women's hair product), and the imagery of women on the covers of the magazine, I attempt to show the ways in which the National Socialist party attempted to connect the standards of beauty to political and ideological goals, thereby redefining them. The political and ideological propaganda of the party was the "background music" to everyday life, regardless of whether its German viewers were political supporters of the Nazi Party. I argue that the goal of the Reich Ministry for Propaganda and Public Enlightenment was never to transform or mold the minds of the masses, but to reiterate and reinforce pervasive beliefs and to encourage passive acceptance of, or even just minimize opposition to, Nazi ideology and legislation.
by Priscilla W. Army.
S.B.
Bernard, Ryan Carlson. "The Rise and Fall of the Hillbilly Music Genre, A History, 1922-1939". Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2059.
Texto completo da fonteWright, Gary K. "Parody songs of the California Gold Rush, 1849-1860 : the music and lyrics of Mart Taylor, John A. Stone and Dr. David G. 'Yankee' Robinson". Scholarly Commons, 1992. https://scholarlycommons.pacific.edu/uop_etds/2232.
Texto completo da fonteWatkins, Trinae. "Panther Power: A Look Inside the Political Hip Hop Music of Tupac Amaru Shakur". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2018. http://digitalcommons.auctr.edu/cauetds/165.
Texto completo da fonteHillion, Toulcanon Marie-Muriel. "Maloya dance and music: Réunionese Créole togetherness". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2532.
Texto completo da fonteSundberg, David. "Chopin Sonat i h-moll 1a sats : Historia och analys". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3665.
Texto completo da fonteStory, Brandon H. "Gospel According to Bristol: The Life, Music, and Ministry of Ernest Phipps". [Johnson City, Tenn. : East Tennessee State University], 2003. https://dc.etsu.edu/etd/766.
Texto completo da fonteTitle from electronic submission form. ETSU ETD database URN: etd-0331103-141813. Includes bibliographical references. Also available via Internet at the UMI web site.
Decuir, Michael. "The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/101.
Texto completo da fonteSandh, Håkan. "Musik- och kulturskolornas ideologi ur ett bildningsperspektiv". Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3242.
Texto completo da fonteI slutet av 1940-talet bildades de första kommunala musikskolorna med det namnet. Deras bakgrund var dels den frivilliga instrumentalundervisning som erbjöds på läroverken, privat undervisning – inte minst på piano – samt undervisning inom militärmusiken och orkesterföreningar. Allt detta smälte samman till musikcirklar – ofta drivna av studieförbund – som sedan nästan undantagslöst drevs vidare i form av kommunala musikskolor. De lokala variationerna var många. På 1970-talet hade i stort sett alla kommuner en kommunal musikskola. I denna uppsats försöker jag beskriva de första kommunala musikskolornas ideologi runt år 1950, och sedan även beskriva de första kommunala kulturskolornas[1] ideologi runt år 1990. Detta gör jag genom att tolka de idéer, traditioner och ambitioner som kan ses i offentliga dokument, vetenskapliga texter och andra dokument som beskriver pedagogiska idéer som fanns och påverkade beslutsfattandet. Jag gör detta i en hermeneutisk tradition genom en idé- och ideologianalys hämtad från samhällsvetenskapen. Metodiskt arbetar jag med begreppet dimensioner. Dessa utgår från de begrepp som karakteriserar bildning. På så sätt använder jag bildningen som ett raster för att tydligare se musikskolornas och kulturskolornas respektive ideologi. Mina forskningsfrågor är: Kan de första kommunala musikskolornas ideologi beskrivas i relation till bildningsbegreppet? Kan de första kommunala kulturskolornas ideologi beskrivas i relation till bildningsbegreppet? Bildningsbegreppet jag använder är hämtat från Gustavssons och Varkøys beskrivningar av vad som kännetecknar bildning: Lärandet är en fri process Lärandet skapar sammanhang Lärandet skapar jämlikhet eller ojämlikhet Lärandet är icke-instrumentellt Organisationen av undervisningen på musikskolorna var starkt präglad av läroverken. Den innebar att musikskolorna var organiserade i terminer, en lektion i veckan och med starkt fokus på individen. Den enskilde elevens kunskaper i hanterandet av sitt instrument kom i första rummet, före samspel, eget skapande och även sång/körsång. Den ideologi som präglade musikskolorna hade samtidigt ett starkt folkbildande inslag. Alla barn skulle i demokratisk anda få möjlighet att både lära sig spela ett instrument och ta del av den goda kulturen. Med det senare avsågs främst den klassiska musiken. Svaret på min första forskningsfråga är att de första musikskolornas ideologi i hög grad var påverkad av bildningsbegreppet men att den samtidigt var starkt påverkad av traditionen från läroverk och folkskola. De kommunala kulturskolorna övertog senare mycket av musikskolornas ideologi. Samtidigt var ideologin i den tidens anda präglat av ett större intresse för elevernas eget skapande, för samverkan och att alla elever också skulle framträda. Flera kulturskolor sökte också få en ökad betydelse genom ett närmande till den obligatoriska skolan. Deras ideologi präglades också i hög grad av instrumentella mål som transfereffekter vid inlärning av andra skolämnen, lokaliseringsfaktorer m.fl. Svaret på min andra forskningsfråga är att de första kommunala kulturskolorna ideologiskt i viss mån var en del av bildningsrörelsen. Samtidigt önskade de bli en del av det obligatoriska skolväsendet och motiverade sin existens med instrumentella mål, varför de kan sägas alltmer ta avstånd från att bygga på en ideologi präglad av bildning. Med tanke på musik- och kulturskolorna storlek, över 200 000 deltagare, är det förvånande att all utveckling av dem skett genom lokala initiativ och att samordning och utveckling på nationell nivå i stort sett varit helt frånvarande under de epoker jag berör i denna uppsats. De kommunala musikskolorna, senare kulturskolorna, dominerades av ett görande, av enskilda lärares egna modeller för undervisning, i högre grad än formulerande av en genomtänkt ideologi eller för den delen metodik. [1] De kommunala kulturskolorna benämns oftast som ”kulturskolor”. I den statliga politik som beslutats under uppsatsens tillkomst benämns de som ”kommunala kulturskolor”. Jag använder därför det begreppet men för att göra texten lättare att läsa använder jag ibland de enklare formerna ”musikskola” och ”kulturskola”. De står för samma sak.
Holladay, Zachary. "Poetry and Ritual: The Physical Expression of Homoerotic Imagery in sama". [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002564.
Texto completo da fonteLeHuray, Joshua R. "The Development and Gentrification of Musical Commerce in Williamsburg, Virginia, 1716-1775". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/576.
Texto completo da fontePita, Laura. "TERESA CARREÑO’S EARLY YEARS IN CARACAS: CULTURAL INTERSECTIONS OF PIANO VIRTUOSITY, GENDER, AND NATION-BUILDING IN THE NINETEENTH CENTURY". UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/134.
Texto completo da fonteSaidel, Deborah J. "Women in Music: Letting a Long Story Be Long Contemplating Women’s Sonic, Musical, and Spiritual Experiences in Prehistory". VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5635.
Texto completo da fonteHenry, Lucas Aaron. "Freedom Now!: Four Hard Bop and Avant-Garde Jazz Musicians' Musical Commentary on the Civil Rights Movement, 1958-1964". [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1110104-224112/unrestricted/HenryL121004f.pdf.
Texto completo da fonteTitle from electronic submission form. ETSU ETD database URN: etd-1110104-224112 Includes bibliographical references. Also available via Internet at the UMI web site.
Bidgood, Lee. "History of Bluegrass Music". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1087.
Texto completo da fonteBidgood, Lee. "Bluegrass Music in History". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1085.
Texto completo da fonteThorgersen, Ketil. "Music from the Backyard : Hagström's Music Education". Doctoral thesis, Luleå tekniska universitet, Institutionen för musik och medier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-40056.
Texto completo da fonteStanevičiūtė-Goštautienė, Rūta. "Narratives of Lithuanian National Music: Origins and Values: the Historiography of Music and National Music History Writing". Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2008. https://ul.qucosa.de/id/qucosa%3A16006.
Texto completo da fonteDomingo, Belando M. Carme. "La música en la pintura en contextos educatius.Una mirada didàctica del classicisme musical a les avantguardes històriques". Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/399236.
Texto completo da fonteLa tesis que exponemos está basada en una aproximación a la música a través de las artes plásticas, concretamente en una mirada a la pintura. Se trabaja en diferentes niveles educativos con el propósito de integrar pedagógicamente ambas áreas mediante la práctica activa con los recursos pedagógicos adecuados; es, por tanto, una investigación interdisciplinar entre la Historia de la Música y la Historia del Arte. Partiendo del estado de la cuestión y la hipótesis inicial, se ofrece una primera parte de la investigación, a modo de muestra, sobre la relación entre la música y la pintura a partir de instrumentos musicales, temáticas universales y compositores y pintores destacados que han tenido un eco en el arte del clasicismo, romanticismo y vanguardias artísticas del siglo XX. La segunda parte de la tesis expone el trabajo pedagógico realizado, como la actividad "El Arte en la investigación: trabajemos con el Arte, eduquemos para la Paz", que incluye la preparación y la realización de un concierto en el Museo de Arte Moderno de la Diputación de Tarragona (MAMT) a cargo de los alumnos de un Instituto, interpretando obras de creación propia relacionadas con obras de arte del museo. También se muestra el trabajo realizado en diferentes contextos educativos sobre la comprensión de la música en relación con la pintura, partiendo del clasicismo y romanticismo musical hasta las primeras vanguardias artísticas del siglo XX, y la aplicación pedagógica de los contenidos tratados en los capítulos II, III y IV. La investigación aporta la valoración por parte del alumnado y profesorado de la metodología de enseñanza-aprendizaje propuesta, reflejada en las conclusiones. Se considera importante que el alumnado llegue a alcanzar a lo largo de los respectivos cursos académicos el conocimiento y valoración de obras de arte relacionadas con los diferentes estilos musicales de la historia de la música de Occidente.
This thesis is based on an approach to music through visual arts, more specifically through painting. It works at different educational stages in order to integrate pedagogically both areas, music and painting, through active practice with appropriate educational resources; therefore, it is an interdisciplinary research between Music History and Art History. Starting from the state of affairs and the initial hypothesis, the first part of the investigation provides examples of the relationship between music and painting based on musical instruments, on universal themes and also on composers and painters that are prominent in classicism, romanticism and avant-garde twentieth century. The second part of the thesis introduces the pedagogical work that has been elaborated, for instance the activity "The art in the research: let us work with Art and educate for Peace". This work includes the preparation and implementation of a concert in the Modern Art Museum of Tarragona (MAMT) lead by students of an institute, in which the students performed musical works created by them, works that were related to the artworks of the museum. In this part it is also introduced the work that has been done in different educational contexts concerning the understanding of music in relation to painting from the classical and romantic music to the twentieth century avant-garde, and also the pedagogical application of the content covered in chapters II, III and IV. In its conclusions, this research provides the assessment done by students and teachers of the teaching-learning proposal. It is considered important that during the respective academic courses the students achieve the knowledge and the appreciation of works of art related to the different musical styles of the history of Western music.
Young, Daniel J. "The Ties That Bind: Gospel Music, Popular Music, and Race in America, 1875-1940". Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1627667261852095.
Texto completo da fonteKirilov, Kalin Stanchev. "Harmony in Bulgarian Music". Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.
Texto completo da fonteThis study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire.
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Hughes, Meirion. "The watchmen of music : the reception of English music in the press 1850-1914". Thesis, Cardiff University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287015.
Texto completo da fonteWilliams, Benjamin John. "Music Composition Pedagogy: A History, Philosophy and Guide". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274787048.
Texto completo da fonteCosma, Octavian Lazăr. "Romanian Music". Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21230.
Texto completo da fonteZuniga, Novoa Gabriel. "Acquiring Japanese Vocabulary Through Music". Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-175685.
Texto completo da fonteSepko, Delaina. "Curating music curation". Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6357/.
Texto completo da fonteRobinson, Chelseigh. "Music and Art: Exploring Cross-Pollination". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/115.
Texto completo da fonteStevens, Melissa A. "Marcel Tabuteau : pedagogical concepts and practices for teaching musical expressiveness : an oral history /". Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225392470.
Texto completo da fonteSummers, Timothy Richard David. "Video game music : history, form and genre". Thesis, University of Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573894.
Texto completo da fonteMatus, Chloe Hannah. "Designing interactive music history for young adults". Thesis, Glasgow School of Art, 2010. http://radar.gsa.ac.uk/4625/.
Texto completo da fonteWilliams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme". Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.
Texto completo da fonteHamilton, Richard John. "The History of the Vocal Jazz Ensemble Singing Movement in the Public Schools of the Boise Valley from Its Inception through the Academic Year 1989-1990". Thesis, The Florida State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10602363.
Texto completo da fonteThe vocal jazz ensemble singing movement that began at Mt. Hood Community College (Gresham, Oregon) in 1967 reached the public schools of the Boise Valley, in Southwestern Idaho sometime in the early 1970’s. The first generation of vocal jazz educators in the region were Jerry Vevig , Vern Swain, Moyle Brown and Lonnie Cline. In an effort to learn the new style, these four directors participated in the burgeoning vocal jazz scene occurring in the Western region of the United States. By the mid 1970’s, vocal jazz ensemble education had become so prevalent in the Boise Valley region that the Jr. High School directors of the Boise Public School District were programming vocal jazz music and participating in many of the same vocal jazz events as their high school colleagues. These Junior High school directors included Bruce Walker, Catherine Gilck, Rich Lapp, Sue Hough, Paul Olson and Rob Newburn. The 1980’s saw the second generation of prominent vocal jazz singing ensemble directors begin their tenures in the Boise Valley when Glenn Grant, Quinn, Van Paepeghem, Linda Schmidt, Ted Totorica, and Barb Oldenburg, continued the tradition of vocal jazz style singing and event participation that their predecessors had initiated throughout the remainder of the era investigated (inception–1990). In the study, each subjects experiences and education in vocal jazz ensemble singing is documented and specific techniques they employed when working with their vocal jazz ensembles are revealed. The literature used by each vocal jazz educator from the Boise valley (1970–1990) is also exposed, collated, and presented in the document for reference and use by future choral music educators.
Venegas, Carro Gabriel Ignacio. "The Slow Movements of Anton Bruckner's Symphonies| Dialogical Perspectives". Thesis, The University of Arizona, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10684077.
Texto completo da fonteThis study presents a detailed analytical examination of formal organization in Anton Bruckner’s early instrumental slow movements: from the String Quartet, WAB 111, to the Third Symphony, WAB 103. It proposes an analytical methodology and conception of the formative process of musical works that seeks to 1) reappraise the development and idiosyncrasies of his slow movements’ form, and 2) turn the textual multiplicity often associated with Bruckner’s large-scale works (a scholarly issue often referred to as the “Bruckner Problem”) into a Bruckner Potential.
In addressing traditional and innovative formal aspects of Bruckner’s music, critics have tended to overemphasize one side or the other, consequentially portraying his handling of form as either whimsical or excessively schematic. By way of a reconstruction of Bruckner’s early experiments with slow-movement form (1862–1873), this study argues that influential lines of criticism in the reception history of Bruckner’s large-scale forms find little substantiation in the acoustical surface of Bruckner’s music and its dialogic engagement with mid- and late-19th-century generic expectations.
Because the textual multiplicity often associated with Bruckner’s works does not sit comfortably with traditional notions of authenticity and authorship, Bruckner scholarship has operated under aesthetic premises that fail to acknowledge textual multiplicity as a basic trait of his oeuvre. The present study circumvents this shortcoming by conceiving formal-expressive meaning in Bruckner’s symphonies as growing out of a dual-dimensional dialogue comprising 1) an outward dialogue, characterized by the interplay between a given version of a Bruckner symphony and its implied genre (in this case, sonata form); and 2) an inward dialogue, characterized by the interplay among the various individualized realizations of a single Bruckner symphony. The analytical method is exemplified through a detailed consideration of each of the surviving realizations of the slow movement of Bruckner’s Third Symphony, WAB 103.
Ayres, Michelle Elizabeth. "Crossover Genres, Syncretic Form| Understanding Mozart's Concert Aria "Ch'io mi scordi di te," K. 505, as a Link between Piano Concerto and Opera". Thesis, The University of North Carolina at Greensboro, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10977683.
Texto completo da fonteMozart’s concert aria Ch’io mi scordi di te K. 505 bridges the genres of piano concerto and opera seria aria by combining elements of sonata rondo, sonata concerto, and ritornello. Mozart’s experimentation with Classical form emerging in the late eighteenth-century is characterized by unique transitions and retransitions, surprising modulations to secondary keys, and polarization of tonic and dominant tonalities. K. 505, a two-tempo rondo for soprano with piano obbligato, is the only one of its type in Mozart’s oeuvre and shares many of the same ritornello form and dialogue between the soloist and the orchestra found in Mozart’s piano concerti. Composed as a duet for himself, an accomplished pianist, and his close friend Nancy Storace, a highly regarded opera singer, as part of her farewell concert in Vienna, K. 505 highlights their virtuosic abilities celebrating artistic kinship.
After establishing the historic contexts for its composition, this study applies the theories and models developed by James Hepokoski and Warren Darcy (2006), Martha Feldman and Rosa Cafiero (1993), John Irving (2003), and Simon P. Keefe (2001) in order to analyze K. 505 as a work in a composite genre utilizing compositional techniques later associated with more conventional applications of sonata-form. K. 505 is one of several compositions rooted in Mozart’s tonally adventurous Idomeneo (1781/1786). An analytical comparison of K. 505 with related works—the concert aria Non piu tutto ascoltai…non temer amato bene K. 490 for soprano and violin obbligato, a replacement aria in the revised Idomeneo (1786) and the Viennese piano concerto no. 25 in C Major K. 503 (1786) demonstrate how Mozart’s syncretic genres played a part in the creation and expansion of the maturing conventions of sonata-form in the late eighteenth-century.
DelGizzi, Jesse D. "Zydeco Aesthetics| Instrumentation, Performance Practice, and Sound Engineering". Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10816360.
Texto completo da fonteThis thesis examines aesthetics, sonic characteristics, and performance practices of zydeco music as heard in south Louisiana today. The first chapter describes the roles of instruments in a zydeco band, focusing specifically on the importance of the kick drum and the snare drum. It also details the evolution of the modern zydeco sound and how certain instruments, their modifications, and their timbres came to characterize the style especially prevalent among a group of artists who play for zydeco trail rides. The second chapter examines the tempo of modern zydeco music through quantitative analysis of musical recordings. This chapter also elucidates the use of beat patterns and drumming techniques within the genre, providing evidence for a current preference for the boogaloo beat over the on-the-one and the double beats. The third chapter discusses sonic goals and values of the sound engineer in zydeco music in live performance. This chapter also includes analysis of the frequency spectrum profiles of live zydeco recordings which depict how sound reinforcement practices, instrument modifications, and playing techniques discussed in the thesis are manifested in these performances. Research methods employed for this thesis include interviews with zydeco musicians, empirical analysis of live musical recordings, and examination of spectrograms.
Robbins, Dorothy. "Turning Sound into Ecstasy| Symbolist Aesthetics in Scriabin's Fantasy in B Minor". Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10786243.
Texto completo da fonteScriabin’s music is saturated with the mystical and heavily influenced by the psycho philosophical presence of his evolving thoughts throughout his life. Scriabin constructed his own self-mythology modeled on Romantic idealizations based on Nietzschean philosophy and Prometheon narrative. He combined this construction with his Symbolist aesthetics for total unity through mystical transcendence. The combining of these archetypes is seen in his Fantasy in B Minor, Op. 28. The Fantasy inhabits both psychological realities which manifests into different aesthetic characteristics. The presence of the more conservative nineteenth-century style alongside the Symbolist narrative elements are what make the Fantasy and elusive and transitory piece that represents the shifts occurring within Scriabin’s psyche during the dawn of the twentieth-century.
The Fantasy has been neglected by scholars but was written merely three years before all his pieces became drenched in the mystical. I therefore propose from my own analysis of the piece and from the evidence of Scriabin’s close associations to the Symbolist movement that the Fantasy, Op. 28 is driven by Symbolist mythological undertones within the thematic narrative. Evidence will be provided from close friends and acquaintances of Scriabin, his own writings, exploration of Romantic and Symbolist aesthetics, and evidence provided by previous scholarship on Scriabin’s theosophical beliefs.
Gray, Michael Alan. "Experiencing Music". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1307.
Texto completo da fonteRivel, Charley. "Wagakki and Japanese Popular Music: The Perception of Music and Cultural Identity". Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193443.
Texto completo da fonteHolman, Rebecca. "Music history pedagogy| Three approaches to teaching a one-semester music history survey course in accordance with the LEAP Initiative". Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527558.
Texto completo da fonteMusic appreciation is a popular General Education course at the university level and is included as a survey course for music majors at many universities, yet there is not a consensus on the "correct" way to teach the course. Many pedagogical approaches have been explored; each having its merits, and it is probable that there will never be unanimous agreement among music educators regarding which approach is the most effective. Three pedagogical approaches in particular have been effective; namely the analytical approach, the historical approach, and the contextual approach as described by professor of music Dr. Lewis W. Gordon. These approaches were applied in a onesemester survey music history course with the goal of analyzing which is the most effective in teaching freshman music majors. The assessment of these results will be discussed, and suggestions of ways to incorporate these methodologies into teaching will be offered. These approaches will also be discussed in their accordance with the Essential Learning Outcomes of AAC&U's LEAP initiative.
Bledsoe, William Baxter. "Reverbotone - Visualize Music With Design". Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1718.
Texto completo da fontePugin, Laurent. "Interaction with Music Encoding". Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A23351.
Texto completo da fonteStephens, Vincent Lamar. "Queering the textures of rock and roll history". College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2444.
Texto completo da fonteHenningsson, Denise. "Play that funky music". Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35582.
Texto completo da fonteDoi, Carolyn. "The Saskatchewan Music Collection: Presenting the Past, Present and Future of Our Regional Music History". CAML Review, 2013. http://hdl.handle.net/10388/7164.
Texto completo da fonteLeFils, Gregory William Jr. "History of the Stetson University Concert Choir". Thesis, The Florida State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638022.
Texto completo da fonteThe Concert Choir has been the flagship choral ensemble of Stetson University, a private, liberal arts university in DeLand, Florida, since 1935. The choir has traveled extensively throughout the southeast United States and twice abroad, serving as ambassadors for Stetson University. This study documents Stetson University's early history, the first few decades of choral activity at Stetson University, and the complete history of the Concert Choir through the tenure of Milburn Price. The study explores 1) the individuals, events, and institutions leading to the formation of the Concert Choir, 2) the philosophy and purpose of the Concert Choir, 3) the individuals, events and institutions that have shaped that philosophy and purpose, and 4) the ways in which the Spring Concert repertoire of the Concert Choir reflects the ensemble's philosophy and purpose.
The three major conductors of the Concert Choir, occupying 71 of the last 77 years, were Harold Giffin (1935-1972), Robert Rich (1972-1989), and Duncan Couch (1989-2006). Giffin was responsible for combining the separate glee clubs into one performing ensemble, performing Handel's Messiah annually for twenty-five years, and instituting an extensive touring schedule throughout the United States. The performances at the National Federation of Music Clubs (1939), New York City's Lincoln Center (1967), and the recording session that was broadcast coast-to-coast with NBC in Chicago (1953) were three of Giffin's tours that were most significant. Rich was the first alumnus of the Concert Choir to be hired as Director of Choral Activities and conducted the ensemble for their first ACDA convention performance in 1974. During his tenure, the High School Choral Clinic and Christmas Candlelight Concert, modeled after the English Lessons and Carols, were started and have continued annually throughout the scope of this study. Couch grew the popularity of both the clinic and the Candlelight Concert, took the Concert Choir on two European concert tours, and cultivated collaborations with many professional orchestras.
This study concludes that the Concert Choir is a choral organization influenced by the sacred a cappella choral traditions; however, it was not dominated by it. This study further identifies that the development of the annual Christmas Candlelight Concert and spring tour were foundational for the choir's activities each year. Documentation illustrates each director's willingness to accept this heritage and develop the Concert Choir accordingly throughout its history.
Flores, Teresa. "Extended program notes for lecture/recital : the expansion of percussive writing in modern day wind ensemble repertoire". FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/3596.
Texto completo da fonteFranklin, Peter. "Reger and Film Music". Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2017. https://ul.qucosa.de/id/qucosa%3A32335.
Texto completo da fonteDraiblate, Yoni. "HISTORY, EVOLUTION AND PEDAGOGY OF CELLO VIBRATO". Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/555692.
Texto completo da fonteD.M.A.
On 9 April 1860, seventeen years before Thomas Edison invented the phonograph, a Parisian inventor named Leon Scott de Martinville invented the “phonautograph,” the first device capable of recording sound. In the demonstration recording produced by de Martinville, the listener hears the inventor singing a short section of the song “Au clair de la lune.” The recording lasts about ten seconds and is not of very good audio quality—it is full of interference and white noise, making it hard to decipher words. Technology has since evolved and improved to the point where we can examine the evolution of vibrato with relative ease, simply by listening to different recordings. When examining the question of cello vibrato prior to the second half of the 19th century with its technological innovations, however, we are left with a somewhat paradoxical question: “How did vibrato sound?“ This question is important for two reasons. First, through exploring the history of cello vibrato we may be able to make clearer inferences or, at the very least, establish more educated hypotheses, pertaining to general questions of sound and musical aesthetics throughout the centuries. Second, examining early cello technique and how it evolved can greatly help us understand the evolution of the left hand’s role in performance, particularly in the creation of vibrato. I am well aware that when it comes to historical performances prior to the introduction of quality recording technology, we can only deal with probabilities, never certainties, and we have no way of knowing what soloists and orchestral musicians sounded like, nor do we have a way to know what composers wished to hear. Since it is not possible to draw conclusions based on audio recordings prior to the end of the 19th century, I will explore the evolution of cello vibrato through close examination of early cello performance practice, as outlined in treatises and texts, as well as accounts by musicians who were key figures in developing and advancing playing techniques. While it will never be feasible to go back in time and hear this evolution for ourselves, it is possible to construct a better understanding of the use of vibrato prior to the second half of the 19th century. My aim in this paper is to better understand the evolution of cello vibrato, its origins, early techniques for producing it, and the influence of technique on vibrato over the years, mainly throughout Europe, in order to better answer this question: when did vibrato become an integral part of the cellist’s sound? Have cellists always used vibrato, and if so, did they use it continuously on all possible pitches? For the performing artist and teacher, it is highly beneficial to know the history and evolution of vibrato, and its role in the development of the cello sound over the years. Having this knowledge can have a direct effect on interpretation. By way of background, I will first discuss the origins of both the instrument and vibrato itself, in separate chapters.
Temple University--Theses