Дисертації з теми "190409 Musicology and Ethnomusicology"
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Hewitt, Donna G. "Compositions for Voice and Technology." Thesis, University of Western Sydney, Penrith, 2006. https://eprints.qut.edu.au/9386/1/HewittPhD2007_Compress.pdf.
Повний текст джерелаDavidson, Robert A. "Folio of compositions with critical commentary." Thesis, University of Queensland, 2001. https://eprints.qut.edu.au/6034/1/6034_v1.pdf.
Повний текст джерелаKirkwood, Sandra Jane. "Frameworks of culturally engaged community music practice in rural Ipswich." Thesis, Griffith University, 2009. https://eprints.qut.edu.au/132103/2/132103.pdf.
Повний текст джерелаUkpanah, Ime Dan. "The music of Nigeria's Akwa Ibom State : a critical perspective and evaluation, with special reference to Ebre, Ekpo and Uta traditions." Thesis, Queen's University Belfast, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333853.
Повний текст джерелаArmstrong, Keith M. "Towards an Ecosophical Praxis of New Media Space design." Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.
Повний текст джерелаSchwartz, Zachary. "Alternate Minimalisms: Repetition, Objectivity, and Process in the Age of Recording." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/165.
Повний текст джерелаHarrison, Ryan C. "Resonance: Collaborative Explorations of the Contemporary Percussionist." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1597482410922158.
Повний текст джерелаBrinkman, Andrew. "Exploring the Structure of Germanic Folksong." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1590774494540657.
Повний текст джерелаNelson, James. "Hillbilly Music & Early Live Radio Programming in Bowling Green & Glasgow, Kentucky: Country Music as a Local Phenomenon." TopSCHOLAR®, 1994. https://digitalcommons.wku.edu/theses/3151.
Повний текст джерелаYeagle, Kalia. "Devil in the Strawstack, Devil in the Details: A Comparative Study of Old-Time Fiddle Tune Transcriptions." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3743.
Повний текст джерелаPhillips, Olivia H. "Marine Melodies: Traditional Scottish and Irish Mermaid and Selkie Songs as Performed by Top Female Vocalists in Contemporary Celtic Music." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/622.
Повний текст джерелаMurph, Megan Elizabeth. "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/118.
Повний текст джерелаVickers, Nicole. "Feel It In Your Body : Hybridization of Musical Habitus in Swedish Cultural-Educational Tourism to Ghana." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-239424.
Повний текст джерелаExamensarbetet ingick i en Masterexamen i humaniora med inriktning musikvetenskap.
Thurston, Donna. "Irish music in Wellington : a study of a local music community : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2010. http://hdl.handle.net/10063/1258.
Повний текст джерелаLudden, Yawen. "CHINA’S MUSICAL REVOLUTION: FROM BEIJING OPERA TO YANGBANXI." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/19.
Повний текст джерелаSandoval-Cisternas, Enrique. "A CRITICAL AND PERFORMANCE EDITION OF AGUSTIN BARRIOS’S CUECA: COMPARATIVE ANALYSIS OF FORM, NOTATION, AND PERFORMANCE PRACTICE OF BARRIOS’S WORK TO TRADITIONAL CHILEAN CUECAS FROM THE BEGINNING OF THE TWENTIETH-CENTURY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/120.
Повний текст джерелаMcCluskey, John M. "Music as Narrative in American College Football." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/57.
Повний текст джерелаGonzález, González Sergi. "Evolució del paisatge sonor del seguici festiu de la festa major de Santa Tecla a Tarragona." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/669654.
Повний текст джерелаThe Santa Tecla Festival of Tarragona has become, over the last thirty years, a social event that no person who lives in Tarragona wants to miss out on. The city is brought to a standstill between 14 and 24 September, the climax being on the 23rd at about 9pm when the procession in honor of the saint ends. The origins of the festival date from the beginning of the fourteenth century, and it has been more or less unchanged until today. From 1321 the civil and ecclesiastical authorities invited the guilds of the city to participate, with their flags and their dances, in the procession, thus creating the festive procession of Tarragona. Given this long historical trajectory, the importance today of the Tarragona procession is not surprising, mainly as a sign of identity and belonging to a group, a major contribution to the urban life of the city with all the strong social implications involved. This longue-durée perspective provides an ideal framework for the study of the intrinsic relationships that are generated between space and sound; in this case, the urban nucleus and the diffusion of the different sonorities generated by the Tarragona procession. Musical analysis, soundscape, social and historical context of musical events mesh together in this research. The different sonorous aspects involved have been fragmented and fractured in order to make a detailed and reflexive analysis the adoption of a double approach in different but complementary methodologies: musicological and ethnomusicological.
Caro, Repetto Rafael. "The musical dimension of Chinese traditional theatre: An analysis from computer aided musicology." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/665357.
Повний текст джерелаLa música del jingju, uno de los géneros más representativos del teatro tradicional chino, es creada según una serie de principios transmitidos oralmente. El objetivo de esta tesis es avanzar en la comprensión de uno de estos principios conocido como shengqiang, que proporciona el material melódico. A tal fin, se propone un método innovador basado en musicología con apoyo computacional, que supone la creación de un corpus de 92 partituras legibles por máquina de arias de jingju, que contiene 899 líneas melódicas en los principales shengqiang de este género, erhuang y xipi. Estas líneas, agrupadas en 24 categorías según los principios del sistema musical del jingju, son analizadas comparativamente, obteniendo esquemas melódicos que representan su identidad melódica. Esta información se apoya y amplía con datos estadísticos y cuantitativos extraídos automáticamente. El corpus, el código desarrollado y las figuras y datos obtenidos son accesibles en la página web de la tesis.
La música del jingju, un dels gèneres més representatius del teatre tradicional xinès, és creada segons una sèrie de principis de transmissió oral. L'objectiu d'aquesta tesi és avançar en la comprensió d'un d'aquests principis conegut com a shengqiang, que hi proporciona el material melòdic. Amb aquesta finalitat, es proposa un mètode innovador basat en musicologia amb suport computacional, que suposa la creació d'un corpus de 92 partitures llegibles per màquina d'àries de jingju, que conté 899 línies melòdiques en els principals shengqiang d'aquest gènere, erhuang i xipi. Aquestes línies, agrupades en 24 categories segons els principis del sistema musical del jingju, són analitzades comparativament, obtenint-hi esquemes melòdics que representen la seva identitat melòdica. Aquesta informació es recolzada i ampliada amb dades estadístiques i quantitatives extretes automàticament. El corpus, el codi desenvolupat i les figures i dades obtingudes són accessibles a la pàgina web que acompanya la tesi.
Shao, Luyin. "A STUDY OF ACCULTURATION IN CHINESE-MONGOLIAN ER’RENTAI FOLK OPERA." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/94.
Повний текст джерелаFurlong, Alison Marie. "Resistance RoomsSound and Sociability in the East German Church." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431091605.
Повний текст джерелаRuiz, Mestre Hermelindo. "GUITAR ARRANGEMENTS OF SELECTED DANZAS OF JUAN F. ACOSTA, WITH NEW CONSIDERATIONS OF HIS MUSIC AND MUSICAL LIFE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/125.
Повний текст джерелаVerron, Damien. "" De Leitrim à Sligo " : des sessions de musique traditionnelle instrumentale à danser irlandaise : systématique, interactions musique/environnement." Phd thesis, Université Jean Monnet - Saint-Etienne, 2012. http://tel.archives-ouvertes.fr/tel-00939408.
Повний текст джерелаMayaud, Isabelle. "Sciences de la musique sans frontières ? : Contribution à une sociologie du processus de primitivisation." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080007.
Повний текст джерелаIn this dissertation, I analyse how, in the modern period, the different scientific domains dealing with music were divided, and how, at the same time, musical repertories were organised into a hierarchy. This research, focused on the French case, is based on a socio-historical enquiry and on several sources dating from the beginning of the seventeenth to the mid-twentieth century. Those sources are both manuscript and printed, and range from administrative documents, scientific and museum archives, conference proceedings and other printed sources related to the Universal Exhibitions, to archives from the publishing sector and other pieces related to the collection and curating of musical instruments, songs and audio recordings. The following methods were mobilised : lexical analysis, textual sociology, databases and historical ethnography. The enquiry emphasizes a configuration of the process of making music a part of national heritage by the French State, which is also a long-term process of social differentiation through the music. Collecting and curating operations of musical objects were initiated by the Second Empire and consolidated by the Third Republic. These operations have contributed to make certain repertories anhistorical, kept in a zone below history. This separation is analysed as a symbolic domination system, which was enacted by several administrations (Public Instruction, Trading and Industry, Fine Arts, Colonies), produced and reproduced by different agents commissioned by the State (teachers and professors, academicians, curators, territorial leaders)
Melendez, Elisa M. "For Those About to Rock: Gender Codes in the Rock Music Video Games Rock Band and Rocksmith." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3685.
Повний текст джерелаSaidel, 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.
Повний текст джерелаKeeler, Matthew. "BESSIE SMITH: AN AMERICAN ICON FROM THREE PERSPECTIVES." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1130967483.
Повний текст джерелаCurtet, Johanni. "La transmission du höömij, un art du timbre vocal : ethnomusicologie et histoire du chant diphonique mongol." Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00949955.
Повний текст джерелаKhodier, Nesma Magdy VCUQ. "The Future of Arabic Music: No sound without silence." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4170.
Повний текст джерелаSenger, Saesha. "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/150.
Повний текст джерелаLawson, Jenna Michele. ""You're pretty good for a girl": Roles of women in bluegrass music." 2011. http://trace.tennessee.edu/utk_gradthes/995.
Повний текст джерелаBeltran, Alexander S. "Live to Play: Musical Labor, Branding, and the Percussive Marketplace." 2019. https://scholarworks.umass.edu/masters_theses_2/819.
Повний текст джерелаCairns, Elliott Scott. "The Berliner Phonogramm-Archiv and the Emergence of Comparative Musicology." Thesis, 2020. https://doi.org/10.7916/d8-zdhf-d491.
Повний текст джерелаFugate, Bradley. "The contemporary countertenor in context: vocal production, gender/sexuality, and reception." Thesis, 2016. https://hdl.handle.net/2144/17736.
Повний текст джерелаElsila, Mikael. "Music behind bars liberatory musicology in two Michigan prisons : a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts (musicology-ethnomusicology) ... /." 1995. http://books.google.com/books?id=vUjjAAAAMAAJ.
Повний текст джерелаDuke, Bethany Kay. "Palatial soundscapes : music in Maya court societies." Thesis, 2014. http://hdl.handle.net/2152/25824.
Повний текст джерелаtext
(6634379), Jeffrey A. Wimble. "SURVIVAL TECHNOLOGIES: AFRICAN-AMERICAN MUSICAL MODERNISMS." Thesis, 2020.
Знайти повний текст джерелаThis dissertation focuses on a variety of African-American musical expressions of the later twentieth century, situating them along a continuum of musical modernism that constitute various modes of survival technology, inextricably connected to the cultures from which they arise. My application of the term survivaltechnologies denotes two primary aspects: musical “technologies” in the sense that the term is commonly understood to refer to the construction of musical instruments and recording instruments both old and new, but also “technologies” in the sense of the term employed by Murray and Dinerstein: as modes of knowledge and strategies of resistance. My use of survival technologiesas the conceptual underpinning that unifies my research entails bringing these two aspects together, and the two senses of the term converge especially when African-American musicians use musical instruments and tools in new, unexpected ways, as frequently happens throughout the history of African-American music in the twentieth century. I analyze how African-American musicians’ use of electric guitars, amplification, synthesizers, analog sequencers, studio effects, turntables, samplers, drum machines, and digital audio workstations constitute a uniquely African-American mode of musical knowledge and practice that is improvisational, heuristic, non-linear, and constantly aware of the past while simultaneously re-imagining the future. I link this analysis to works by twentieth-century literary authors and theorists in order to examine how African-American musicians’ modus operandi, varied and distinct as they are, are nonetheless consistent not only across divergent musical styles and eras, but also function inseparably from other arts and broader cultural contexts.
Throughout this project, written words interact with musical recordings. I strive to “hear” written texts (literature and literary criticism) and to “read” sound texts (recordings), highlighting the resonances between “literary texts” and “sound texts.” The Chicago blues style of Muddy Waters interacts with Richard Wright’s literary documentary of life on Chicago’s South Side, 12 Million Black Voices,to highlight how old rural black vernacular “folk” expressions could serve as the basis of a new urban African-American modernism. Likewise, the electronic experiments of Herbie Hancock, which innovatively combined European modes of music creation and African diasporic musical concepts, interacts with Henry Louis Gates Jr.’s The Signifying Monkey to highlight how African-American modernism entails Signifyin(g) on European precedents as well as precedents in African-American art. Additionally, the historically informed jazz of Wynton Marsalis interacts with T. S. Eliot’s ideas of tradition in order to highlight how artistic conceptions of the past inform African-American modernist expressions today, such as jazz and sampled electronic music. Finally, Detroit techno music interacts with the musical and cultural criticism of Theodor Adorno to highlight how African-American modernism uses survival technologies to construct visions of the future that resist what Adorno called the “culture industry.”
(7467362), Renee D. Gaarder. "Made in America: The Federal Music Project in the Midwest." Thesis, 2019.
Знайти повний текст джерелаThe 1930s to 1940s saw an upsurge in nationalism and the quest to define American identity. The federal government sponsored and sanctioned a specific nationalist narrative within the programs of the Works Progress Administration, later renamed Works Projects Administration. Very little attention has been paid to the Federal Music Project (FMP) yet this program was an integral part of constructing American identity both nationally and regionally. In conjunction with popular music, and at times in opposition to it, the FMP formed the “soundtrack” of American life.
Although the messages were not as overt as those in other programs, such as the Federal Writers’ Project or Federal Theatre Project, the Federal Music Project played a large part in disseminating American ideals and identity, primarily through classical music, and to a lesser extent, popular, folk, and indigenous forms of music. The Federal Music Project strove to uncover, and at times create, America’s “genuine” musical heritage. The ideals of the New Deal took root in the musical expression of the FMP and impacted the development of American identity both musically and socially. It was not merely a relief program for those on its rolls; it was intended as an education program for the nation. Amid the push and pull of politics, war, and class conflict, American musicians forged and defined a unique style of music that was accepted by the American public.
The dissertation focuses on the FMP activities in the Midwest, or Region IV. Focusing on the Midwest as a region demonstrates how the FMP was interpreted and practiced and allows for a conversation with other the reginal studies of the FMP. Three case studies of Indiana, Illinois, and Michigan provide a more detailed analysis of the activities and contributions of each state, and thus the region, offering depth over breadth. Each of these states had dedicated and active symphonies, teaching projects, community outreach, radio broadcasting, and music therapy projects.Chanunkha, Robert Amos. "Music education in Malawi : the crisis and the way forward." Thesis, 2005. http://hdl.handle.net/2263/28200.
Повний текст джерелаThesis (DMus)--University of Pretoria, 2006.
Music
unrestricted
Almeida, Igor do Nascimento Lima de. "Música experimental : conceitos, formas, contextos e limites : contributos para uma percepção alargada." Master's thesis, 2017. http://hdl.handle.net/10400.14/22819.
Повний текст джерелаThe application of the concept ofexperimental in musical contexts has been the subject of great controversy since John Cage introduced the termexperimental music in the world of sound-musical production. An in-depth search on the subject underlines the predominant aspect of non-uniformity of definitions, the lack of broad consensus and the plurality of interpretations regarding the term. From this diversity of problems originated in the most diverse sectors (academics, journalists, music producers, programmers of related events, musical publishers, among others),comes the fundamental motivation of this investigation. Considering specialized literature and the existing theoretical production, one can infer that social and technological factors have operated as major engines of rupture and opening given the formal structure of music and simultaneously as active agents in the emergence of musical vanguards. Observing the predominant characteristics of the styles, of the instrumentation used (modified, expanded and elaborated), of the process and of the result, one can notice the diversity of the methods and the artistic ends, and the contradictions generated by the use of the term experimental music, which seems to be commonly employed as music meta-genre. To this term is attributed a provocation to the forms and paradigms of traditional music and concert music, especially that begun in the transition of the nineteenth and twentieth centuries. It is considered that the Industrial Revolutions changed the form, the understanding, the social dynamics and the relations between man and the environment, and consequently the own art. From the technological events, we understand the so-called new music, prophesied byLuigi Russolo (1913) in his futurist manifesto The Art Of Noise. Developments have been made in sound-testing laboratories and in research centers, especially the French, German, English and North American, which have helped to intensify music production and empirical exploration through easier access to electronic instruments as well as writing on a wide range of technical and philosophical issues arisen out of thesenew achievements. Since then, varied mutations have emerged and continue to emerge in the sonorous perspectives, in the forms and foundations of the development of experimental creation. These mutations cause difficulty in understanding the concept of experimental linked to sounds and the limits of their application. The central question of this investigation is therefore identified: Where does the application of the term experimental music begin and end?
Hadji, Asmâa. "Les musiques tziganes mises en scène : construction mémorielle et réappropriation de soi." Thèse, 2015. http://hdl.handle.net/1866/12567.
Повний текст джерелаThe main focus of this Masters thesis is the historical and musical re-appropriation of gypsies in the docudrama, Latcho Drom (1993) by Tony Gatlif. In the first chapter, the literary history of gypsies will be compared to their representation in Latcho Drom, in order to demonstrate how Gatlif challenges the dominant discourse with a totally new perspective through his unique use of audio-visual language. In this way, the camera is rendered a medium of empowerment for the gypsy community through a re-appropriation of their people and history. In the second chapter, a series of studies in ethnomusicology will be used to demonstrate how gypsy music (mainly because it is nomadic and not transcribed) is rapidly assimilated into the cultural heritage of European societies. Latcho Drom accurately reflects the musical expression inherent in the life of these communities while being at odds with certain methods of preserving oral music traditions (the “urgency of ethnomusicology”) and the territorial notion espoused by musicologists, who refuse to recognize gypsy music as legitimate and autonomous. The third chapter will discuss how the filmmaker invites the spectator into intimate rapport with the musical communities of Latcho Drom, arousing in him/her a sentiment of gratitude and empathy.