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Second-generation Irish rock musicians in England : cultural studies, pop journalism and musical 'routes'Campbell, Sean January 2002 (has links)
This thesis focuses on a relatively under-researched immigrant-descended group: the second-generation Irish in post-war England. Taking popular music as a case study, the thesis examines some of the key ways in which the second-generation Irish have been discursively managed in both academic and journalistic discourses. To this end, the thesis develops a critical dialogue with particular aspects of Irish Studies, British Cultural Studies, and the discourse of popular music journalism. Much of this dialogue is, in turn, refracted through the prism of specific themes and issues, especially those pertaining to assimilation, essentialism, and 'white ethnicity'. In addition to these considerations, the thesis also addresses the question of musical 'routes', examining the variegated aesthetic strategies that have been mobilised by second-generation Irish rock musicians such as John Lydon, Kevin Rowland, Shane MacGowan, Noel Gallagher, and The Smiths. Throughout, the thesis is infonned by a desire to challenge the invisibility of the second-generation Irish in academic and journalistic discourses; to highlight the diversity and complexity of second-generation Irish experience and identity-formation processes; and to point to the productive and diverse ways in which second-generation cultural practitioners have reconfigured popular culture in England.
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Electroacoustic music composition : myth, symbol and imageRosas Cobian, Michael January 1997 (has links)
This thesis presents the author's musical compositions through the elucidation of their source impulse. In order to facilitate the unveiling of the works presented in this thesis I have subdivided it into sections thus: Section 1 - Here I introduce the reader to the motivation behind my music composition work and discuss the elements which inform my cosmology through the elucidation of the concepts and methods used in the realisation of the compositions. Section 2 - An introduction, discussion and conclusion to the series heading of Raza. The compositions and chapters are as follows: Chapter 3, Lucero for charango and tape; Chapter 4, Gato's Raid for marimba and tape; Chapter 6, De Luna a Luna ... for two percussionists and tape. In this section I address that particular musical imagery which is directly related to my cultural roots. Section 3 - An introduction, discussion and conclusion to the series heading of Urbis. The compositions and chapters are as follows: Chapter 9, Urbis #2 'passing moments/riffs & raffs' for bass clarinet and tape; Chapter 10, Urbis #3 'Alter ego' for electric guitar, live electronics and tape; Chapter 11, Urbis #4 for tape. In this section I address the use of modern urban culture symbols in order to create a contemporary mythological canon. Section 4 - A conclusion to this thesis.
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The flute in musical life in eighteenth-century ScotlandFord, Elizabeth Cary January 2016 (has links)
All history of the flute in Scotland begins with William Tytler’s 1792 assertion that the flute was unknown in Scotland prior to 1725. Other generally accepted beliefs about the flute in Scotland are that it was only played by wealthy male amateurs and had no role in traditional music. Upon examination, all of these beliefs are false. This thesis explores the role of the flute in eighteenth-century Scottish musical life, including players, repertoire, manuscripts, and instruments. Evidence for ladies having played flute is also examined, as are possible connections between flute playing and bagpipe playing. What emerges is a more complete picture of the flute’s role in eighteenth-century Scottish musical life.
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An examination of musical-textual relationships in the choral music of Colin Brumby: a lecture recital, with three recitals of selected works by Bartók, Duruflé-Chevalier, Duson, Mendelssohn, Poulenc, Sallinen, and SchoenbergJutsum, Ross F. (Ross Frederick) 05 1900 (has links)
The purpose of this study is to investigate the choral works of Colin Brumby, with a special focus on the musical-textual relationships of selected works from his body of choral compositions, which number more than one hundred and twenty. This investigation includes information gathered in Australia at the University of Sydney, the University of Queensland, and the Australian Music Centre, as well as information furnished in a personal interview with the composer in Brisbane, Australia, in June 1994, in addition to an August 1994 telephone interview cnducted with Thomas Shapcott, the Australian poet with whom Brumby collaberated on over twenty choral compositions.
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Drawing sound in time : a commentary on my recent musicHaley, Margaret Anne January 2010 (has links)
Drawing Sound in Time reflects on how I have attempted, in the music written over the period of my doctoral studies (2004-2010) to use time as a basis for the mapping of sonic activity and how this aesthetical concern has helped me develop a teleological approach to form and structure. The shaping of time in my work often has its origins in the visual, either from my own drawings or from other visual stimuli. As well as considering the visual appearance of my music, I will draw on the correlation of music and art by abstract painters (most notably Paul Klee) alongside composers Iannis Xenakis and John Cage whose philosophy represent for me a way forward, not only aesthetically but also on a technical level. Additionally, the discussion will refer to astronomy as certain aspects of the subject relate to the development of techniques in my compositional language, and furthermore will often draw on the titles of the pieces (stars and constellations) as a basis for generating materials. I will address in particular the use of coding in my music that is an integral part of the way I work. My commentary will examine the main aspects of my musical language using examples from selected works in the accompanying portfolio.
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The Lyre-Lute-Harp Image as Used by Percy Bysshe ShelleyLougheed, Gwendolyn January 1960 (has links)
No description available.
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The Lyre-Lute-Harp Image as Used by Percy Bysshe ShelleyLougheed, Gwendolyn January 1960 (has links)
No description available.
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Musik und Musiker im Werk Peter HärtlingsGrabowska, Małgorzata. January 2006 (has links)
Thesis (doctoral)--Universität Warschau. / Includes bibliographical references (p. 279-[300]).
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Myth, music and modernism : the Wagnerian dimension in Virginia Woolf's "Mrs Dalloway" and "The Waves" and James Joyce's "Finnegan's Wake" /McGregor, Jamie Alexander January 2009 (has links)
Thesis (Ph.D. (English)) - Rhodes University, 2009.
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The Faust legend and its musical manifestations : a historical overviewRoos, Dorette Maria 12 1900 (has links)
Thesis (MMus (Music))-- Stellenbosch University, 2010. / ENGLISH ABSTRACT: This thesis explores the Faust legend and its musical manifestations since the
19th century. The objective is to provide a thorough background to the legend, before
drawing up an account of compositions inspired by the Faust legend.
Firstly, the origin of the legend is investigated, followed by a brief summary of
the most important literary works on the subject of Faust. This is followed by a
comprehensive outline of the story as told by Johann Wolfgang von Goethe, and then the
most significant compositions inspired by the legend are discussed. A short section
containing comparisons of the compositions and the conclusions of the study appears at
the end.
The legend tells the story of Faust, a scholar, philosopher and alchemist in search
of divine knowledge, power and pleasure. Faust encounters the devil and makes a pact
with him in which he agrees to surrender his immortal soul, if the devil can satisfy
Faust’s thirst for knowledge and grant him the experience of true happiness.
The Faust legend is a very popular theme among composers and artists. One of
the reasons for the success of the Faust legend is its universal appeal. This has led to
various composers using the material as the basis for their works. Goethe’s version of
the legend has proven to be the most popular source for composers.
To produce a composition that attempts to capture the drama in its entirety,
including its psychological and spiritual elements, is not feasible. Works centred on a
smaller section, scene or character from Goethe’s Faust were often more successful than
the larger operatic compositions.
Like all great universal ideas, the Faust legend lends itself to an abundance of
interpretations. Similarities between works are rare. Each composer who made use of
the Faust legend interpreted it subjectively, which has produced many unique and
varied compositions. / AFRIKAANSE OPSOMMING: In hierdie studie word die Faust legende, soos wat dit in verskeie musikale
komposisies van die 19de eeu uitgebeeld is, ondersoek. Die doel van die studie is om ‘n
lys van werke wat deur die Faustlegende geïnspireer is, saam te stel.
Die tesis ondersoek die oorsprong van die legende en gee ‘n kort opsomming van
die mees prominente litirêre werke met die Faustlegende as onderwerp. Daarna volg ‘n
uiteensetting van die storielyn soos vertel deur Johann Wolfgang von Goethe. ‘n Lys,
bestaande uit gesaghebbende Faust komposisies, word ingesluit en laastens volg
vergelykings en gevolgtrekkings uit die studie.
Die legende vertel die verhaal van Faust, die professor, filosoof en alchemis op
soek na kennis, mag en plesier. Faust tree in gesprek met die duiwel en gaan met hom ‘n
ooreenkoms aan om sy siel prys te gee in ruil vir kennis en ware geluk.
Die Faust legende is sekerlik een van die mees gewilde literêre onderwerpe vir
gebruik deur komponiste en kunstenaars. Die universaliteit van die legende dra by tot
die gewildheid daarvan en om gebruik te word as onderwerp in toonsettings. Goethe se
weergawe word meestal ingespan as bron van inspirasie.
Om die volle omvang van die drama, met al sy sielkundige en geestelike elemente
in ‘n komposisie vas te vang, is feitlik onmoontlik. Soos die meeste groot universele
werke, word Faust op verskillende maniere geïnterpreteer. Gevolglik is daar min
ooreenkomste tussen die verskillende toonsettings. Elke komponis se interpretasie van
die legende is uniek.
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