Frederick Fox's contributions to contemporary music are substantial, including eighty-three compositions written between 1966 and 1998. These include pieces for orchestra, wind ensemble, choir, solo instruments, and a variety of chamber ensembles. This study serves as a complete annotated bibliography of Frederick Fox's eight compositions which feature the saxophone in a prominent role, all of which were written between 1979 and 1998. They include a piece for unaccompanied solo alto saxophone, Hear Again in Memory (1991), two works for alto saxophone and piano, Annexus (1980), and When the Thunder Speaks (1998), a saxophone duet, Visitations (1982), two saxophone quartets, 3 Diversions (1987) and The Avenging Spirit (1989), a saxophone quartet with solo alto saxophone, S.A.X. (1979), and a chamber piece for soprano and alto saxophone accompanied by piano and two percussionists, Shaking the Pumpkin (1986). In addition, an analysis of Fox's first composition for saxophone, S.A.X. for Solo Alto Saxophone and Saxophone Quartet, offers an insight into the compositional style of the composer. A complete listing of all of Fox's compositions, formal schemata of selected saxophone compositions, and a discography of his recorded saxophone compositions are included as appendices.

Carl Nielsen, labelled as Denmark's national composer, has long been relegated to a secondary status in English-language musicology as a composer of great national significance but negligible importance outside of Scandinavia. This thesis explores the links between Danish nationalism and Nielsen's music, as well as the effects of Nielsen's status as a national composer on the reception of his symphonic music outside of Denmark. The first section of this paper is a study of Nielsen's music in the context of Danish cultural nationalism at the turn of the twentieth century, focusing on the folk influences or "Danish" aspects of his symphonic music. It also examines the extent to which the national or Nordic qualities of his music are constructions and later attributions. The following section looks at the development of Nielsen's status as a national composer in Denmark, as well as how this label has engendered the stereotyping of his music as regional in English-language musicology. Nielsen has been neglected by the Anglo-Germanic canon which privileges central European compositional styles and methods while viewing nationally inflected music negatively. Although Nielsen's Danish background cannot be ignored, his symphonic music needs to be studied in a wider European context for his universal message to be appreciated

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Orientadora: Rosane Michelli de Castro / Banca: Elieuza Aparecida de Lima / Banca: Renata Rinaldi Portela / Resumo: Esta dissertação de mestrado resulta de pesquisa motivada pela experiência em sala de aula da pesquisadora, como Pedagoga, e está vinculada aos grupos de estudos e pesquisas: HiDEA -Brasil - História das disciplinas escolares e acadêmicas no Brasil; e GP FORME - Formação do Educador, coordenados pela Drª. Rosane Michelli de Castro. Dos estudos desenvolvidos em ambos os grupos de pesquisa, sobre a história da Didática, história das disciplinas escolares no Brasil e sobre a história dos periódicos educacionais no Brasil, surgiu o seguinte problema de pesquisa: as temáticas referentes à Didática foram objetos de discussões nas revistas Educação (1931-1932), Revista de Educação (1933- 1944) e Revista Educação (1945-1961)? Mesmo considerando que tais revistas também passaram por fases de sua existência anteriores ao período delimitado, em que circularam sob outras denominações, foi delimitado como corpus da pesquisa as mencionadas acima porque abarcam o período entre a década de 1930 e 1960, período em que, segundo Garcia (2000), a Didática passou a se constituir como campo de conhecimento e disciplina em curso de formação de professores em nível superior no Brasil. Assim, considerando tais aspectos identificados por Garcia (2000), os aspectos da atuação dos profissionais da educação à frente das revistas educacionais apontados por Nery (2009), e da história da formação docente apontados por Saviani (2006), Tanuri (2000) e Reis (2015), aspectos esses que corroboraram para a delimi... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This masters dissertation is a result of a research motivated by the researcher's classroom experience as a pedagogue, and it is linked to the following research and study groups: History of educational and academic disciplines in Brazil (HiDEA, in Portuguese); and Educator's Formation (GP FORME, in Portuguese), both coordinated by Prof. RosaneMichelli de Castro.From the studies developed in both research groups, concerning the history of Didacticism, history of academic disciplines in Brazil, and the history of educational journals in Brazil, the following research problem arose: did the Didacticism themes were objects of discussion in the Educação (1931-1932), Revista de Educação (1933-1944) and RevistaEducação (1945-1961) journals? Even considering that those journals also went through phases of their existence prior to the delimited period, during which they circulated under different denominations, the periods cited above were delimited as the corpus of this research because they cover the period between 1930 and 1960, period in which, according to Garcia (2000), Didacticism started to constitute itself as a knowledge field and a discipline in teacher's formation higher education courses in Brazil.Therefore, considering aspects identified by Garcia (2000), the performance aspects of the education professional ahead of the educational journals indicated by Nery (2009) and the history of teacher formation indicated by Saviani (2006), Tanuri (2000) and Reis (2015), those aspects corroborated to determine the timeline of this research and, in consequence, its documental corpus. The possible hypothesis found to answer the elaborated problematic was that the Educação (1931-1932), Revista de Educação (1933- 1944) and RevistaEducação (1945-1961) journals constituted themselves as discussion forums about Didacticism, among ... (Complete abstract click electronic access below) / Mestre

by Xiang Liping. / Thesis (M.Ph.)--Chinese University of Hong Kong, 1986 / Bibliography: leaves 172-181

Llama la atención que tanto Oswaldo Reynoso (Arequipa, 1931 – Lima, 2016), como Miguel Gutiérrez (Piura, 1940 – Lima, 2016), escritores integrantes del Grupo Narración1, luego de su permanencia en China —la posterior a la muerte de Mao Tse Tung—, publicaran cada uno una novela cuya trama se desarrolla en ese país. Gutiérrez publicó Babel, el paraíso en 1993; y Reynoso, Los eunucos inmortales en 1995. El primero estuvo cuatro años en China (de 1976 a 1979) y el segundo doce (de 1977 a 1989). Ambos viajaron para trabajar en Beijing como correctores de estilo de una agencia gubernamental y para conocer in situ la experiencia socialista china. Desde su publicación y con el transcurrir de los años —y hasta hoy— ambas novelas no gozaron de la atención de la crítica ni tuvieron una permanente lectoría como sí sucedió con el resto de la obra literaria de cada uno de estos escritores. En todo caso, fueron las menos leídas y estudiadas. Además de este destino en común, guardan una estrecha relación no solo por haber sido publicadas en la década del noventa y en similares circunstancias sino, sobre todo, porque sus personajes principales —el lingüista e investigador, innominado, en Babel, el paraíso, y el escritor y profesor O en Los eunucos inmortales— desarrollan temas como el destierro, la búsqueda, el viaje, la evocación, la creación y el ideal utópico. Mientras Gutiérrez desarrolla las relaciones que se dan al interior del variado grupo de extranjeros —desde latinoamericanos, hasta americanos, europeos y asiáticos—, que viven y trabajan para el gobierno chino, Reynoso presta atención a los hechos políticos y sociales que desencadenaron la masacre de Tian´anmen ocurrida en 1989 en Beijing. Por ello, ambas novelas pueden ser leídas desde la perspectiva de la novela social y política. Asimismo, en ambas se expresa el punto de vista ideológico-político de sus autores y su desencanto del socialismo chino que conocieron in situ tras la muerte de Mao Tse Tung, en 1976. / Tesis

This dissertation focuses on the role of George Maciunas as “chairman” of the neo-avant-garde movement Fluxus. Its introductory chapter provides an overview and assessment of Fluxus scholarship, and advances the argument that Maciunas established an intersection between post-Cage aesthetics and postwar administration. The succeeding chapters situate Maciunas’s work in relation to apparatuses regulating education, circulation, production, and health care. Taking as its primary objects Maciunas’s “paperwork”—his visually striking charts, newsletters, card files, architectural plans, and other documents—this study shows how Maciunas employed administrative techniques to build the infrastructure for Fluxus’s collective practice and, concurrently, drew on Fluxus’s aesthetic tactics to disrupt or evade state regulation. Chapter two, “Card Files & Charts,” reconstructs how Maciunas’s training in the professions of architecture and art history was applied to organizing Fluxus’s publications and concerts; Chapter three, “Newsletters & Postcards,” traces Maciunas’s maintenance of an international Fluxus network via the postal service; Chapter four, “Registrations & Catalogs,” reveals how Maciunas codified Fluxus’s negotiation of individual and collective authorship within the legal framework of US copyright law; and, finally, Chapter five, “Prescriptions,” locates in Maciunas’s performances a body marked by medical administration.

Ismael ‘Maelo’ Rivera (1931–1987) is a foundational Afro-Puerto Rican salsa singer. Known among his fans, peers, and contemporary researchers as El Sonero Mayor (loosely, The Greatest Singer-Improviser), Maelo’s voice became inscribed in the aural tapestry of barrios in Latin America and the Caribbean, beginning in the mid-1950s. After his death on May 13, 1987, Maelo has gained a sense of sacredness amongst fans and devotees who identify themselves as maeleros and maelistas in places such as Panama, Venezuela, and Puerto Rico. My interlocutors ascribe Maelo’s songs with a particular affective strength that for them differentiates him from other salsa singers. His music has become the medium for the creation of relational bonds that respond to their particular local contexts as well as their personal and collective histories. In both countries, maeleros and maelistas listen to his songs as stories where they find keys to endure the difficulties of day-to-day life in their respective socio-political, cultural, and economic situations. This dissertation studies the friendships and relational affinities maeleros and maelistas articulate through Maelo’s music and biography, examining the creative work they do in order to celebrate his presence in their everyday. I argue that Maelo inspires a sense of secular devotion amongst his fans through the ways in which he mediates the crossing of the sacred and the profane through his repertoire and life by voicing multiple expressions from diverse Black Atlantic religions. I understand the sense of communion maeleros and maelistas share as a devotional sense of kinship in which friendship, and mainly male friendships, are central. I propose that such mediations of the sacred, and the Maelo-centered sense of devotional kinship I study, must be framed in relation to larger histories of the political definition of life in Latin America and the Caribbean. In such histories, the spectrality of the voice has served both as a tool for casting Black and indigenous groups as unworthy of citizenship and as a means for these groups to endure such marginalization. By examining the context-specific ways in which Maelo connoisseurs reinterpret his music and life in Venezuela, Panama, and Puerto Rico in his afterlife, this dissertation proposes that maeleros and maelistas enact a political theology that dramatizes the contemporary stakes of larger bio-political histories in which illness has long-been connected to delinquency as tools of power used to police and discipline modern citizen bodies. This is vital to one of the central theses of this dissertation: that Maelo’s stories of vocal illness, addiction, and imprisonment—what I call his wounded masculinity—are key to the sense of sacredness he has gained during his afterlife as a spectral figure whose songs, images, and myth accompany his fans, peers, and devotees in their everyday.

Thesis (Ph.D.)--University Of Hawai'i, 1985. / Includes bibliographical references.

Thèse de doctorat : ETUDES GERMANIQUES : Metz : 1997. / 1997METZ007L. 226 ref.