No description available.

In this thesis I examine the philosophical and psychological literature on the human experimence of the ingredients of music, and pay particular attention to that body of literature which describes the interpersonal temporal and prosodic features of basic human communication, that is, the literature on non-verbal mother-infant interaction. I propose that improvisation in music therapy provides a pivotal synthesis for demonstrating the duality of music and basic emotional processes, and support this with experimental work.

The extraordinary richness of musical life in early twentieth-century Vienna coincided with an increasingly confident movement for the emancipation of Women. While these two areas have attracted considerable academic attention as separate phenomena, this thesis is the first to consider, in detail, connections between the two. In particular, it investigates the way that opera contributed to the discourse on gender in early twentieth-century Viennese culture. After a brief discussion of the existing literature on gender and opera, and of the methodology adopted, the thesis examines the discourse on gender in Vienna at this time, drawing on writings by a variety of authors. These represent a spectrum of attitudes to the women's movement, from those actively involved in it to those who strongly opposed it. The analysis identifies three main themes in the gender discourse: the way that power shapes relationships; the nature of gender difference; and the experience of autonomy, which is central to a person's sense of self. These are then used as a starting point in the investigation of the operatic life of the period. Three operas are used as case studies: Zemlinsky's Der Traumgorge, Strauss's Salome and Schoenberg's Erwartung. Detailed analysis of each libretto and score reveals how these operas reflect and contribute to the contemporary discourse on gender. It becomes clear that opera provides a particularly powerful way to explore a character's autonomy, through an expression of her internal life as she develops and changes. Finally, the way that ideas about gender appeared in operatic performance is discussed, through an analysis of the life, work and writings of the singer Marie Gutheil-Schoder. Her descriptions of her preparation of a role demonstrate a preoccupation with the internal life of the character, which is absolutely consistent with the themes developed in the rest of the thesis.

This thesis presents an examination of the development of form and style in eighteenth century Salzburg church music, through a study of the church works of four main composers - Johann Ernst Eberlin (1702-62), Leopold Mozart (1719-87),. Anton Cajetan Adlgasser (1729-77) and Johann Michael Haydn (1737-1806). An introductory chapter fills in the background to this period in Salzburg's musical history* after 'which the chapters are devoted respectively to the Mass, the Requiem, the Litany, Vespers, and the Gradual and Offertory, In the final chapter, an assessment is made of the Salzburg church music of Wolfgang Amadeus Mozart, in the light of the preceding chapters, when his close alliance with local tradition in matters of form and style is evident. Editions of the following works are also provided; ¦tLs!1 ann Ernst Eberlin Gradual; Chnstus factus est Requiem in D minor Vesperao de Dominica Loopold Mozart Missa in Gd Anton Cajetan ftdlgasser Missa in Am Johann Michael Haydn Litaniae de S.S. Nomine Jesu.

No description available.

No description available.

Much previous music psychology research has centred on quantitative findings related to musicianship, formal music education and instrument-learning across childhood, adolescence and adulthood. Also, a significant increase in the amount of psychology research into a specific sub-set of identity, namely musical identities, has recently evolved. The aim of the current thesis is to build upon and add to current data sets, through a qualitative exploration of musical identities centred on a currently un-researched group of participants, namely, adult self-defined 'non-musicians'. The present thesis documents an Interpretative Phenomenological Analysis (IPA) centred upon data collated through a single open question; semi-structured interviews; adult self labelled non-musician participants (n = 10), 7 of whom were male and three female. Ages ranged from 37 to 47 years of age. The subject matter, theory and methodological approach adopt an idiographic interpretative analytical stance, which seeks to broaden not only the participant base but also the methodological approach into research centred on adult 'non-musicians' within music psychology. Results reveal emergent, recurrent and overarching themes in direct relation to three central factors within their 'nonmusician' status. The first of which centres on: the impact of family influences on past and current musical identities, whereby an initial baseline of musical identity formation evolves; the second on the importance of relational and social communications in musical identities, which mediates the negotiation and maintenance of musical identities across time; and, the third on the importance of the centrality of music in everyday life, which relates to musicality more than musicianship and is seen as an essential element of being. Future research possibilities are also presented.

No description available.

No description available.

This project seeks to extend, through a portfolio of compositions, the use of microsound to mixed works incorporating acoustic instrument and electronics. Issues relating to the notation of microsound when used with acoustic instruments are explored and the adoption of a clear and intuitive system of graphical notation is proposed. The design of the performance environment for the electroacoustic part is discussed and different models for the control of the electronics are considered. Issues relating to structure and form when applied to compositions that mix note-based material with texture-based material are also considered. A framework based on a pure sound/noise continuum, used in conjunction with a hierarchy of gestural archetypes, is adopted as a possible solution to the challenges of structuring mixed compositions. Gestural and textural relationships between different parts of the compositions are also explored and the use of extended instrumental techniques to create continua between the acoustic and the electroacoustic is adopted. The role of aleatoric techniques and improvisation in both the acoustic and the electroacoustic parts are explored through adoption of an interactive performance environment incorporating a pitch-tracking algorithm. Finally, the advantages and disadvantages of real time recording and processing of the electronic part when compared with live processing of pre-existing sound-files are discussed.