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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
21

The Edinburgh Musical Society : its membership and repertoire, 1728-1797

Macleod, Jennifer 2001 (has links)
No description available.
22

English Virginal

Martin, Darryl Peter 2003 (has links)
No description available.
23

Taking the nation to heart : A musical exploration of the role and significance of emotional geographies in the (re)production of Scottish national identities

Wood, Nichola 2004 (has links)
No description available.
24

Portfolio of compositions

Adamia, Marina 1998 (has links)
No description available.
25

The development of Kenneth Leighton's musical style from 1929 to 1960 and a complete catalogue of his compositions from 1929 to 1988

Binks, Adam 2007 (has links)
No description available.
26

Concert life and the music trade in Edinburgh c. 1780-c.1830

Cranmer, John Leonard 1991 (has links)
No description available.
27

The Role of the Diminished Seventh and Related Phenomena in the Development of Harmonic Dissension from Beethoven to Messiaen, with Special Reference to Claude Debussy

Trevitt, J. 1975 (has links)
No description available.
28

A critical study of the instrumental music of John Jenkins

Coxon, A. C. 1970 (has links)
No description available.
29

A study of selected manuscript sources of French organ music of the 17th and early 18th centuries, with particular reference to the organ mass

Cradock, C. S. 2007 (has links)
This thesis looks at three previously unstudied manuscript sources of French Classical organ music, and analyses the music within the two of them in the context of the published repertoire. After an introduction to altermatim performance and the ecclesiastical prescriptions governing this music, the author considers the extant repertoire of French Classical organ music in manuscript form, and the work which has so far been done on it. Volume 1 of the thesis consists of two parts. Part 1 contains three manuscript studies: D-MbsMus.Ms.1503k (c1660); B-BrMs.lll1508 (early 18th century);and F-PcMS4689 (early 18th century). The first manuscript contains figured bass and incomplete sketches of liturgical pieces, including a Messe double, as well as a number of written out fantaisies. The other two manuscripts contain fully-written out pieces. B-BrMs.lll1508 begins with a Messe du Huitiesme Ton, and contains a number of suites, as well as a few harpsichord and vocal pieces. Although the pieces in F-PcMS4689 may appear to be unlinked and do not bear liturgical attributions, the author shows that this manuscript in fact contains three organ masses, as well as a number of harpsichord pieces. The second part of volume 1 is devoted to an analysis of the music within the later two manuscripts – B-BrMs.lll1508 and F-PcMS4689 – in comparison with that in the published repertoire. Only a small number of such studies have been undertaken, the most significant being Morche (1979); Gallat-Morin (1988); and Ponsford (1999); and amongst these, only Gallat-Morin has considered any of the manuscript sources available. Volume 2 presents a modern transcription of F-PcMS4689.
30

'Turn mirrors to the wall' : rock music and 1960s dissent

Vanstone, M. A. 2003 (has links)
The aim of this thesis is to evaluate certain theories concerning rock music and its place in youth culture of the 1960s. I have focused on one of the more popular groups of the time, the rock group known as The Doors. It was important to limit the focus to do the poetry and lyrics justice, although it does occasionally refer to other groups such as Jimi Hendrix Experience and The Who. I have used cultural materialism which involves looking at art in its historical context. The singer of The Doors, James Douglas Morrison, was not only politically motivated but also tried to actively enable the audience to break free of their own status as mere audience members. Musical festivals in which the fences (the capitalist barriers) were broken down helps show us the power audiences might have had. The emotion of music was a key part of general protest. Morrison was influenced by Brecht, the Living Theatre, and philosophers such as Norman Brown and Nietzsche. Morrison knew that in order for audiences to be aware of their own power they would have to break free of the festival hall and join others out in the street for a more active protest. Doors performances involved breaking certain “traditions” which had grown up among rock performers, utilising a more spontaneous style to help galvanise an audience with new sounds. After a final turbulent performance in Miami in which Morrison would be arrested on a trumped up charge, the refusal of the audience to respond to his exhortations to freedom would result in his declaration “rock is dead”. Eventually the 1970s would raise kitsch to an apolitical musical art form, and confirm his claim.

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