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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.

A critical study of the instrumental music of John Jenkins

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

'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.

The Vespers music of JD Heinichen (1683-1729)

Williams, Margaret 2007 (has links)
No description available.

The German symphony between Beethoven and Brahms : the fall and rise of a genre

Fifield, Christopher George 2011 (has links)
No description available.

The journey of the soul: the role of music in the Ludus super Anticlaudianum of Adam de la Bassee

Barnard, Jennifer A. 2008 (has links)
No description available.

The chamber music of Frank Bridge

Huss, Fabian Gregor 2011 (has links)
No description available.

On the late chamber works of Roberto Gerhard

Moore, Allan Frederick 1990 (has links)
No description available.

Musical alterity and embodied practice

Robinson, Dylan 2009 (has links)
No description available.

Responses to music in the real world

North, Adrian C. 1996 (has links)
This thesis concerns aesthetic responses to music, and is divided into four main parts, with each comprising an initial literature review and subsequent empirical studies. Part A describes 5 studies which employed conventional laboratory techniques to investigate how theories of aesthetic response might be extended to explanations of emotional responses to music and liking for musical styles. This part of the thesis also discusses how these theories might be reconciled. In contrast, Parts B-D of the thesis provide several examples of how responses to music in the real world are not made in the 'social vacuum' of conventional laboratory research, but are instead linked inextricably to the context of musical behaviour. Part B reports 7 studies which investigate the relationship between music and the immediate listening situation. These demonstrate that through variables such as 'appropriateness', musical preference may interact with the environment in which it is experienced. Part B also investigates the relative roles of arousal- and cognitive-based factors in this, and suggests that music is selected to as to optimise responses to the listening situation. Part C investigates two sources of extra-musical information, namely stereotyping and the physical attractiveness of music performers. Although some research has been carried out on conformity and prestige effects on musical preference, the two studies in this part of the thesis indicate that other types of information may also be important social features of people's musical behaviour. Finally, Part D reports three studies concerning artistic eminence and acculturational factors. These demonstrate a considerable consensus between several means of measuring artistic eminence; that this consensus breaks down to some extent as a result of cultural factors; that archival data sources can reveal several interesting cultural trends in eminence; and that there are age differences in tolerance for musical styles. These three studies indicate that the broader culture in which people develop and live also influences musical behaviour. More generally, the research reported in this thesis suggests that although context-independent laboratory studies can be informative in their own right, responses to music also seem related to their social psychological, real-world context.

Modernity, urban space and music industries : hip-hop and reproduction of street music in Paris and Tokyo

Yasuda, Masahiro 2001 (has links)
Despite their importance, debates on the global culture industry and its effects on local cultures have often been framed by the dichotomy between global capitalist producers and local romantic consumers, which fails to locate dialogues between production and consumption, globalisation and localisation, at a specific historical and geographical crossroad. This thesis attempts to assess this crossroad, focusing on the construction of hip-hop scenes in Paris and Tokyo. It pursues two routes of inquiry. Firstly, it tries to trace history and geography in the two cities of street music: the music labelled as 'delinquent' while disposed to accumulate specific capital. How has this 'street' been mediated by the globalising music industries? How has such global mediation been locally naturalised through oppositions between the 'commercial' and the 'authentic'? Secondly, through fieldwork, it seeks to detect a series of taxonomic conflicts among music industry personnel regarding hip-hop's local legitimacy. How are both the globally disseminated notion of black American 'street' as hip-hop's origin and the locally accessible history and geography of 'street' informing the hip hop scene in each of the two cities? How is hip-hop understood globally unifying and locally diversifying at once? As the two routes intersect, it turns out that the local hip-hop scenes cannot be explained simply as a product of capitalist manipulation or romantic resistance. Hip-hop has transformed the music industries in the two cities, yet its resistance is also implicated in modem technologies and industries as it has instituted its own network of cultural intermediaries. Despite (and because of) its oppositional disposition, hip-hop contradictorily reproduces modern symbolic orders. This being the case, the role of the music and related media industries should urgently be re-conceptualised for a further understanding of contemporary media and popular culture. This study is a small contribution to this issue.

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