Music has a long established and well acknowledged role in entertainment, education, development, therapy and other areas, but relatively little has been explored as to its role in the deeper aspects of reconciliation. The twentieth and twenty-first centuries have been marked by wars encompassing appalling atrocities, genocide, holocaust and diverse crimes against humanity Rwandan 1994 genocide being one of them; characterised by dehumanization, betrayals and annihilation leaving sore wounds of on-going antagonism between diverse social groups; motivating this research to focus on genuine reconciliation beyond the accustomed route of mere talks, discussions and prayers. This research uses ethnographic data from fieldwork conducted between 2009 and 2013 both in and outside Rwanda, supported by various recorded materials to discover how music was used in putting an end to atrocities, restructuring relationships, establishing and sustaining new ones. This research uses a more community-engaged strategy encouraging participation of those more directly involved at grass-roots level. The study explores Rwanda’s history highlighting music’s facility to bring people’s past into the present, to stress unifying elements within broader society; genocide to address its causes, propagating an awareness of shared responsibility and hope for the future; Rwandan refugee camps and how music helped them cope and return to Rwanda; Rwandan ‘New dawn’ how it was idealised and actualized leading to the birth of a New Era; Commemoration as part of national ritual for reconciliation; National Symbols and their unifying power; and the organisations involved in perpetuating peace, healing and reconciliation. The findings strongly suggest that music has an enormous power in reconciliation resting on its ability to address multiple emotional human needs simultaneously.

This study uses a collection of opera scores issued by one publisher, Robert Bremner, over a period of twenty years, to highlight key areas in the history of music publishing and Italian opera in London during the mid-to-late eighteenth century. The study is divided into two distinct sections. Volume 2 is a thematic catalogue, specifically prepared from the collection of Bremner's Favourite Songs to indicate the nature and scope of the source material available. Volume 1 acts as a form of `historical commentary' to this, placing the Favourite Songs and Bremner's work in context and examining the issues and questions that can be raised from an investigation of this kind. Volume 1 comprises six chapters, each covering a specific area of the subject matter or emphasising the benefits of a particular type of historical research. Chapter 1 is an introduction to the study, explaining the need for this kind of approach, examining the variety of literature already available and outlining the methodology employed here for both research and presentation. Chapter 2 discuss the scores of the Favourite Songs in relation to music publishing. A brief outline history of the industry within the period is provided and Bremner's own career and output considered. The contents of the scores themselves, as summarised in Volume 2, are then fully explored, considering length, variety, relationship with the original opera plots, presentation and layout. Moving aside slightly from this type of analysis, Chapter 3 looks at the differences in engraving style between and within the scores of the Favourite Songs.Q uestionsr elating to the division of work betweene mployeesa nd theday-to-day running of an eighteenth-century publishing firm are raised and a number of actual engraving styles identified. These help to illustrate the variety of print-types encompassedw ithin the Favourite Songsa nd provide significant scope for further research into this area. Chapter 4 concentrates on Bremner's work in terms of the productions of Italian opera mounted in London, at the King's Theatre in the Haymarket. Close connections between the dates of performance and publication are noted and used to suggest the existence of a possible official agreement between Robert Bremner and the managers of the King's Theatre. The fluctuating fortuneso f the operah ouseo ver the period are consideredw ith regardt o the frequency of production of the Favourite Song scores. A variety of information on individual singers, provided almost solely by the scores themselves, is also noted; again some pointers to further research are given. Chapter 5 is not directly score-based but provokes a number of important questions about the contextual scope and nature of the Favourite Songs. The possibility of an agreed contract between Bremner and the King's Theatre is raised once more, with the use of additional source material. A likely type of consumeris consideredfo r Bremner'sw ork and somet houghtg ivent o the publication of Italian opera in London, beyond the immediate jurisdiction of the Favourite Songs. Chapter 6 offers some conclusions to the present study, outlining the importance of the source material examined and the relevance of the methods used.

Iain MacNeacail of the Isle of Skye has been making songs since 1917, when he was fourteen years old; he still composes today. His style is that of the late nineteenth century and early twentieth century <i>b'aird bhaile</i> [township poets] who compose on a huge range of subjects. This dissertation explores the world of a Gaelic song-maker, largely in his own words through the use of tape recorded interviews and investigates his thoughts on his motives and his methods of composition. These aspects of song scholarship are under-researched in many cultures and though there are extensive collections of Gaelic songs available which allow study of the textual/musicologial side, the maker's own perceptions of this work and the community's perception of their bard have been neglected. The picture that emerges is of a living village song-maker in the context of a community rich in song and cultural life, where villagers look to their local bards for articulation of their own feelings. Functional local song in its element operates on many levels. Chapter one is the biography of Iain MacNeacail, largely in his own words, which sets the scene and provides some historical background on north Skye itself. Chapter two describes the community social life, centering on the <i>taigh célidh</i> [célidh or visiting house] and other pastimes during the long winter months. Chapter three consists of an edition of MacNeacail song's, with notes and detailed transcriptions of interviews relating to their background and genesis. Chapter four elucidates the actual process of making a song: how they come to him, his conscious technique and his unconscious skill. Chapter five discusses the function of song in MacNeacail's Hebridean community.

The "& p.rpos. of this dissertation ii to coriaier the duets of Steffani as sxnp1e. of the secular Italian cantata in the late seventeenth and e arl.y eighteenth centuries • It was impossible to attempt this, however, without first establishing which duets are aithentic. This involved detth.led study of the sources, and these led inevitably to consideration of the airoumatanoes in which the duets were composed, revised and copied. The opening chapters place the duets in the oontext of Steffani' a life as a whole and indicate that he began to revise them in 1702. Leoriptiona to poets, which are investigated in chapter three, provide some evidence for the authenticity of a group of duets (the group) which i. not to be found in the ajn source, B.L BM 23 k 13-20. These manuscripts wars written by the st important copyist of Staff ani's music, who was not Gregorio Piva (chapter four), and they a2nat certainly represent the nw collection of duets on which Steffani embarked in 1702 (chapter five). Of the five volumes now missing, four mq be deduced from other early sources, and. the fifth from later manuscripts (chapter six: the Che volele group). The original versions of duets that were revised do not appear in the maii sources, but in other manuscript a discussed in chapter seven. The musical discussion begins with a bao]cground chapter concentrating on Staff ani' a nusioal education and development, and. on the Italian cantata and. duet in general • The following chapters, on the texts, style, forms and revisions of his duets, show that these works reflect the influence of the madrigal as well as of the cantata; that they incorporate French stylistic trait.; and that in some respects they resemble the contemporary trio sonata. The revisions represent a changed attitude to the form of the duet: compared with the original versions, they comprise a smaller number of longer movements, of which a higher proportion are duets (not solos) and are not repeated. In a brief Postscript, consideration is given to some duet. of doubtful authenticity.

At the time of his death in 1827, the image of Beethoven as we recognise him today was firmly fixed in the minds of his contemporaries. As his musical language continued to inspire composers, so too did artists respond to the challenge of maintaining and evolving his "heroic" image already firmly established in the portraiture, sketches, busts and other art during his lifetime. Yet the study of posthumous Beethoven iconography becomes more than just an issue of whether he is portrayed accurately. Instead the composer's own role changed within visual art after the initial cautious portrayals dating from the late 1820s and 1830s; no longer was he depicted only in singular portraits, but was also introduced into larger ensemble paintings comprising iconic figures of the time. The advent of the creation of statues of Beethoven as permanent monuments to his greatness also signified a new direction for the image of the composer after 1845 and played a significant role in emphasising his transition from mere mortal to eternal deity within the realms of Music and Art. These intertwining strands of the construction of Beethoven's visual identity after his death continued to evolve unceasingly throughout the later nineteenth century, culminating in an interpretation by the turn of the twentieth century that both reflected and was influenced by contemporary reception of his life and music.

Spectral Tourism – <i>The Gift of Flight</i>: Large project for live performer and joystick operated computer using spectral analysis and re-synthesis techniques and interaction via joystick. Consists of: Software, documentation and CD – THE GIFT OF FLIGHT c. 40.Minutes. <i>Hell’s Angles </i>(sic.): Generative music for 8-channel computer. Consists of: 2-channel documentary recording, stand-alone application and documentations c.10.Minutes. <i>Environment for Stone Violin: </i>Consists of: Software, documentation and recording c.15 minutes. <i>Haze: </i>Reactive music for computer with clarinet, trombone and cello. Consists of: Software, documentation, score and recording c.5 minutes. <i>The View:</i> DVD Video, documentation c.12 minutes. <i>Shonky music: </i>Music for Tracker Action Organs. Consists of: Score, recording of two different organs c.7 minutes each. <i>Sounds of Line:</i> Music for prepared horn quartet. Consists of: Two movement score, recording and annotation c.9 minutes. <i>In formation II:</i> Music for Recorders and CD. Consists of: Three movement score, recording and annotation c.10 minutes. Antiorp: Music for ensemble. Consists of: Score, recording and annotation c.13 minutes. Appendix: Miscellaneous improvisations produced with improvising software.

Theodor Adorno's depiction of Stravinsky and Schoenberg in the <I>Philosophy of Modern Music </I>has been a source of much controversy. Many have criticised the Frankfurt Scholar for his biased portrayals. A common tendency shared among commentators has been to interpret Adorno's text literally. Yet upon closer examination, one sees that Adorno's intention was to write not only a literal text, but also a poetic text. Following in the tradition of Karl Kraus, and Walter Benjamin, Adorno's text is laden with symbols, metaphors, allusions and allegories that encircle socio-cultural and historical issues. Stravinsky and Schoenberg are often caricatures, and their works a means to discuss kitsch and avant-garde art during the rise of fascism in Germany. Even Adorno's portrayal of art in Germany is symbolic; his insights into state capitalist culture during World-War Two are meant to act as an acidic and prophetic analysis of monopoly capitalist culture in the post-World-War II era. Adorno's <I>Philosophy of Modern Music </I>was meant to be a <I>Flaschenpost, </I>a 'message in a bottle', designed to remain rebarbative through time. This thesis suggests that when one applies his insights to late capitalist society, they seem more relevant than ever.

1. Apo Xeno Topo. 2. Pao Na Po Sto Sinnefo. 3. Two Rembetika Songs. 4. Croustopia. 5. Ta Fota Tis Polis. 6. the Praises of the Epitaph. 7. Polyrhythmos I. 8. Dark Parallel Monologue.

<i>Makkha: </i>Orchestra and dancer. <i>Dukkha I-IV</i>: Double bass and string quartet. <i>Inside and Outside: </i>Horn and piano. <i>Prayers’ Cave</i>: Viola solo, viola ensemble and piano; Viola solo, two violins and piano. <i>Voiceless sketches I, II, III, IV, VI</i>: 1^st version for flute, clarinet, violin, viola, cello, piano and percussion; 2^nd version for flute, string quartet and piano. <i>Phra Lo (Voiceless sketches V)</i>: Music with poems for two dancers, human voices and chamber orchestra. <i>Music in the community works</i>: Community pieces involving creative composition and video.

Séamas de Barra The Symphonies of John Kinsella ABSTRACT This thesis offers the first comprehensive analytical and critical study of the symphonies of John Kinsella (b. 1932), one of the leading figures in contemporary Irish music. This cycle of ten works represents the most substantial contribution to the genre by an Irish composer, and Kinsella’s varied handling to the form is examined and discussed in relation both to historical and contemporary developments. While his understanding of musical structure and the manner in which he shapes musical time are deeply indebted to the work of Jean Sibelius, Kinsella’s compositional idiom is derived from a personal adaptation of serialism in which the technique of the note-row is manipulated to readmit the forces of tonal attraction. The result of these twin influences is an arrestingly individual approach to composition, the development of which is traced across the cycle as each of the symphonies in turn is subjected to extensive analysis. Because he chose to pursue an independent path in the 1980s, Kinsella seemed a somewhat isolated figure to his contemporaries. Retrospectively, his work can be seen as instinctively in tune with broader developments, however, as both serialism (understood as a way of thinking rather than as a style) and the music of Sibelius have emerged as two of the dominant influences on current musical thinking.