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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.
41

English Harpsichord Repertoire 1660-1714

Hodge, John Brian 1989 (has links)
No description available.
42

Music as complex emergent behaviour : an approach to interactive music systems

Beyls, Peter F. E. 2009 (has links)
This thesis suggests a new model of human-machine interaction in the domain of non-idiomatic musical improvisation. Musical results are viewed as emergent phenomena issuing from complex internal systems behaviour in relation to input from a single human performer. We investigate the prospect of rewarding interaction whereby a system modifies itself in coherent though non-trivial ways as a result of exposure to a human interactor. In addition, we explore whether such interactions can be sustained over extended time spans. These objectives translate into four criteria for evaluation; maximisation of human influence, blending of human and machine influence in the creation of machine responses, the maintenance of independent machine motivations in order to support machine autonomy and finally, a combination of global emergent behaviour and variable behaviour in the long run. Our implementation is heavily inspired by ideas and engineering approaches from the discipline of Artificial Life. However, we also address a collection of representative existing systems from the field of interactive composing, some of which are implemented using techniques of conventional Artificial Intelligence. All systems serve as a contextual background and comparative framework helping the assessment of the work reported here. This thesis advocates a networked model incorporating functionality for listening, playing and the synthesis of machine motivations. The latter incorporate dynamic relationships instructing the machine to either integrate with a musical context suggested by the human performer or, in contrast, perform as an individual musical character irrespective of context. Techniques of evolutionary computing are used to optimise system components over time. Evolution proceeds based on an implicit fitness measure; the melodic distance between consecutive musical statements made by human and machine in relation to the currently prevailing machine motivation. A substantial number of systematic experiments reveal complex emergent behaviour inside and between the various systems modules. Music scores document how global systems behaviour is rendered into actual musical output. The concluding chapter offers evidence of how the research criteria were accomplished and proposes recommendations for future research.
43

Examining the emergence and subsequent proliferation of anti production amongst the popular music producing elite

Bennett, Samantha 2010 (has links)
No description available.
44

Tuning in : towards a grounded theory of integrative musical interaction

Bentley, Jane E. 2011 (has links)
No description available.
45

The lyrics of Udo Lindenberg and Konstantin Wecker : contemporary variations of German cabaret and Gebrauchslyrik

Blühdorn, Annette 2001 (has links)
No description available.
46

Robert Hope-Jones, M.I.E.E. : an interim account of his work in the British Isles

Clark, R. 1993 (has links)
No description available.
47

Choral music and the Church of England 1970-1995 : a study of selected works and composer-church relations

Burrows, H. J. 1999 (has links)
No description available.
48

Gypsy punk : towards a new immigrant music

Ashton-Smith, Alan 2013 (has links)
The musical genre of Gypsy Punk, in which the most significant contributions have been made by the multi-­‐ethnic band Gogol Bordello, may appear to be simply a composite of the two elements that make up its name – ‘gypsy’ and ‘punk’. But a closer investigation reveals that Gogol Bordello are in fact engaging with a broader cultural palette, and challenged established perceptions. The figure of the ‘gypsy’ is important to the genre, but it is essential that the implications of this word are understood in order to fully grasp its significance. In addition to influences from punk and cabaret, the Balkans, and the ways in which this region has been perceived from outside, also have a bearing on Gypsy Punk. Yet none of the musicians who make up Gogol Bordello can be described as either ‘gypsy’ or Balkan, and therefore the outward presentation of the band does not reveal the significance of Gypsy Punk. This can be better understood through an examination of Gogol Bordello’s use of myth – a Gypsy Punk mythology is created not only through their music, but also through iconography, performance, and the band’s manifesto. In addition, extant myths, such as those that surround the Roma and the Balkans, are subverted in their work. However, it is the mythology of immigration that is in many ways most important to Gypsy Punk. The immigrant experiences of Gogol Bordello’s members, and the immigrant figures that appear in their work are particularly relevant in that they reflect contemporary global society. Gypsy Punk transcends the established idea of ‘gypsy’ music and functions as what I describe as an immigrant music. The mythologies that Gogol Bordello engage with serve as windows through which immigrant music can be seen and comprehended as a music with particular relevance today.
49

Voice, body and performance in Tori Amos, Björk and Diamanda Galás : towards a theory of feminine vocal performance

Zaplana Rodríguez, Esther 2009 (has links)
This thesis explores the vocal and musical performance of several women artists and undertakes a cultural analysis of some of their works from a gendered perspective. The readings examine primarily the meanings of the voice in performances by Tori Amos, Bjork and Diamanda Galas, as well as a few aspects of avant-garde vocal performer Fatima Miranda. The cultural interpretation engages with the artists' musical and visual displays in order to disclose the relationship between the voice and the gaze, and to argue, thereby, that vocality in musical production becomes a means for the woman singer to construct her own (self) representation and affirm her enunciative position as a speaking subject in culture. Within the specific case studies, an element in the discussion focuses on the centrality of the body and the audience figuration of the singing body, given that representations are understood as vehicles for 'hidden' messages about the gendered body. The body-source of the voice is brought into the analysis as a way to enable a set of new meanings associated with the positioning of the female artist vis-a-vis the representation she performs in her artistic display. The study is framed by the individual (albeit, in concrete ways, related) ideas of French feminists Luce Irigaray, Helene Cixous and Julia Kristeva, bearing in mind that Irigaray emerges as the main theorist who informs the research. By engaging with the thinking of these authors, the research contributes an argument for the relevance of their concepts, language, and aesthetics to the analysis of women's vocal performance. In line with their reconsideration of psychoanalytic and linguistic categories, as well as Irigaray's re-conceptualisation of sexual categories, the study develops a theoretical approach from which to examine the cultural dimension of feminine vocal performance. The analysis is thus situated between psychoanalysis and postmodem feminist theories, and links the signification of an auditory culture produced by women to the wider context of a gender politics of (self) representation.
50

Loss, memory and nostalgia in popular song : thematic aspects and theoretical approaches

Elliott, Richard 2008 (has links)
The aim of this thesis is to study the ways loss is reflected in popular music and in the discourse surrounding popular music. The project attempts to create a dialogue between theorists of loss and memory working in various disciplines and those working in and around popular music (musicians, critics, academics). It also recognises the vital role of loss in revolution (and vice versa) and attends to revolutionary moments, or events, not least the `event' of rock 'n' roll. It proceeds from the idea that, while creativity is a crucial aspect of the production and reception (or receptive production) of popular music, creativity often takes the form of a response, or set of responses, to loss. While rooted in popular music studies, the project reflects a desire to look outside the Anglophone tradition and includes case studies of a few music genres - Portuguese fado, Cuban nueva trova, Chilean nueva canciön - that exist in a place between popular music studies and ethnomusicology. It also studies three areas more familiar to Anglophone popular music studies: rock 'n' roll, black protest music in America and punk/post-punk in Britain. Methodologically, the thesis draws on popular music studies, philosophy and cultural theory in an attempt to suggest ways that these disciplines can inform each other.

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