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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

Dub in Babylon, The Emergence and Influence of Dub Reggae with Particular Reference to British Punk and Post-Punk in the 1970s

Partridge, Christopher Hugh 2007 (has links)
Dub reggae and the techniques associated with it have, since the late-1980s, been used widely by producers of dance and ambient music. However, the term was originally applied to a remixing technique pioneered in Jamaica as far back as 1967. Recording engineers produced reggae tracks on which the efforts of the producer were often more evident than those of the musicians - these heavily engineered tracks were termed 'versions'. The techniques used to produce versions quickly evolved into what is now known as 'dub'. The term, in this sense, arrived in 1972 and was largely the result of experiments by the recording engineer Osbourne Ruddock/King Tubby. Over the decades, not only has dub evolved, but it has done so especially in the UK. Indeed, much contemporary music, from hip hop to trance and from ambient soundscapes to experimental electronica and drum 'n' bass is indebted to the 'remix culture' principally informed by dub techniques. However, while obviously an important genre, its significance is rarely understood or acknowledged. Part One of the thesis examines the Jamaican background, necessary for understanding the cultural significance of dub, and Part Two analyses its musical, cultural and political importance for both African-Caribbean and, particularly, white communities in the United Kingdom during the late-1970s and early 1980s. Particular attention is given to the subcultures surrounding the genre, especially its relationship with Rastafarian culture the history and central beliefs ofwhich are related to reggae and examined. There is also analysis of its cultural and musicological influence on punk and post-punk, the principal political music in late-1970s Britain. Finally, moving into the period of the decline of postpunk and, indeed, British dub in the early 1980s, there will be an examination of what can be understood as the postmodern turn in dub. The principal focus of this final discussion will be the work of the most influential post-punk producer, Adrian Sherwood, who, in the late 1970s, formed several fluid musical collectives - most notably, Creation Rebel, African Head Charge, and Dub Syndicate - in order to experiment with the dub sound. These developments were enormously influential, and would eventually go on, in the 1990s, to shape the emerging rave and dance cultures. In summary, the thesis is a confluence of several lines of thought. Firstly, it provides a cultural and musical history of dub from its early days in Jamaica to the decline of post-punk in early-1980s Britain. Secondly, it examines the religio-political ideas it carried and traces .these through to the ideologies informing the subcultures of the late-1970s and, finally, to their transformation and, arguably, neutralisation in the postmodern pastiche of post-punk dub. Thirdly, with reference to these lines of thought, it looks at dub's and roots reggae's contribution to race relations in 1970s Britain. Finally, it analyses the aesthetic and arguably 'spiritual' significance of dub, looking at, for example, its foregrounding of bass and reverb. Quite simply, therefore, in demonstrating the political, cultural, spiritual, and musicological significance of dub, the thesis seeks to contribute to a revision ofits current 'unsung' position in contemporary popular music history.
42

The Crisis of Chinese Rock in the mid-1990s: Weakness in Form or Weakness in Content?

Wang, Qian 2007 (has links)
Born in the political turmoil of the 1989 student movement, Chinese rock music is often understood as an ideological weapon to against the Communist principles due to its western origin. The movement pushed Chinese rock to an unprecedented height of cultural prominence in the. early 1990s. Chinese rock, however, lost this cultural prominence in the mid-1990s. The political suppression is generally regarded as the key reason causing the crisis, but the real reason is much more complicated and deep inside China's society. . The 1990s is a decade when China was profoundly transformed into a new nation in every dimension. The substantial economic growth hid other social problems, such as the unparalleled development between economy and culture. The crisis of Chinese rock is just evidence demonstrating how cultures are co-produced by multi-forces social movements rather than any single factors. Social powers and the political power are often mixed in previous studies. It is also incorrect to treat ordinary people as a passive group who actually had exerted their influences on the formation of Chinese rock in the 1990s. Qualitative data (such as the lyrics and comments) and quantitative data (such as the number ofrock album and economic figures) display why the crisis happened. The political-concentrated content and the purely artistic form are the two direct causes of the crisis, but digging deeper, social power, social classes, and cultural capital play vital roles. The immaturity of Chinese rock music itself is the direct reason, but the immaturity of China's society is the essential and primary reason for the crisis. The crisis of Chinese rock, however, does not mean its death, but a period when rockers, the music industries, the media, fans, and even the government needed to learn and accumulate adequate source and capital to develop this new culture. It cannot be an overnight task. The comeback of Chinese rock in the new millennium demonstrates that Chinese rock is a culture related to China. Its social significance and role likely differ from its western counterpart. Because China has been opened up to the outside world since 1979, the development of intercultural exchange is inevitable, which makes rock music develop in China in a together-in-difference situation.
43

Improved methods for pattern discovery in music, with applications in automated stylistic composition

Collins, Tom 2011 (has links)
Computational methods for intra-opus pattern discovery (discovering repeated patterns within a piece of music) and stylistic composition (composing in the style of another composer or period) can offer insights into how human listeners and composers undertake such activities. Two studies are reported that demonstrate improved computational methods for pattern discovery in music. In the first, regression models are built with the aim of predicting subjective assessments of a pattern's salience, based on various quantifiable attributes of that pattern, such as the number of notes it contains. Using variable selection and cross-validation, a formula is derived for rating the importance of a discovered pattern. In the second study, a music analyst undertook intra-opus pattern discovery for works by Domenico Scarlatti and Johann Sebastian Bach, forming a benchmark of target patterns. The performance of two existing algorithms and one of my own creation, called SIACT (Structure Induction Algorithm with Compactness Trawling), is evaluated by comparison with this benchmark. SIACT out-performs the existing algorithms with regard to recall and, more often than not, precision. A third experiment is reported concerning human judgements of music excerpts that are, to varying degrees, in the style of mazurkas by Frededric Chopin. This acts as an evaluation for two computational models of musical style, called Racchman-Oct2010 and Racchmaninof-Oct2010 (standing for RAndom Constrained CHain of MArkovian Nodes with INheritance Of Form), which are developed over two chapters. The latter of these models applies SIACT and the formula for rating pattern importance, using temporal and registral positions of discovered patterns from an existing template piece to guide the generation of a new passage of music. The precision and runtime of pattern discovery algorithms, and their use for audio summarisation are among topics for future work. Data and code related to this thesis is available on the accompanying CD or at http://www.tomcollinsresearch.net
44

An interpretational approach to the Violin Concerto of Nikos Skalkottas

Sousamoglou, Antonios 2008 (has links)
No description available.
45

Aspects of performance practice in works for recorder composed for Carl Dolmetsch between 1939 and 1989

Mayes, Andrew 2008 (has links)
No description available.
46

Heinrich Neuhaus : Life, philosophy and pedagogy

Crothers, Galina I. 2010 (has links)
No description available.
47

Understanding 'tone deafness' : A multi-componential analysis of perception, cognition, singing and self-perceptions in adults reporting musical difficulties

Wise, Karen J. 2009 (has links)
No description available.
48

The recording of the non-classic blues genre, 1923-1942

Kilma, Stefan 1980 (has links)
No description available.
49

The dating of the Trent Codices from their watermarks, with a study of the local liturgy of Trent in the 15th c

Saunders, S. E. 1984 (has links)
No description available.
50

Analysis of structure in Schubert's piano duets

Rast, N. A. 1988 (has links)
No description available.

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