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Study of Setsuwa literature with emphasis on the Nihon Ryoiki.Golay, Jacqueline January 1970 (has links)
Before taking up the study of the Nihon Ryoiki itself it seemed necessary to explore the meaning of the expression "setsuwa bungaku". Japanese scholars have given this expression different meanings and varying delimitations. "Setsuwa" is a general term which means "a Tale" and which implies an oral tradition.
In the "History of Japanese litterature" edited by Hisanatsu Sen'ichi are articles which treat the folktale and folktale literature seperately without establishing a clear relationship between the two concepts. In fact, the term "setsuwa bungaku" usually designates a type of folk litterature which consists of didactic buddhistic tales. Many collections of such tales were compiled , often by buddhist monks, during the Heian and Kamakura periods. The first of these was the Nihon Ryoiki, in the early 9th century. In Hisaratsu's "History of Japanese litterature " it is not discussed under the heading of setsuwa bungaku. However, the Ryoiki is certainly one of the most important of setsuwa collections and it cannot be isolated from the mainstream of setsuwa litterature which flourished in late Heian and in Kamakura, and of which the Konjaku Monogatari is always considered the prototype. The author of the Ryoiki, the monk Kyokai,lived through a period of intense political, social and religious turmoil. Kyokai's observations of the social distress and of his own miserable life resulted in a strong sense of mission, the result of which was the Nihon Ryoiki. The study of Kyokai's own account in his prefaces and of the contents of the Ryoiki leads one to believe that the book was achieved, and probably wholly written,during the years Konin (810-824).
The Ryoiki is made up of one hundred and sixteen tales. The author presents them as genuine Japanese folktales, but it can be shown that many of them have Indian or Chinese origins. These tales can be divided into three types: the non buddhist stories, which are few in number; the moralistic stories which are not clearly of buddhist inspiration; the buddhist tales, by far the most numerous. These are tales of reward and punishment either in this world or in the world of the Dead.
The tales of the Ryoiki are quite enlightening on certain aspects of Japanese society during the Nara period.
In his preface, Kyokai mentions having read two Chinese collections of Buddhist tales, the Myohoki and the Hannyakenki. A comparison of some of these with corresponding tales from the Ryoiki reveals how, while remaining fairly close to his models, Kyokai subtly and methodically gave them an entirely different flavour.
Following this analysis, a survey of setsuwa litterature up to the end of the Kamakura period attempts to show how much all of the subsequent collections of buddhist tales were indebted to the Nihon Ryoiki and how they reflect the fluctuations of buddhist thought in Japan.
The second part of the dissertation consists of the translation of nine tales from the Ryoiki. Appendix One gives the translations of threetales from the Myohoki and their counterparts in the Ryoiki. In appendix Two, a few translations are intended to suggest the variety of style and of treatment in the buddhist tales of later setsuwashu. / Arts, Faculty of / Asian Studies, Department of / Graduate
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Structure, rhetoric, imagery : intersections of literary expression and musical narrative in the vocal works of BeethovenPilcher, Matthew Aaron January 2013 (has links)
Beethoven’s vocal works are often neglected or overshadowed as a result of his prominent involvement with large-scale instrumental genres such as sonata, symphony, or string quartet. Nevertheless, he sustained throughout his life a significant interest in literature and poetry; his personal library, as well as his letters, Tagebuch, and conversation books all document this by way of numerous direct quotations from—and indirect references to—the literary materials that interested him. The numerous vocal works he produced between 1783 and 1826 are one relevant manifestation of this interest and engagement with words. Beethoven produced a significant body of vocal works, the majority of which have not received the same intensity of analytical treatment as the instrumental works. Specifically, this study examines the relationship between words and music in the solo songs and other vocal works of Beethoven. The points of intersection between literary and musical expression are evaluated within four aspects of text setting: structure, rhythm, meaning, and narrative. Firstly, elements of derivation and deviation are explored to determine the diverse ways that he deliberately constructed musical structures in response to the poetic (and semantic) structures of each source text. Secondly, and by extension, rhythm and metre—and varying degrees of derivation, deviation, and manipulation—are assessed so as to demonstrate how these works illustrate Beethoven’s awareness of the expressive possibilities for adhering to or altering the relationship between poetic and musical metre. Thirdly, various types of musical rhetoric—including Beethoven’s implementation of the conventions for affective tonality, as well as the reliance on both conventional and uniquely-Beethovenian depictive idioms and gestures—illustrate his response to various levels of semantic content. Fourthly, his response to individual (though interrelated) aspects of narrative in his selected texts are evaluated. Drawing concepts from key figures of narrative theory—including Gérard Genette, Roland Barthes, Mieke Bal, and others—this study assesses the narrative content in selected texts as a means by which to gauge Beethoven’s compositional response to aspects of temporality, focalisation, spatiality, and so forth, both individually and in combination. Ultimately, this study demonstrates that—contrary to frequently voiced opinions—Beethoven responded quite closely and deliberately to the expressive implications of his selected texts, while aspects of poetic and musical structure, rhythm, syntax, imagery, and layers of meaning coalesce within complex narrative processes. Beethoven was aware of the inherent musicality of poetic texts and the significance of forging a close compositional relationship between words and music; thus he consistently demonstrated in composing these works his ideology that within vocal works ‘words and music form a unit’.
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"El Contrapunto se estudia para echarlo de repente". Improvisierter Kontrapunkt in Spanien um 1700. / "Counterpoint is studied in order to improvise it". Improvised counterpoint in Spain around 1700.Mesquita i Joanes, David January 2021 (has links) (PDF)
Mit der vorliegenden Dissertation möchte ich einen Beitrag zur Erforschung des schriftlosen Kontrapunktes leisten. Damit sollen die Studien zum contrapunto alla mente aus den letzten Jahren, die neues Licht auf dieses Phänomen geworfen haben, um einen Bereich erweitert werden, der bis jetzt wenig Beachtung gefunden hat: die weitere Entwicklung des improvisierten Kontrapunktes in Spanien bis ins 18. Jahrhundert.
Dadurch eröffnen sich neue Perspektiven für das Verständnis der spanischen Musikkultur des Barockzeitalters. Zu den expliziten Informationen aus den Quellen, die bereits zugänglich gemacht worden sind, soll ein Teil des implizites Wissens hinzutreten, das in den Contrapunto-Lehren – insbesondere in den
Notenbeispielen – eingefangen ist. Die vorliegende Arbeit ist also ein Versuch, dieses implizite Wissen freizusetzen.
Auch wenn die tatsächlich erklungenen Improvisationen nicht konkret rekonstruierbar sind, lässt sich die Methodik, mit der professionelle Kontrapunktisten ausgebildet wurden, anhand der Contrapunto-Lehren gut nachvollziehen. Im Kern der Dissertation steht eine vergleichende Untersuchung der Quellen, die versucht, Antworten auf eine zentrale Frage zu finden:
Nach welchen Methoden und Techniken hat man in Spanien um 1700 gelernt, Kontrapunkt zu improvisieren? / With this dissertation, I would like to make a contribution to the study of scriptless counterpoint. In doing so, the studies on contrapunto alla mente from recent years, which have shed new light on this phenomenon, will be expanded to include an area that has received little attention until now: the further development of improvised counterpoint in Spain up to the 18th century.
The core of the dissertation is a comparative study of the sources, which attempts to find answers to a central question: What methods were used to learn to improvise counterpoint in Spain around 1700?
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Anreize und Motive für die Mitwirkung in Kirchenchören: Empirische Studie innerhalb der Ev.-Luth. Landeskirche SachsensSirrenberg, Annemarie 09 August 2016 (has links)
Die Dissertation widmet sich der Frage, was Menschen motiviert, in evangelischen Kirchenchören mitzuwirken, wobei sich die Forschung auf die Sängerinnen und Sänger des Kirchenchorwerkes der Ev.-Luth. Landeskirche Sachsens fokussiert.
Als erster Schritt wird anhand relevanter vorliegender Kenntnisse u. a. der Motivations-, Sozial-, Musik- und Religionspsychologie, der Soziologie und Musikpräferenzforschung ein wissenschaftliches Verständnis der Motivation für die Mitwirkung in Kirchenchören entwickelt, dieses mit dem theoretischen Wissen der Praxis von Kirchenchören in Beziehung gesetzt und ein Kategoriensystem potentieller Anreize bzw. Motive der Kirchenchorpraxis erarbeitet. Anschließend erfolgt die Überprüfung und Erweiterung der gewonnenen Erkenntnisse anhand zweier aufeinander aufbauender empirischer Studien: Einer qualitativen exploratorischen Studie anhand von Leitfadeninterviews, aus deren Ergebnissen sechs Hypothesen zur sozialen, musikalischen und religiösen Motivation, zur Erlebnisqualität in der Chorpraxis, zu Zweckzentrierung und Routineaspekten der Chormitwirkung und zur musikalischen bzw. religiösen Sozialisation der Sänger abgeleitet wurden sowie einer quantitative Studie in Form einer Online-Befragung. Die Stichprobengröße hierfür beträgt 544.
Die Ergebnisse der Studien bestätigen im Wesentlichen die Aussagen der Hypothesen, die eine große Bedeutung von musikalischen und sozialen Anreizen der Kirchenchorpraxis, Differenzen der religiösen Motivation bei Mitgliedern für alle offener Chöre im Vergleich zu spezialisierten Chören, das überragende Potential für Flow-Erleben bei der Mitwirkung in Konzerten im Vergleich zu Proben, geselligen Veranstaltungen und Gottesdiensten sowie eine bereits in der Kindheit bzw. Jugend erfolgte religiöse und/ oder überdurchschnittlich musikalische Sozialisation der Chormitglieder postulieren.
Als Fazit werden Anregungen für die praktische Kirchenchorarbeit abgeleitet und die Ergebnisse aus theologisch-liturgischer Perspektive reflektiert.
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The decline of men’s choir in 20th century Germany: an homage to Erwin LendvaiSchröder, Gesine 21 February 2013 (has links)
The most important 1920’s men’s choral composer, Erwin Lendvai, is used in this lecture as an example to demonstrate some compositional steps that were taken to save the genre. Contemporaries praised him as a bold innovator of men’s choir. His writing is highly professional and his experience as a conductor shows in every detail. Stylistically, his music is a mixture of chromatically altered extended tonality and polyphonic principles found in the kind of boyish and unmannerly Renaissance songs Lendvai was familiar with, due to his transcriptions in the style of the “Jugenmusikbewegung”. He connects two ultra-modern tendencies of the time, namely linear counterpoint (no longer exactly in the sense of Ernst Kurth) and a morbid post-wagnerianism, both en vogue and equally fascinating.
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Singing voice extraction from stereophonic recordingsSofianos, Stratis January 2013 (has links)
Singing voice separation (SVS) can be defined as the process of extracting the vocal element from a given song recording. The impetus for research in this area is mainly that of facilitating certain important applications of music information retrieval (MIR) such as lyrics recognition, singer identification, and melody extraction. To date, the research in the field of SVS has been relatively limited, and mainly focused on the extraction of vocals from monophonic sources. The general approach in this scenario has been one of considering SVS as a blind source separation (BSS) problem. Given the inherent diversity of music, such an approach is motivated by the quest for a generic solution. However, it does not allow the exploitation of prior information, regarding the way in which commercial music is produced. To this end, investigations are conducted into effective methods for unsupervised separation of singing voice from stereophonic studio recordings. The work involves extensive literature review of existing methods that relate to SVS, as well as commercial approaches. Following the identification of shortcomings of the conventional methods, two novel approaches are developed for the purpose of SVS. These approaches, termed SEMANICS and SEMANTICS draw their motivation from statistical as well as spectral properties of the target signal and focus on the separation of voice in the frequency domain. In addition, a third method, named Hybrid SEMANTICS, is introduced that addresses time‐, as well as frequency‐domain separation. As there is lack of a concrete standardised music database that includes a large number of songs, a dataset is created using conventional stereophonic mixing methods. Using this database, and based on widely adopted objective metrics, the effectiveness of the proposed methods has been evaluated through thorough experimental investigations.
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Photoproduktion der Vektormesonen o(782) und _Ph63(1020) am Proton von der Erzeugungsschwelle bis zu einer Photon-Energie von 2.6 GeVBarth, Jens. Unknown Date (has links) (PDF)
Universiẗat, Diss., 2002--Bonn.
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Chanter l'extase : approche psycho-cognitive de la musique dans les rituels de transe soufis / Singing the ecstasy : a cognitive psychological approach to music in Sufi transe ritualsPavard, Amélie 20 March 2015 (has links)
Cette thèse propose d’étudier le rôle de la musique dans des contextes émotionnels intenses. Dans les rituels d’invocation de Dieu, les soufis tentent d’accéder à un état spirituel supérieur en s’approchant de la connaissance immanente du monde divin. La confrérie šaḏiliyya place la musique au cœur de ce processus : l’écoute de poèmes d’amour mystique chantés, puis la production collective de gestes dansés porte l’émotion à son paroxysme, en une extase contemplative (wajd). Entre ethnomusicologie et psychologie cognitive, cette thèse présente des pistes de réflexion pour l’étude des musiques vocales de tradition orale et leur expressivité. Dans un premier temps, une étude ethnographique dépeint le quotidien d’une confrérie damascène, pour tenter de déterminer les éléments musicaux pouvant être source d’émotion. Après une exposition des théories psychologiques cognitives de l’émotion, une analyse musicale acoustique s’intéresse plus particulièrement aux stratégies de deux interprètes. / The purpose of this dissertation is to demonstrate the role of music in intense emotional contexts. In Sufi invocation rituals, believers try to reach to a superior spiritual state in their quest for divine knowledge. The šaḏiliyya brotherhood includes music at the core of this process : by listening to mystic love songs followed by collective dancing, emotion reaches its paroxysm in an ecstatic contemplation (wajd). This dissertation lies in between the fields of ethnomusicology and cognitive psychology. It introduces several lines of thinking concerning the study of vocal music belonging to the oral tradition and its expressivity. First, a description of a Damascene brotherhood doctrine will highlight emotional elements in rituals. Then, following a presentation of major theories of emotions in cognitive psychology, two interpretations of the same work will be compared using acoustic and prosodic methods of analysis.
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The decline of men’s choir in 20th century Germany: an homage to Erwin LendvaiSchröder, Gesine 21 February 2013 (has links) (PDF)
The most important 1920’s men’s choral composer, Erwin Lendvai, is used in this lecture as an example to demonstrate some compositional steps that were taken to save the genre. Contemporaries praised him as a bold innovator of men’s choir. His writing is highly professional and his experience as a conductor shows in every detail. Stylistically, his music is a mixture of chromatically altered extended tonality and polyphonic principles found in the kind of boyish and unmannerly Renaissance songs Lendvai was familiar with, due to his transcriptions in the style of the “Jugenmusikbewegung”. He connects two ultra-modern tendencies of the time, namely linear counterpoint (no longer exactly in the sense of Ernst Kurth) and a morbid post-wagnerianism, both en vogue and equally fascinating.
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L'école de lutherie française au dix-neuvième siècle : Jean-Baptiste Vuillaume : originalité et imitation du modèle de violon crémonais / the french violin making school in the nineteenth century : Jean-Baptiste Vuillaume : originality and imitation of model violin cremonaXu, Liang 06 January 2012 (has links)
Lorsque nous évoquons la fabrication du violon, la majorité des gens ne mentionnent que les trois luthiers italiens les plus célèbres dans le monde : Nicolo Amati, Antonio Giacomo Stradivari, dit Stradivarius, Bartolomeo Giuseppe Antonio Guarneri c'est-à-dire Guarneri del Gesù, dit Guarnerius. Ils sont sans aucun doute les maîtres-lutherie en la matière et également tous issus de l’école crémonaise. De plus, leurs violons ont beaucoup inspiré leurs successeurs et les luthiers contemporains.A la fin du XVIIIe siècle, la fabrication du violon était essentiellement centralisée en France, plus particulièrement à Paris où sont apparus plusieurs luthiers talentueux tels que Jacques Bocquay, Jean-François Aldric, Louis Guersan, Léopold Renaudin, etc. Bien qu’ils soient moins connus que Stradivarius et Guarnerius, ils ont pris en compte les méthodes de conception italiennes et ont mis en place, grâce à celle-ci, l’école française de lutherie. Enfin, au XIXe siècle, Jean-Baptiste Vuillaume est apparu en France ; il a été non seulement un luthier excellent et innovateur, mais aussi un copiste de Stradivarius très célèbre. D’ailleurs, il a été également un grand praticien de l’acoustique et un commerçant hors pair, ce qui fait qu’aujourd’hui il est considéré comme le «Stradivarius français ».Ainsi mon travail est composé de trois parties : l’origine de l’art et analyse de la structure du moule de Stradivarius, la conception du violon chez Jean-Baptiste Vuillaume, la recherche de la structure du violon à partir des fondements acoustiques ; ces parties sont suivies d’une conclusion. / When we speak about the making of violins most people will only mention the best three world-known Italian stringed-instrument makers: Nicolo Amati, Antonio Giacomo Sradivari, Bartolomeo Giuseppe Antonio Guaneri (Guaneri del Gesù). Without any doubt they are the masters in the art of stringed-instrument manufacture and the three of them come from the Cremonaise. Moreover their violins have inspired their successors and the present-day stringed-instrument makers a lot. At the end of the 18th century violins were mainly made in France especially in Paris where several talented stringed-instrument makers such as Jacques Bocquay, Jean-François Aldric and Leopold Renaudin among others were famous. Although they are less well-known than Stradivari and Guarneri they took the Italian designed methods into account and thanks to them they created the French Style. Finally in the 19th century Jean-Baptiste Vuillaume appeared in France: he was not just an excellent stringed-instrument maker and innovator but also a very famous copyist of Stradivari’s work. What’s more he was also a great practitioner of acoustics and an outstanding trader. Consequently he is now known as the “French Stradivari”. Thus my thesis is made up of three parts: the origin of the art and analysis of the structure of a Stradivari mould, Jean-Baptiste Vuillaume’s design of a violin, the study of the structure of violins from acoustic basis and finally a conclusion.319th century Jean-Baptiste Vuillaume appeared in France: he was not just an excellent stringed-instrument maker and innovator but also a very famous copyist of Stradivari’s work. What’s more he was also a great practitioner of acoustics and an outstanding trader. Consequently he is now known as the “French Stradivari”.Thus my thesis is made up of three parts: the origin of the art and analysis of the structure of a Stradivari mould, Jean-Baptiste Vuillaume’s design of a violin, the study of the structure of violins from acoustic basis and finally a conclusion.
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