Thesis (Ph. D.)--University of Florida, 2006. / Title from title page of source document. Document formatted into pages; contains 309 pages. Includes vita. Includes bibliographical references.

Dissertation (Ph. D.) -- Florida State University, 2003. / Advisor: Clifford K. Madsen, Florida State University, School of Music. Title and description from dissertation home page (viewed 9-23-04). Document formatted into pages; contains 95 pages, plus illustrations and appendices. Includes biographical sketch. Includes bibliographical references.

Thesis (Ed. D.)--University of North Texas, Dec., 2009. / Title from title page display. Includes bibliographical references.

The central interest of this thesis is the nature of the transmission of musical knowledge, and its meaning and purpose to different societies and within different contemplations of life and beliefs. In my case, I will specifically refer to what I learnt from the fieldwork I carried out in Southern Italy (2004), in some South African contexts (2005), and in the village of Batuan (Bali, Indonesia; 2006, 2007). All such experiences will be put, so to say, in a 'dialogue' with each other in order to suggest a few considerations. The methodological tools employed to sustain my argument are Clifford Geertz's concept of thick description, and the audio-visual material collected throughout my fieldwork, which will further support my commentary. Using Clifford Geertz's approach, I suggest that in exploring the relationship between human beings and the various practices of 'music' existing, as well as their contents and aims, we need to look at music not as an isolated element on its own, as mostly conceived of in the West, but rather as an integral aspect of life itself. The facts and observations reported from my fieldwork show that what in the West is called music and music education can elsewhere be experienced and thought of in very dissimilar ways. In the village of Batuan, for example, music is not a special event, but an ingredient of the local community's life and its spirituality. The final ruminations will speculate on the fact that in the West the fragmentation through which life is understood, and that has destroyed the bond between life and the arts, is also reflected in the educational system. In modern Western societies, the detachment of arts from life has created a craving and a need for artistic exclusivity, which celebrates the individualistic rather than the communal, and aesthetics rather than spirituality, unlike Bali, for example. As a starting point, we are asked to ponder whether, and how, in the West we can still entertain the hope to reconcile such a fragmentation with a more holistic approach, where music becomes equal to the other daily activities taking place within our community.

The central interest of this thesis is the nature of the transmission of musical knowledge, and its meaning and purpose to different societies and within different contemplations of life and beliefs. In my case, I will specifically refer to what I learnt from the fieldwork I carried out in Southern Italy (2004), in some South African contexts (2005), and in the village of Batuan (Bali, Indonesia; 2006, 2007). All such experiences will be put, so to say, in a 'dialogue' with each other in order to suggest a few considerations. The methodological tools employed to sustain my argument are Clifford Geertz's concept of thick description, and the audio-visual material collected throughout my fieldwork, which will further support my commentary. Using Clifford Geertz's approach, I suggest that in exploring the relationship between human beings and the various practices of 'music' existing, as well as their contents and aims, we need to look at music not as an isolated element on its own, as mostly conceived of in the West, but rather as an integral aspect of life itself. The facts and observations reported from my fieldwork show that what in the West is called music and music education can elsewhere be experienced and thought of in very dissimilar ways. In the village of Batuan, for example, music is not a special event, but an ingredient of the local community's life and its spirituality. The final ruminations will speculate on the fact that in the West the fragmentation through which life is understood, and that has destroyed the bond between life and the arts, is also reflected in the educational system. In modern Western societies, the detachment of arts from life has created a craving and a need for artistic exclusivity, which celebrates the individualistic rather than the communal, and aesthetics rather than spirituality, unlike Bali, for example. As a starting point, we are asked to ponder whether, and how, in the West we can still entertain the hope to reconcile such a fragmentation with a more holistic approach, where music becomes equal to the other daily activities taking place within our community.

Thesis (Ph. D.)--Northwestern University, 1995. / Typescript. Includes abstract. "UMI number: 9614754." Includes bibliographical references (leaves 206-214).

This portfolio of compositions and exegesis submitted for the degree of Master of Music in Composition, at the Elder Conservatorium of Music, comprises original creative works supported by a detailed commentary. The creative investigation has focused on ‘Composing for a Choral Spectrum.’ This was investigated through practical experiments in choral composition, designed to test the compositional limitations of the choral spectrum, and resulted in a portfolio of choral works. The portfolio includes: simple choral works for young children in one part; choral works for children in two parts; choral works for children in three parts; a choral work for teenage treble voices; a multimedia choral work for boys with changing voices with a moving image DVD; a choral work for male voices; choral works for adult female voices; a complex choral work for adult choirs of a professional standard; and a larger scale choral and orchestral work. The exegesis provides a commentary on the genesis, composition processes, limitations and solutions, for each original work included in the portfolio. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1345050 / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2008