MMus, Wits School of Arts, Faculty of Humanities, University of the Witwatersrand, 2009 / This research report explores the compositional identity South African composers, mostly born after 1976, are constructing. I conduct a critical ethnographic micro study of the Wits Contemporary Performance Ensemble (WCPE), a group of young composers and performers dedicated to workshopping and performing new compositions. South African compositional identity is explored and problematised in Chapter 1, along with the identification of two schools or types of composition within South Africa. The history and formation of the WCPE is discussed in Chapter 2, while the third chapter draws on interview data to present and problematise the field in which young composers work, discussing a series of perceived ‘lacks’ that affect their ability to produce new music. The fourth chapter critiques and evaluates the progress the WCPE made, using Timothy Rice’s model of the Subject-Centered Musical Ethnography (2003), to interpret what the music of these young composers is saying about the time and place in which they live. The conclusion considers the impact the WCPE has had on young South African composers and the necessity of a group like this in the formation of a new South African compositional voice.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Thesis (Ph.D.)--Boston University / This study presents a descriptive outline of the principal harmonic devices employed by Darius Millhard, Arthur Honegger, Francis Poulenc, Georges Auric, Germaine, Tailleferre, and Louis Durey. The emphasis is upon the particular techniques peculiar to each composer. In addition, all the characteristic mechanisms pertaining to the composer's harmonic idiom, per se, are isolated - i.e. technical analyses include those pertinent factors surrounding the usage of harmony as well as elements intrinsically peculiar to harmonic structure alone. The attempt is then made to relate the devices of the harmonic idiom to the significant movements in music at the time Les Six were producing most prolifically as a group. The role played by polyharmony, for example, in the trend towards privitism and divionism; or the relation of polymodalit to the general movement towards superposition, which was characteristic of the arts in the first quarter of the twentieth century. [TRUNCATED]

Thesis (D. Mus. Arts)--University of Washington, 2003. / Vita. Includes bibliographical references (p. 92-100).

Treatise (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

No description available.

No description available.

Thesis (M.Mus. (Music Science))-University of Pretoria, 2006. / Abstract in Afrikaans and English. Includes bibliographical references. Available on the Internet via the World Wide Web.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 95-96).

Zugl.: Saarbrücken, Univ., Diss., 2008. / Includes bibliographical references.