On Monday August 29, 2005, Hurricane Katrina made landfall in Southeast Louisiana bringing with it destruction to much of the Gulf Coast. While New Orleans, one of America's most culturally and artistically significant cities, was spared a direct hit, the subsequent flood devastated much of the city, home to many musicians. The devastation and stress from the storm established a situation and a motivator for creative response, and this dissertation illustrates that the music these musicians produce is a manifestation and continuation of New Orleans' cultural atmosphere. The city's historical allowance and celebration of freedom of expression permits New Orleans' current musicians to be innovative and responsive to the events surrounding the disaster. This project, designed as a qualitative research study, identifies four professional musicians who are established in the musical environment of New Orleans. To illustrate the depth of tradition and experimentation that their music evokes, the music of post- Katrina New Orleans is given historical contextualization and set in comparison to music that was inspired by a past catastrophe, the 1927 flood. Through the holistic exploration of the present circumstances of these four musicians, it becomes clear that New Orleans remains a place that is extremely open to change and that experimental music flourishes at the same time that traditional jazz lives on through new performers, who walk in the footsteps of legends. From interviews conducted with these four individuals, as well as other on-site observations, the emotional, physical, and financial effects of Hurricane Katrina are identified and recorded. / Central to this study is the author's own knowledge of music and experience in musical dialogue - it is through the interaction of the author and the subjects that important events and characteristics, which could be documented, actually emerged.This project reveals the influence that the storm has had on the individual musician and it demonstrates that while all four musicians are caught up in the whirlwind of recovery in New Orleans, their music remains rooted in the fundamental characteristic that is associated historically with New Orleans' music, improvisation. By the same token, it also shows that while each person may have had to suffer the same conditions, the musical response from each musician was unique. / by David Bethea. / Thesis (Ph.D.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Three original chamber pieces are discussed from numerous points of view. They were composed for string quartet (Escape and String quartet in Four Movements), and string quartet with flute (Forward Motion). Each piece is analyzed in terms of its historical background, compositional techniques, and formal and stylistic techniques. Each piece draws influences from different genres. Escape was influenced by minimalism and jazz and is based on the Locrian scale. Forward Motion is in a modified classical form (Sonata) but draws influences from modern music and employs much dissonance. String quartet in Four Movements combines elements of expressionism, minimalism and jazz. Each piece is discussed in regards to its musical characteristics and historical influences including scales, harmony, rhythmic structure and form. / by Rochelle M. Frederick. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Au, Sau Woon Rebecca. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; includes Chinese. / Au, Sau Woon Rebecca.

As France expanded its empire in North Africa, French artists, writers and explorers traveled to Algeria in order to gain artistic inspiration and greater understanding of the culture, geography and inhabitants of the new colony. This dissertation places music within the context of French colonial culture, identifying the interconnections between government policies and cultural production during France's occupation of Algeria. A central theme is the examination of colonial difference and a phenomenon that may be characterized as colonial textuality in music. Drawing from Homi Bhabha, I define colonial textuality as a space where signifiers of value, judgment and power are encountered, negotiated and embedded within colonial discourse. Three composers--Ernest Reyer (1823-1909), Francisco Salvador Daniel (1831-1871) and Camille Saint-Saëns (1835-1921)--are presented as case studies to understand the complexities and tensions that arose out of the colonial moment and to examine how each figure negotiated his own compositional style, musical career and artistic identity vis-à-vis colonial Algeria. The dissertation is organized chronologically by examining the lives and compositions of three composers living in Algeria during three key periods of French political history, the July Monarchy, Second Empire, and Third Republic. Chapters draw on archival research, reception studies, travel journals, government reports, cultural and political history, and musical analysis to explore the ways in which music, broadly defined, addressed social issues of identity, nation, race, and ethnicity. Topics include how violent tactics and events during the 1840s infiltrated the early musical compositions of Reyer and how music may be considered an act of violence; Salvador Daniel's opportunistic musical career in Algeria from 1853-1865; Salvador Daniel's Album de chansons arabes, mauresques et kabyles as a reflection of French politics and travel writing; Algerian tourism and Saint-Saëns's Africa fantasy and Suite algérienne; and unisonance, soundscape and the typography of what I call Saint-Saëns's "colonial marches." In conclusion, I discuss a 2008 recording of Salvador Daniel's Algerian song transcriptions by the soprano Amel Brahim-Djelloul and the Ensemble Amedyez, thus illustrating that musical encounters with colonialism are continually reunderstood and readapted in the twenty-first century.

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010 Thesis advisor: Dr. W. Thomas McKenney. Includes bibliographical references.

This submission for the degree of Master of Music at the Elder Conservatorium of Music, University of Adelaide, consists of a portfolio of original compositions supported by an explanatory exegesis. The portfolio consists of six works: The Gingerbread Man, for a sinfonietta ensemble (woodwind quintet, two violins, viola, cello, double bass and percussion); a Jazz Quintet (alto saxophone, fluegel horn, vibraphone, tambourine and double bass); a Horn Quintet and String Quartet (violin, two violas and cello); Alone (for solo horn and 3 female voices – SSA); and Sonata for Horn (or Tuba) and Piano. The supporting exegesis explains the creative and investigative processes that have taken place, exploring the idea of the leitmotif and developing it through the six compositions within the portfolio. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1457750 / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

This submission for the degree of Master of Music at the Elder Conservatorium of Music, University of Adelaide, consists of a portfolio of original compositions supported by an explanatory exegesis. The portfolio consists of six works: The Gingerbread Man, for a sinfonietta ensemble (woodwind quintet, two violins, viola, cello, double bass and percussion); a Jazz Quintet (alto saxophone, fluegel horn, vibraphone, tambourine and double bass); a Horn Quintet and String Quartet (violin, two violas and cello); Alone (for solo horn and 3 female voices – SSA); and Sonata for Horn (or Tuba) and Piano. The supporting exegesis explains the creative and investigative processes that have taken place, exploring the idea of the leitmotif and developing it through the six compositions within the portfolio. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1457750 / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

Thesis (Ph.D.)--University of Wollongong, 2007. / Typescript. Includes 2 sound discs and 1 DVD-ROM in back pocket. CD 1: The animation of lists; CD 2: And the archytan transpositions. DVD-ROM contains Part Three - Appendix. Includes bibliographical references: leaf 291-301.

Thesis (M. Phil.)--University of Hong Kong, 2001. / Two sets of recordings included, each in its own container. The first work is for string quartet; the second for bangdi, soprano sheng, yangqin, pipa, guzheng, erhu, gehu and percussion; the third for harmonica quintet, sheng, harp, piano and percussion. "Symphonic poem-Genesis" is for orchestra with piano and celesta. "Ghost opera" is for string quartet and pipa, with water, stones, paper and metal. Includes bibliographical references.

Thesis (M.Phil.)--University of Hong Kong, 2001. / Includes bibliographical references. Also available in print.