Thesis advisor: Judith Schwartz / Increased access to media and production tools has given the civilized masses the means not only to consume an increasingly comprehensive wealth of content, but also the means to interact with that content in ways never before imagined. This has allowed the digital generation to grow ever more comfortable creating and editing content outside of the professional environment. Much of the creative output of our day comes in the form of the “remix,” a piece of content which is constructed, in full or in part, from bits (most often in the form of bytes) of other media artifacts. However, because of American law and international copyright agreements that prohibit the copying (reproduction or derivation) of creative works, a generation of amateur producers has been criminalized. Despite the message sent by recent prosecutions in light of the letter of copyright law, the original spirit of copyright law was to encourage creative production, not restrict it. Within the music industry, the international electronic dance music community demonstrates how new forms of content and copyright management within a hybrid economy could benefit artists, fans, and industry alike. / Thesis (BA) — Boston College, 2009. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: Communication.

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Syftet med studien har varit att undersöka musikens funktion för människor och deras relation till musik, låttext och attribut i kontakt med musik i olika sammanhang. En empirisk undersökning i intervjuform har gjorts bland fyra akademiker från fyra olika studieområden, två kvinnor och två män. De fyra akademikerna har gemensamt att de lever på samma område och att de under fritiden kommer i kontakt med, både med varandra och med musikgenren dance musik. Undersökningen fokuseras därför på dessa akademikers förhållande till och användning av dance och vad för funktioner musiken har för dem. Litteratur och tidigare forskning används för att förtydliga begrepp, jämföra likheter och skillnader med akademikernas svar.

<p>Syftet med studien har varit att undersöka musikens funktion för människor och deras relation till musik, låttext och attribut i kontakt med musik i olika sammanhang. En empirisk undersökning i intervjuform har gjorts bland fyra akademiker från fyra olika studieområden, två kvinnor och två män. De fyra akademikerna har gemensamt att de lever på samma område och att de under fritiden kommer i kontakt med, både med varandra och med musikgenren <em>dance</em> musik. Undersökningen fokuseras därför på dessa akademikers förhållande till och användning av <em>dance </em>och vad för funktioner musiken har för dem. Litteratur och tidigare forskning används för att förtydliga begrepp, jämföra likheter och skillnader med akademikernas svar.</p>

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

It is no secret that Frédéric Chopin was fond of dance music. Dance genres—including the mazurka, polonaise, and waltz—dominate his oeuvre. According to the Henle Urtext edition, Chopin penned fifty-seven mazurkas during his lifetime, writing in this genre more than any other. It is interesting, then, that the mazurkas seem to be one of Chopin’s most historically misunderstood genres. In their haste to point out the mazurkas’ seeming irregularities of rhythm, harmony, mode, accent pattern, and such, critics both of Chopin’s time and in more recent history often ignore two equally fundamental issues: (1) the relationship between Chopin’s mazurkas and the dance of the same name, and (2) the manner in which that relationship might inform hermeneutic readings of the mazurkas. Surely, the perceived “irregularities” were not employed haphazardly, but rather for specific expressive purposes. This essay aims to construct a model for embodied musical meaning as it pertains to Chopin’s mazurkas by examining the intersection of gesture, narrative, and temporal theories. Drawing on Robert S. Hatten’s (2004) and Alexandra Pierce’s (2007) work on musical gesture, I will relate the steps of the danced mazurka to their abstract musical counterparts in Chopin’s solo piano works and examine the affective connection between the physical steps and the musical gestures. I will then call upon the narrative theories of Michael Klein (2004) and Byron Almén (2008) and the temporal theories put forth by Jonathan D. Kramer (1973, 1996) and Judy Lochhead (1979) to construct a framework in which the musical gestures (and the expressive states they imply) interact to produce emergent meanings. Finally, I will present a gestural/narrative reading of Chopin’s Mazurka in C# minor, op. 50, no. 3, which aims to demonstrate both the utility of my proposed theoretical model and the necessity of going back to the dance to grapple with issues of musical meaning in the mazurkas. / text

Thesis (M.A.) - Carleton University, 2003. / Includes bibliographical references (p. 267-276). Also available in electronic format on the Internet.

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 83-88). Also available in electronic format on the Internet.

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 395-408).

Thesis (D.M.A.)--University of Wisconsin--Madison, 1994. / For flute/piccolo, oboe, clarinet/bass clarinet, bassoon, horn, 2 trumpets, trombone, tuba, and percussion (2 players). Reproduced from holograph. Includes poem to be read during Introduction. eContent provider-neutral record in process. Description based on print version record.