Inaug.-Diss.--Zürich. / Lebenslauf. "Anhang: Notenbeispiele": 18 p. at end.

Jazz chord-scale theory identifies scales that can be used to embellish a particular type of chord. It has fostered the notion that chords can generate their own local scales. This idea as well as many of the scale types that jazz chord-scale theory identifies are essentially foreign to classical music theory, which instead tends to focus on the scales that represent relatively global key areas--that is, the scales that accommodate entire chord successions. Both the jazz and classical perspectives can coexist, and each can inform and supplement the other. This study explores implications of the jazz chord-scale perspective for classical music and classical music theory. The scalar notes and intervals that embellish a particular chord are referred to as chord-specific scalar material (CSSM). Following the suggestion of jazz chord-scale theory and Ramon Satyendra's chord spaces, each chordal zone can exhibit its own local tonal hierarchy potentially consisting of a local tonic note (usually a chord root), chordal notes and intervals, scalar notes and intervals, and sub-scalar notes and intervals. Focusing particularly on the scalar level of these chord-specific tonal hierarchies, CSSM is a relatively foreground phenomenon that can be understood against the backdrop of a deeper, uninterrupted scalar space that is associated with the key of the passage at hand. A chord succession can occupy the deeper scalar space while each chord is embellished with CSSM suggestive of potentially different local scalar spaces. This study considers examples of CSSM spanning the music of Bach through Fauré, and it proposes a classification of four general types of CSSM found in classical repertoire. Each type suggests a different theoretical derivation for examples of CSSM, and each type has its own implications for tonal function (both locally and globally), coherence, and color. The fourth type apparently did not emerge until the Romantic era. Special attention is given to CSSM in the music of Gabriel Fauré, who seemingly developed rather innovative CSSM techniques. Practical benefits of this theoretical approach for today's composers, improvisers, and performers are also considered. Various techniques for generating CSSM are offered, and further scalar possibilities are explored. / 2016-09-29

This study sets out to examine the ornamentation in the manu¬script GB-Cfm 32.G.29 (known as the Fitzwilliam Virginal Book) as representative of late sixteenth-century practice. The sixteenth- and early seventeenth-century ornamentation as practised on the Continent is also investigated, in order to elucidate the contemporary English practice, to evaluate it and place it in perspective. This period's concept of ornamentation is an ars diminutionis. The diminution technique (the breaking up of long note values into smaller ones) is expressed as passaggi (figurations) and ornaments, in order to provide a more elegant expression of the basic notes of a composition. Continental treatises describe the individual ornaments and thus provide a terminology with which to describe these ornaments. The ars diminutionis manifests itself in the FVB as written-out figuration, written-out ornaments and ornaments indicated by sign, the latter consisting of the single and double stroke which are peculiar to virginal music. No explanation for the Virginalists' signs exists, nor are contemporary English instruction books concerning themselves with keyboard ornamentation available. A comparison of the ornamentation of the manuscript with the printed edition of the FVB (1979-80), reveals many inaccuracies in the latter. These consist mainly of printer's errors, such as wrong placements and frequency of occurrence, which do not correlate with the original, and stenographic cancellation signs which are wrongly interpreted as ornaments. All of these are corrected in the present study. A collation of other source copies with the same pieces found in the FVB reveals many textual and ornamentation variants between them. Examining the written-out ornaments in the FVB, one finds that they are identical to the ornaments found in Continental sources. These ornaments are primarily employed as decoration of the individual closes in a cadence, where they occur as diminutions of the notes constituting the cadence. Here they are employed functionally, for example, to resolve the note of resolution in a discant close ornamentally, or to embellish the plain notes of a bass close. They are also used as virtuoso decoration as an intrinsic part of the passaggi, being diminutions of successive intervals. The single- and double-stroke ornament signs appear at first glance to be indiscriminately scattered over the music without purpose. Research into their use reveals them to be employed systematically, besides being decorative elements which add brilliance to the music. The frequency with which they coincide with the pulse unit and the rhythmic pulsation created by it, together with the profusion of their occurrence, make these signs a unique phenomenon in late sixteenth-century ornamentation. Their interpretation remains a difficult issue to clarify. The evidence assembled in this study points to a classification of the strokes according to the accenti e trilli principle. The single stroke can then be interpreted as a slide (from a third below the main note), and the double stroke as a tremolo or tremoletto - the most common sixteenth-century ornament. Its mirror-image, the mordent, is occasionally more appropriate in certain contexts, and in cadences the double stroke followed by a two-note suffix most likely signifies a groppo. / Thesis (DPhil)--University of Pretoria, 2010. / Music / unrestricted

The concert arias of Mozart actually include not only arias written specifically for concert but also interpolations which subsequently assumed the character of concert arias. Those in the following study were written for Aloysia Weber, Mozart's first love and, later, his sister-in-law. These arias are interesting for a number of reasons: First, the fact that they are seldom performed today raises questions about singing technique in the late eighteenth century. Second, the musical requirements which fostered this technique must have been grounded in a tradition of embellishment--a subject worthy of investigation. Third, the concert arias are an example of the close connection between melody and instrument in this period; what was the nature of the voice for which they were written? Fourth, these arias were fully notated at a time when the singer was generally expected to improvise. They are a written record of Classical ornamentation and are therefore a good choice for the study. The method used is as follows: The singing tradition according to which Weber and Mozart were trained is examined. After this discussion follows a chapter on the tradition of ornamentation, which influenced Mozart's melodic writing. Mozart's approach to composition and notation is then described. Finally, the melodies are analyzed through the process of de-ornamentation. A per-formable edition of a concert aria from which all ornamentation has been removed is included. The thesis yields the following conclusions: First, tastes in singing style change from century to century, and these preferences affect the aspects of pedagogy which are emphasized in any given age. Second, the pieces reflect a preference for bright, florid melodies and high, flexible voices. Third, Mozart was complete in his notation for a number of reasons: 1) orchestral accompaniment is necessary in the sections of free ornamentation; 2) Mozart wrote the arias for Aloysia Weber and for particular performances in most instances; 3) by creating a fine composition Mozart showed himself to best advantage over the Italian musicians with whom he felt an intense rivalry. Fourth, late eighteenth-century ornamentation can be divided into two groups--specific ornaments and free ornamentation. Classical ornamentation differs from Baroque in two important respects: 1) in Baroque melodies ornaments are mere frills, but Classical ornaments are so organic to the style that most Mozart melodies would be unthinkable without them; 2) whereas Baroque free ornamentation usually fills in spaces between chord tones, Classical embellishment reinforces structural points. The performable edition mentioned above resembles a simple nineteenth-century cantabile aria, illustrating the basic difference between the later style and that of Mozart. / Arts, Faculty of / Music, School of / Graduate

Our landfills are growing and constantly expanding with post-consumer waste in the form of cheap fast fashion garments. One way to deal with this problem is to upcycle the discarded material into new things with a higher value. There is one type of material though, that has a tendency to be forgotten about. This material is baby garments. Mother Elizabeth investigates how these discarded garments can be upcycled into womenswear fashion. The title of this work reflects the two areas investigated, baby garments and the Elizabethan era. With an aim of broadening the perspective of what type of discarded material can be upcycled into womenswear fashion, the areas of investigation are combined. Throughout the study, methods for exploring garments from the Elizabethan era were applied in order to create a reference library used as a base when making design decisions. The outcomes presented in this work aim to inspire other designers to broaden their perspective on what type of material can be used when working with upcycling. In addition to stressing the importance of using discarded textiles, this project also showcases how history can be used as a tool to make sure there is a future.

Layered light is a textile design project aiming to explore light as a design variable and its abilities to - in combination with layers of laser cut textiles - create dynamic patterns. The reason being to explore how light can be used to create the very pattern itself and what the textile quality can bring to the expression. Through a practice based working method, laser cutting has been used to manipulate different textile materials, that in combination with movement have resulted in range of design examples displaying various effects of the technique. Three of the found effects have been used to take forth a collection of patterns drawing inspiration from the elusive beauty of light in nature. One of which has been produced in a larger scale, exemplifying how the expression could be used in a spacial context. The result implicates the usefulness of integrating light early on in a design process and how textile and light can be combined to enhance each other all well as displaying a whole new expression for laser cut textiles.

A number of general studies of the history of eighteenth century men's clothing have been written by authors such as Zilla Halls, Avril Hart, and Norah Waugh. However, a cursory review of costume literature reveals a lack of academic study on specific men's garments and their history. This work focuses on documenting the development of eighteenth century men's waistcoats using the artifacts themselves. The purpose of using extant waistcoats is to study closely their construction and decorative details with close attention to the similarities and differences in the style, cut and assembly of the garments.

A dissertação aqui apresentada busca compreender as dinâmicas que envolvem as intervenções urbanísticas englobadas no projeto Porto Maravilha, sobretudo os discursos focados no embelezamento. O processo de implantação do projeto é iniciado no ano de 2009 na Região Portuária do Rio de Janeiro, alvo de discursos assentados no léxico da decadência. A abordagem metodológica deu-se por meio da sistematização de materiais da imprensa, da gestão pública e de guias de turismo, bem como do trabalho de campo, analisado a partir da perspectiva situacional e realizado em eventos oficiais, entre vendedores ambulantes na roda de samba da Pedra do Sal e na participação de espetáculos que lidam com uma complexa relação entre o projeto e grupos artísticos locais. O atual período nesse cenário é compreendido como uma possibilidade de acessar questões sobre as transformações no contexto contemporâneo do Rio de Janeiro, no qual as mudanças urbanísticas observadas possibilitaram a análise de um momento que torna latentes certos conflitos e percepções de cidade, como o fomento da atividade turística e o discurso de retorno ao centro e aos seus patrimônios. / The following dissertation seeks to comprehend the dynamics which involves the urbanistic interventions embraced by the Porto Maravilha project, especially the discourses focused on embellishment. The process of implantation of this project was initiated in 2009 at the port area of Rio de Janeiro, target of discourses focused on the lexicon of decadence. The methodological approach was given by a systematization of press material, public management and tourist guides, as well as field work, analyzing from the situational perspective and performed at official events, amongst street vendors at the Pedra do Sal samba gatherings and by participating on spectacles which deals with a complex relation amongst the project and local artistic groups. The current period in this scenery is comprehended as a possibility to access questions about the transformations on the contemporary context of Rio de Janeiro, when urbanistic changes allowed the analysis of a moment which makes latent certain conflicts and perceptions of the city, such as the promotion of touristic activities and the discourse of \"return\" to the city center and its patrimonies.

Thesis (D.M.A.)--University of Oklahoma, 1996. / Includes bibliographical references.

Through manipulation of the materials and creation of sculptural forms, the knowledge in textile design was used to develop alternative methods for working with materials of animal origin. The project touches the issue of consumption by accentuating the fascinating features of animal materials and proposes a way of taking care of materials looked upon as disposals. It questions how we value what resources we have in our surroundings and how we use them. Or more important – how we are not using them.