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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.

Fan Jing

Hsu, Chia-Yu January 2009 (has links)
<p>Fan Jing (Folk Images), an orchestral trilogy, is based on folk elements of the three main ethnic groups in Taiwan: Min-nan, Hakka and aboriginal. As each of these groups has its own spoken language, folk music and musical style, each movement of the trilogy has its own character. Furthermore, different aspects of folk elements are foregrounded in each movement. The first movement, Fantasy on Wang Bao Chuan, emphasizes Min-nan vocal music and is mainly based on the Taiwanese opera melody , Wang Bao Chuan. Melodic figures derived from the opera mix with original melodies. These melodies depict the tender quality of Min-nan vocal music with its characteristic bending pitches. By contrast, Hakka music, famous for its "mountain songs" which farmers sing to each other while picking tea leaves, is usually sung in a more unadorned manner. In this second movement of Fan Jing, the open and spacious atmosphere of mountain songs is evoked; in its harmonic sphere, minor triads, ubiquitous in the original melody, are juxtaposed with pentatonic chords. The elements in the third movement, Feng Nian Ji, are derived from the opening phrases of a harvest song of the Amis, an aboriginal tribe located mainly in the eastern Taiwan. The structure of this movement follows the events occurring during the harvest festival (&#35920;&#24180;&#31085;), including hunting, singing in the antiphonal style ("call and response"), dancing, and celebrating communally. The music evokes the mood of this wild carnival. </p><p>On a theoretical level, Fan Jing loosely adapts Chinese musical elements to concepts of twelve tone tonality and set theory. This approach builds on the work of Chinese composer, Chen Yi. In this work and related music, the composer has developed an idiom which is capable of giving voice to Chinese thematic elements and which employs western developmental techniques.</p><p>Fan Jing is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in C, 2 tenor trombones, bass trombone, tuba, timpani, 3 percussionists, harp, piano (doubling celesta), and strings. The work is approximately thirty minutes in duration.</p> / Dissertation


Limbert, Thom January 2010 (has links)
<p>Music reminds us that time is not a static entity of existence. It is a pervasive concept across eras, cultures and disciplines, yet it eludes simple definition. Time as an idea can mean many things.</p> <p>The overall goal of <italic>Timepiece</italic> is to create a musical whole that addresses various aspects of time as experienced both musically and cognitively; in art and in life. The composition aims to highlight the multiple ways in which we understand and think about time as an abstract concept and as a part of human experience. Each of the four movements considers a specific approach to time while emphasizing the ways in which music is a temporal art.</p> <p><italic>Timepiece</italic> is scored for an amplified chamber ensemble consisting of nine players: oboe/english horn, bassoon/alto saxophone, electric guitar, electric bass/electric guitar, piano/midi keyboard, percussion (vibraphone, crotales, marimba and drumset), violin, viola and cello. The composition also features live electronics and digital processing.</p> <p></p> <p>Movement I, <italic>history becoming memory</italic>, explores time as it relates to change; the movement from past through present to future as represented by the changing states of ending, being and becoming as well as the role of history and memory as informing musical language. Movement II, <italic>circadian cycles</italic> maps an infant's sleep and feeding cycle on to musical parameters. Movement III, <italic>relative and noisy</italic> uses digitally processed sound samples of modeled cosmic events that would cause ripples in the fabric of space-time as the background to which the instrumentalists musically react. The final movement, <italic>second fastest land animal for short distances</italic>, explores ideas of speed and rapidity using elements, both composed and sequenced, of common "breakbeats" found in certain genres of electronic dance music.</p> <p>As each instrument is amplified, musical temporalities distinguish themselves, highlighted by the distinct sounds produced both acoustically and electronically. Beyond the basic acoustical variance between the sound of the individual instruments locally and their sound projected through speakers, the amplified sound is manipulated through both sound mixing and digital processing. In many ways, as technology has given rise to musical ideas surrounding the complexity of time itself, so it serves to aid in the expression of the temporal multiplicity in this composition.</p> / Dissertation

Song of the Morrígan for Chamber Orchestra, Cries of Revelation for Chorus, Soloists and Large Instrumental Ensemble, and Fragments of a Dream for 5.1 Surround Electronics

Leary, Paul Steven January 2011 (has links)
<p>This dissertation consists of three independent musical compositions that represent a diversity of my compositional interests. The first work is titled Song of the Morrígan and is written for chamber orchestra with piano and two percussionists. The Morrígan is a figure from Irish mythology, a goddess of battle, strife, and fertility. While the Morrígan has conflicting roles and forms in Irish mythology, the most common is that of a war goddess. In this role, like the Norse Valkyries, the Morrígan intervenes in battle to choose which warrior will live and which will die. The Morrígan often takes the form of a crow or a raven, whose presence can represent both as an omen or a curse. Musically, the concept for Song of the Morrígan was one of relentless rhythmic motion., driven by rhythm.</p><p>The second piece, entitled Cries of Revelations, is scored for SATB chorus, soloists, string orchestra, horn, and 6 channel electronics. This piece is framed about two apocalyptical texts; the first is Revelation, from the Christian Bible. The second text is taken from 19th century Scottish Christian mystic Margaret MacDonald, who wrote Christian visionary texts, reminiscent of the visions of Hildegard of Bingen. McDonald's text offers multi-layered thematic material and imagery with which to shape this musical work as a contemporary statement of relevance. I set this text in contrast with passages from the Book of Revelation, which occupy the first half of the piece. The Revelation text prepares the listener with vivid imagery of the second coming, which concludes with verses that call for preparation for the end times.</p><p>The Sacred Minimalist music of the 1970s and 80s, most specifically Arvo Pärt, has heavily influenced my choral compositions. Cries of Revelation similarly explores music of contemplation and diatonic and modal tonality, drawing on Renaissance polyphony and musical idioms such as hocket and Renaissance cadential and voice- leading procedures. The musical form of Cries of Revelation is dictated by the contrasting texts, which divides the work into two tonal centers. Each section takes on the character of the text, the first being violent, dramatic, and relatively dissonant. The second section is one of tonal resignation in the face of man's helplessness in the face of the unknown.</p><p>Finally, the third piece of this dissertation is a solo work entitled Fragments of a Dream, for 5.1 surround sound electronics with video by visual artist Christian Faur of Denison University. Fragments of a Dream exists in that place between awake and sleep, the</p><p>! "#!</p><p>hypnopomic state that leads us out of dreams. Consciousness bleeds into our dream state, colors and images of dreams and nightmares mix and clash with hints of awakeness. The concept of this work is framed around the transient, endless possibilities that dreams represent. In this place, imagination runs freely and seemingly unrelated events and images combine, contrast, and transition without boundaries. The primary sound engines in Fragments of a Dream synthesize hundreds of diverse found and sampled sounds through granular synthesis. Some of the samples used in this work include birdcalls, machinery, various animal sounds, water droplets, human vocalizations, singing bowls, and Tibetan singing bowls. Fragments of a Dream was assembled, mixed and mastered in Logic Pro. A video by visual artist Christian Faur of Denison University compliments the live performance.</p> / Dissertation

Bambuco, Tango and Bolero: Music, Identity, and Class Struggles in Medellin, Colombia, 1930-1953

Santamaria Delgado, Carolina 05 June 2006 (has links)
This dissertation explores the articulation of music, identity, and class struggles in the reception and consumption of three genres of popular music in a peripheral capital during a period of social and political turmoil. It explores the connections between two simultaneous historical processes in the mid-twentieth century. Colombian society experienced the rise of mass media and the society of mass consumption in Colombia and the outbreak of a social and political strife, a period usually known as La Violencia. Through the analysis of written material, especially the press, this work illustrates the use of aesthetic judgments to establish differences in ethnicity, social class, and gender. Another important aspect of the study focuses on the adoption of the genres by different groups, not only to demarcate differences at the local level, but as means to inscribe themselves within larger social imaginaries. In this way, bambuco articulates the contradictions and paradoxes brought about in the way Antioqueños (the regional community) want to belong to the nation. Tango articulates the difference between the regional whitened identity, the so-called raza antioqueña (Antioqueño race), and the mestizo (mixed ethnicity) imaginary associated to the nation's capital. Finally, the adoption of bolero embodies the aspirations of the middle classes to gain access to transnational and cosmopolitan imaginaries, generating in the process a de-politization of the space of social struggles that characterizes popular culture. Using a diachronic approach, the dissertation illustrates the variations of musical practices according to particular social and political circumstances. The discussion includes the musical and textual analysis of a few representative pieces of the repertoire.

The Role of Chrodegang of Metz (712-766) in the Formation of Western Plainchant

Ober, Mary E.S. 27 June 2006 (has links)
Recent chant scholarship suggests that early Western plainchant consisted of a blend of Frankish and Roman chant features, and that the Roman cantilena which was transmitted in the time of Pepin III (r. 742-68) and Charlemagne (r. 771-814) was more a way of singing than a collection of fixed melodies. The goal of this paper is to expand upon this view of the earliest era of Western chant through an examination of the activities of Bishop Chrodegang of Metz (712-766). Historical evidence records Chrodegangs direct involvement in the trip of Pope Stephen II to Francia (753-54), noted by early writers as pivotal to the initial introduction of the eighth-century Roman chant to Francia. Comparison of a text-critical analysis of Chrodegangs Regula canonicorum (Rule for the Canons) with the timing of the popes trip, plus other documents and artifacts from the late eighth to early ninth century, indicates that Chrodegangs interest in the Roman liturgy and chant was noticeably higher after 754. Liturgical books with a blend of Roman and Frankish traditions came into wide use at the same time that Chrodegang rose to regional prominence. Chrodegang, a popular church leader, was also apparently skilled at seeking compromise in situations dealing with old traditions in the face of change. A summary of these strands of evidence postulates the earliest importation and establishment of elements of Roman-style chanting to Metz, under Bishop Chrodegang, and its subsequent development as a blended tradition in the decade after Pope Stephens stay in Francia in 754.

The Musical Semiotics of Timbre in the Human Voice and Static Takes Love's Body

Reed, S. Alexander 10 July 2006 (has links)
In exploring the semiotics of vocal timbre as a general phenomenon within music, theoretical engagement of the history of timbre and of muscial meaning bolsters my illustrative analyses of Laurie Anderson and Louis Armstrong. I outline first its reliance on subtractive filtering imparted physically by the performer's vocal tract, demonstrating that its signification is itself a subtractive process where meaning lies in the silent space between spectral formants. Citing Merleau-Ponty's phenomenology and placing the body's perceptual experience as the basis of existential reality, I then argue that the human voice offers self actualization in a way that other sensory categories cannot, because the voice gives us control over what and how we hear in a way that we cannot control, through our own bodies alone, our sight, touch, taste, and smell. This idea combines with a listener's imagined performance of vocal music, in which I propose that because of our familiarity with the articulations of human sound, as we hear a voice we are able to imagine and mimic the choreography of the vocal tract, engaging a physical and bodily listening, thereby making not only performance but also listening a self-affirming bodily reflection on being. Finally I consider vocal timbre as internally lexical and externally bound by a linguistic context. Citing Peirce and Derrida, and incorporating previous points, I show vocal timbre as a canvas on which a linguistic and musical foreground is painted, all interpreted by the body. Accompanying theoretical discussions is a concerto addressing relevant compositional issues.

Fear of Entropy, for Orchestra

Ogburn, James Joseph 27 June 2006 (has links)
In this essay, I discuss the structure of my orchestral work Fear of Entropy (2005). Through phrase analysis, I establish the form of the work and address the distinctions between disparate sections, as well as address the function of repetition within the piece. By analyzing the harmonic and contrapuntal structures of individual sections I reveal pitch-based commonalities and distinctions between these sections and account for these factors according to form and texture. This analysis also yields normative patterns internal to the work (such as anticipated harmonic goals). I discuss how and why these norms are progressively subverted. By analyzing texture, I define the most obvious structural divisions of the piece. Through textural analysis, I also identify progressive alterations to texture, timbre, and pitch that increasingly serve to obscure the foundational harmony. I discuss how these processes eventually subordinate pitch to other elements such as timbre. By detailing my compositional process through these methods of analysis, I demonstrate my disposition and innate tendencies. In the course of this study, I also identify sonorities that intuitively appeal to me. In addition, I uncover a subconscious proclivity on my part towards pitch-based unification of texturally distinct materials within a large work.


Neal, Brandi Amanda 27 June 2006 (has links)
The music sung by protesters in the American Civil Rights Movement was inseparable from the music in black Protestant churches. Despite the firm boundaries between the sacred and the secular in black Baptist and Methodist traditions, protesters adapted sacred hymns for secular protest use. Termed freedom songs, the music bound protesters together by shared spiritual associations with the music and by a communal performance experience. This study explores the adaptation process of the freedom song using We Shall Overcome as a case study. An examination of the traditions of black American church institutions and the musical and textual attributes of the adapted song genres clarifies the methods by which protesters transformed sacred hymns and songs. Elements of black sacred music, simple and repetitive melodies and texts and universal themes, facilitated the adaptation of sacred hymns and songs. We Shall Overcome embodied all the adaptive musical characteristics inherent in freedom songs but at an elevated level. Moreover, additional functions of the black church, for example to serve as socioeconomic support to the oppressed black community in post-Civil War America, transformed social activism into a spiritual endeavor. It was inevitable that sacred traditions, namely music, aided social activism.


Horton, Ernest Aaron 07 July 2006 (has links)
Charles Mingus has left a profound impact on the world of jazz. His career began in the early 1940s as a bassist in the Los Angeles area. As an instrumentalist his skill was unmatched. He quickly gained a national reputation that afforded him the opportunity to work with early jazz greats, such as Louis Armstrong and Kid Ory, contemporaries such as Dizzy Gillespie and Charlie Parker, and modern stars such as John Faddis and Toshiko Akioshi. In addition to his ability as a bassist, Mingus was a prolific composer. His creative output is often compared to the music of Duke Ellington. He continued to write music until he fell victim to Lou Gehrigs disease in 1979. Through the efforts of his widow, Susan Graham Mingus, his music is still performed today. This paper is an examination of Mingus life and music through his life, the people with whom he was acquainted, and the music that he was a part of. Among the topics explored are individuals who had an impact on his life such as Simon Rodia, Jelly Roll Morton, Duke Ellington, Britt Woodman and Buddy Collette. It will also illuminate Mingus philosophical beliefs by examining his experiences with Christianity and Hinduism. Finally, the paper systematically discusses parts of his career including his early recordings in rhythm and blues, big band, and small ensemble works, and examines his compositional style in order to facilitate a greater understanding of the origins of his later works.

Liszt's "Bagatelle Without Tonality:" Analytical Perspectives

Garcia, Federico 28 September 2006 (has links)
The present text is an analysis of Franz Liszt's Bagatelle without tonality, the first self-proclaimed atonal piece ever written. The main analytical techniques used as a starting point are derived from 'paradigmatic' and 'reductive' analysis, both applied freely according to the features of the piece. A review of Robert Morgan's analysis of the piece in his 1976 article 'Dissonant Prolongation' prompts an alternative reduction. The role and limitations of this analytical technique, the potential for creating misleading analogies with tonal music, and its general adequateness for the piece are discussed. Also visited is the technique of tonal composition that eighteenth- and nineteenth centuries theorists coined as Mehrdeutigkeit-'multiple meaning'-because of David C. Berry's thesis that the Bagatelle is a continuous outgrowth of it. With an independent review of this technique, and of the theory around it, Berry's thesis is refuted as a possible technical account of the piece. Finally, by a reflection on the possible compositional process in the creation of the Bagatelle, I maintain the thesis that Liszt had no precompositional design of any kind: on the one hand, abandoning tonality in this piece meant abandoning the relationship between tonic and dominant altogether, not replacing them with something else; on the other, there is no sign of a general preconceived planning on the part of Liszt in the image of what twentieth-century atonality would experiment with, or of what many of the relationships revealed by analysis could suggest. Fulfilling the composition requirements of the Ph.D. degree in Composition and Theory, my Concerto for Violin and Orchestra follows the essay from page 60 on.

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