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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.

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.


Harper, Colter 23 January 2007 (has links)
This study examines musical and social processes in American popular music through the creative life of Pittsburgh born jazz guitarist Jimmy Ponder. I contextualize Ponders technical and conceptual approaches with a historical analysis of developments in jazz during the mid-20th century. In examining intersections between jazz and other popular forms of music during the 1950s, 60s, and 70s, I aim to identify Ponders musical identity, which encapsulates the totality of his musical existence. In this study, I focus on relating musical sounds to social contexts and the processes that give these sound meaning. Musical identity, as a tool for examining the creative life of the jazz musician, is comprised of the individuals approach to their instrument(s), recording, band leading, performance, song interpretation, and improvisation. From these approaches develops a voice with which the musician creates meaningful musical experiences (authentic performances) as well as engages certain social realities in public contexts (affective collective listening). Though I choose here to label Ponder as a jazz guitarist, a central goal of this paper is to demonstrate how his musical identity hinges on the discourse between jazz and other commercialized music born from the African-American social experience. I address such genres within the African-American musical tradition as blues, R&B, soul-jazz, and fusion and explore how Ponder negotiated contemporary musical contexts, drawing forth various stylistic elements from which he formed his voice.

Charles Mingus and the Paradoxical Aspects of Race as Reflected in His Life and Music

Horton, Ernest Aaron 21 June 2007 (has links)
Charles Mingus was a jazz icon who helped to redefine the barriers that were inherent for those whose artistic expression was labeled jazz. He was a master bassist in an expressive style that was forced to fight and claw its way to respectability; he crafted challenging and emotional performances in venues where the ring of the cash register competed with his music during performances; and he developed musical techniques that had an immediate impact on American music, though he was never invited to fill any academic post. These contradictions are all brought together in light of his status as a jazz icon. The term jazz represents a paradox because it is the word used to represent a musical style developed in the United States and closely, but not exclusively, tied to the African-American experience. This experience represents triumph, but it also represents many things that were painful and humiliating to all Americans. Any serious study of jazz must visit this paradox. Charles Mingus and the Paradoxical Aspects of Race as Reflected in His Life and Music examines these aspects of the history of jazz using specific parts of Minguss life and by analyzing and comparing some of his works. This dissertation will also examine the social pressures under which Mingus lived and that gave his work direction, and how this direction was expressed in his work.

"enchanted days" for chamber ensemble: Some Considerations and Analysis

Livengood, Kerrith Joy Quigley 08 June 2007 (has links)
enchanted days, for flute, clarinet, violin, cello, piano and percussion represents the largest and stylistically most advanced composition of mine to date. The piece centers on the fulfillment and denial of perfect consonances (the octave and unison), in such a way that the various instrument pairings and doublings develop dramatic characters, and eventually create their own rules that describe the context for the uses of consonance and dissonance. These rulescentered around the three concepts of unity, unexpectedness, and dramacreate transformations of the two large categories of material, which can be roughly described as triadic harmonies with wrong notes added, contrasted with tone clusters relating to Major and minor seconds. A sense of humor enters the piece as part of these transformations; however, by the end, not only have the roles of various instruments changed, they have been compromised almost to reversala compromise that is somber and resigned. This reversal applies not only to the instrumental characters, but to the relationship between D and C#, the crucial notes of the work.

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