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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.

Pittsburgh Jazz Records and Beyond, 1950-1985

Pena, Carlos Enrique 08 June 2007 (has links)
Pittsburgh, Pennsylvania has always been a musically fertile city, and it has been the incubator for many of the greatest musicians in the history of jazz. While not a major recording center, Pittsburgh has maintained, since the 1950s, an active recording scene documenting the work of jazz musicians living in the city. Because independent record labels and studios have been the rule in Pittsburgh, many recordings made by great Pittsburgh musicians in Pittsburgh have been overlooked. While jazz musicians have always engaged in diverse musical endeavors, including popular music, the aesthetics of jazz and pop grew closer together in the late 1960s with the advent of fusion and funk. This stylistic cross-fretilization made much of the music of the late 1960s and 1970s difficult to categorize. To try to fit this music into compartments of jazz, rock, pop, or otherwise is counterproductive, undermining the comprehensive study of the periods music and the work of its musicians. Thus, the contributions of this study are twofold. It documents many overlooked recordings made in Pittsburgh by Pittsburgh musicians, while simultaneously serving as a case study of the progression of jazz from bebop to funk and fusion, and as an illustration of the necessity of casting a wide stylistic net, including genres such as gospel and popular music, when studying the history of jazz and its musicians.


Jimenez, Ivan 21 June 2007 (has links)
The intense emotional response that Arvo Pärt's Cantus and the canon from Henryk Miko³aj Górecki's Symphony No. 3, The Symphony of Sorrowful Songs generate in many listeners raises analytical questions. A preliminary hypothesis is that the intense and durable emotional response evoked by the works was a result of their complexity. A detailed analysis of these two canons demonstrates such complexity. This complexity is clear, coherent, and hierarchical, and in each case is the result of a very simple compositional procedure. In both pieces complexity is constituted by an intricate web of processes that is described in this paper as structural depth. The kind of structural depth found in these pieces is analogous yet significantly different from the kind of structural depth that Schenkerian analysis uncovers. Intelligibility of processes, onset asynchrony of prominent events, and independence of processes are proposed as important criteria for the identification of this type of structural depth. The systematic establishment of criteria and methodology for the identification and analysis of structural depth in this dissertation leaves the door open for its application in the analysis of other pieces. In addition, this paper makes extensively use of metaphors such as that of a stepladder to facilitate the conceptual understanding of the similarities, differences, and interaction among the different processes. This analysis also identifies particular potentials of pandiatonicism that these canons takes advantage of such as the use of triadic sonorities in a modal environment, the role played by ascending fifth root motion, and the subtle and gradual transformation of harmonic patterns. Fulfilling the composition requirements of the Ph.D degree in Composition and Theory, 'Burning the Deep Red Sea', an original composition for chamber ensemble follows the essay.

The Motets of Michael Deiss: A New and Critical Edition

Ruth, Christopher Thomas 13 June 2007 (has links)
In 1568, the Venetian printer Antonio Gardano released an enormous collection of 254 motets under the title Novi thesauri musici. This five-volume collection of 254 liturgically-related motets was financed and overseen by Pietro Giovanelli, a member of a wealthy family from the Bergamo region of Italy. The massive compilation consists of music written by composers stationed at the Hofkapellen of Graz, Innsbruck, Prague, as well as the Imperial Hofkapelle in Vienna. While some degree of scholarship has been carried out concerning this very significant publication, there are many composers in the Novus Thesaurus who are still virtually unknown today. One such composer was the young Michael Deiss, a choirboy at the Imperial Hofkapelle in Graz. Deiss is the third-most prolific composer in the collection, contributing fourteen motets spanning over each of the five books in the collection. Despite his conspicuous representation in the Thesaurus, however, only one of his motets had been previously transcribed and discussed in any detail until this edition. Also, beyond Giovanellis collection, there is no knowledge of any other compositions by Deiss that survive. Though Deiss certainly does not rank with the established masters of the sixteenth-century motet, his music is worthy of study from a different standpoint. Little is known about the compositional process of renaissance music, and examining the work of an apparent student could provide valuable insight into answering some of the questions that arise when investigating pedagogical relationships and localized stylistic conventions. I have prepared a critical edition in modern transcriptions of all fourteen motets by Deiss that appear in the Novus Thesaurus. In addition, I have provided a historical and stylistic background to Deisss music, as well as a detailed commentary for each motet. It is my aim here to provide the foundation necessary to commence more specific research into issues concerning the style of the sixteenth-century Hapsburg Hofkapellen and the learning process, as well as offering some observations and conclusions of my own.


Bowers, Nathan David 29 June 2007 (has links)
This dissertation explains processes of change and adaptation undergone by the early phonographs and talking machines, documenting social and musical forces through which consumers and businessmen shaped an in-home culture for sound recordings during the late nineteenth and early twentieth centuries. As a force for change in music in the home, the early phonograph embraced middle-class ideologies exemplified in the parlor of the late nineteenth- and early twentieth-centuries in order to create a domestic market. Early phonograph companies realized that women maintained and managed the affairs of the parlor, deciding what items were purchased for display and what activities were morally acceptable. Other responsibilities included controlling the household funds and providing music education in the home. For these reasons, the developing recording industry targeted women as a specific consumer group ensuring the success of the talking machine and creation of an in-home culture for pre-recorded music in America, one that continues to affect the way we consume music today. Initially designed as a speech recorder, Edisons invention was viewed by the majority of Americans as a machine without daily application. Instead, the phonograph needed to be identified as a perfected instrument, a piece of parlor furniture, and a device capable of saving housewives time, labor and money. By providing pre-recorded music in the form of discs, this device replaced playing and singing around the piano in the home. Opera arias were featured in the early phonograph advertisements since they represented the best music, sung by the greatest singers, and provided an instant source of culture, quality entertainment, education and social status for those who purchased the pre-recorded discs. Capitalizing on the prima-donna complex prevalent among young women of the time, the early recording industry also promised superior voice lessons by the greatest singers on repeatable discs. Finally, the early phonograph companies placed a high priority on music appreciation. The ability to enjoy quality music and discuss merits of a particular piece became an important display of musical ability, one as relevant and refined as actual playing and singing.

The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston

Squinobal, Jason John 28 June 2007 (has links)
There have been many jazz musicians who have utilized traditional African music in their music. Randy Weston was not the first musician to do so, however he was chosen for this thesis because his experiences, influences, and music clearly demonstrate the importance traditional African culture has played in his life. Randy Weston was born during the Harlem Renaissance. His parents, who lived in Brooklyn at that time, were influenced by the political views that predominated African American culture. Weston's father, in particular, felt a strong connection to his African heritage and instilled the concept of pan-Africanism and the writings of Marcus Garvey firmly into Randy Weston's consciousness. While his father was a great influence on his early childhood, Duke Ellington, one of the most important musicians of the Harlem Renaissance, also influenced Weston. Ellington reinforced the importance Weston's father placed on knowing their African roots. At the same time, Ellington, a dominant musical figure of the Harlem Renaissance, became an important musical influence on Weston. As Weston grew up, he looked up to the musicians of the bebop revolution. Thelonious Monk, one of the most significant contributors to the bebop revolution, befriended Weston and became a mentor to the young man. In Monk, Weston recognized the spirit of an African master. While Weston learned to interpret music similar to Monk's style, he also developed a keener sense of African aesthetics through his relationship with Monk. Weston took every opportunity to hear and learn about traditional African music. He went to performances, listened to recordings and interacted with African delegates at the United Nations. Weston's interest and research in traditional African music integrated with the growing cultural interest in Africa among the general African American population during the 1950s. The turbulence during this period of intense civil rights activism encouraged Weston's attempts to merge African music with jazz and he composed Uhuru Afrika. All of the above influences helped Randy Weston to be conscious of his heritage. Through his musical output he was able to connect with that heritage in a way that was significant to him.


Congdon, Darinda 19 September 2007 (has links)
This dissertation demonstrates that Tibetan music in the United States is directly related to multiple Western representations of Tibet in the United States, perpetuated from the 1800s to the present, and that these representations are actively utilized to market Tibetan music. These representations have also impacted the types of sounds most often used to musically represent Tibet in the United States in unexpected ways. This study begins with the question, What is Tibetan music in the United States? It then examines Tibetan music in the United States from a historical, political, spiritual and economic perspective to answer that question. As part of this investigation, historical sources, marketing sources, New Age religion, the New York Times, and over one hundred recordings are examined. This work also applies marketing theory to demonstrate that Tibet has become a term in American culture that acts as a brand and is used to sell music and other products. It also uses semiotics to address the prevalence of certain sounds in music marketed as Tibetan in the United States, finally demonstrating that sounds referencing New Age representations of Tibet have become a symbol representing Tibet as a whole in America.

Transnational Cultural Traffic In Northeast Asia: The "Presence" of Japan in Korea's Popular Music Culture

Jung, Eun-Young 20 September 2007 (has links)
Korea's nationalistic antagonism towards Japan and "things Japanese" has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government's official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea's Open-Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan's quintessentially postmodern popular culture, despite lingering resentments towards Japan. Because of the sensitive relationship between the two countries, however, the extensive transnational cultural interaction between Korea and Japan--including popular musical interaction, one of the most important aspects--has been intentionally downplayed by Korean scholars and by the popular Korean press. My dissertation theorizes what I call the "presence" of Japan, through its popular music, in contemporary Korea. I identify three major shifts in the presence of Japan in Korea from the 1980s to 2006: the "illegal" presence (1980s-1997), the "transitional" presence (1998-2004), and the "newly sanctioned" presence (since 2004). It is my contention that popular music plays a crucial role in shaping Korean perceptions about Japan, and those perceptions define a central focus of my dissertation. The research I present in the dissertation is organized around four areas of investigation: the kinds of "presence" Japan has had in the contemporary popular music scene in Korea since the 1980s, the kinds of forces that have been instrumental in shaping Korean's consumption of Japanese popular music, the adjustments in Korea's cultural politics in response to transnational cultural flow from Japan before and since 1998, and Korean reception and responses to the Japanese "presence" in Korea - its meanings and implications. I address these issues within the political and economic context of Japan-Korea relations, whose impact on musical practice and musical taste is complex and dynamic, demanding a multi-disciplinary analysis.


Foley, Kenan A. 19 September 2007 (has links)
This dissertation presents an ethnomusicological study of the art of three Pittsburgh jazz drummers, Joe Harris, Ron Tucker, and Roger Humphries with particular reference to the nexus relations between performance practice and the interpretation of experience. Following the work of Davis, Nketia and others this study argues for an approach to the analysis of black music which takes into consideration the viewpoints of the musicians who produce the music as well as those of the community who participate at performance events. Accordingly it examines the art of these drummers not only in terms of sound and structure but also in respect of the cultural factors that govern the operation of style and the meaning systems behind the music.

Two Ways of Looking at Messiaen's "Vingt regards dur l'enfant-Jésus"

Stephens, Michael 19 September 2007 (has links)
The analytic component of my dissertation, Two Ways of Looking at Messiaens Vingt Regards sur lEnfant-Jésus, takes two points of entry into the masterwork for piano: the first examines the role of repetition in two of the movements, Regard de la Vierge and Regard du Fils sur le Fils; the second investigates Messiaens synesthesia, analyzing the pitch collections that contributed to his visual perceptions. Regard de la Vierge utilizes the juxtaposition of disparate musics in order to create a conflict; pitch-centricity and the sharing of motives unify the movement and contribute to the resolution of the conflict. In Regard du Fils sur le Fils, Messiaen re-contextualizes the first movement, labeled the Thème de Dieu, which provides the structural foundations for the superimposition of two additional musics. In Baptism, the compositional component of my dissertation, I continue to explore a technique that is for me a significant change in style: the overlapping of musical events. Some sections of the ensemble continue with one music, while other sections begin new or divergent material. In most instances, the simultaneous musics are realized through metric modulations. The piece was originally commissioned by the Duquesne Contemporary Ensemble and David Stock, and after the initial performance, I revised the work in order to highlight this feature. The University of Pittsburgh Orchestra, under the direction of Roger Zahab, performed the revised version in February of 2007.


Ogunranti, Stephen Ayodamope 16 January 2008 (has links)
Recently, George Rochbergs Music for the Magic Theatre offered me the chance to rethink my position on musical unity. In this work, a juxtaposition of the ancient and modern, Rochberg (b.1918) employs the music of a varied roster of composers including Mozart, Beethoven, Mahler, Webern, Varese, Stockhausen, Miles Davies and himself to create a stylistic confrontation between the past and the present. This work evoked in me the postmodernist attitude of intertextuality, eclecticism and freedom from structural and stylistic unity. This idea of postmodernism embraces contradictions, fragmentations and discontinuities, binary oppositions and quotations or references to music of diverse cultures. It obliterates the boundaries between high and low styles, and the procedures of tradition and formalism. The postmodernist idea struck a fraternal chord of acceptance with my creative instincts which are defined by my enthusiasm for an intercultural approach to musical composition. Prior to this, I have specifically pondered and experimented with the various ways to amalgamate the musical elements that define the African and Western Classical musical cultures. In addition, I have contemplated the issue of coherence or non-coherence and how either of these might be desirable in the realm of musical symbiosis or integration. Ólomo kìlò fómo rè (Process 1) is a realization of my perception of intercultural musical composition. It is a work that draws on the concept of integral serialism and African pianism, melting the two within the borders of the aesthetic-type that define postmodernism.

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