• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 14255
  • 3053
  • 2835
  • 1224
  • 715
  • 684
  • 632
  • 632
  • 632
  • 632
  • 632
  • 590
  • 474
  • 154
  • 146
  • Tagged with
  • 29938
  • 3510
  • 2938
  • 2669
  • 2252
  • 1930
  • 1701
  • 1490
  • 1389
  • 1302
  • 1280
  • 1279
  • 1150
  • 1088
  • 1007
  • 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.
101

Rediscovering Chaminade's "Six Etudes de Concert," Op. 35

Chiang, Clare 28 September 2016 (has links)
<p> This project report explores C&eacute;cile Chaminade&rsquo;s <i> Six &Eacute;tudes de Concert</i>, Op. 35. Chaminade was a popular composer during her lifetime. Many musicians respected and admired her works despite that she was a female composer born in the mid-nineteenth century. Her piano works were widely published in America and Europe. Though not as popular today, her admirable works can be effective, deserving occasional performances on the concert stage. </p><p> The introduction of this report discusses Chaminade&rsquo;s success as a woman composer, the decline of her fame after she die, and the rising interest in her works by scholars and musicians of the present day. Subsequent chapters examine Chamiande&rsquo;s musical career, compositional style, and influences by other Romantic composers. The final chapter is an analysis of <i> Six &Eacute;tudes de Concert,</i> Op. 35, focusing on the title and the character of each piece, with a few practical suggestions for the performer. </p>
102

The history of the clarinet in South Africa

Steltzner, Becky L January 2016 (has links)
This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers' journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet's South African history is within it. The references are noted, discussed, and where possible, the performers' biographical details are given and discussed. This carries through to the beginning of the 20th century, at which point South Africa got its first professional symphony orchestra, and first College of Music. From here, the clarinet is deemed to be more readily available, so at this point, the focus changes to South African compositions for clarinet. Finally, a case study is done on Ali-Ben-Sou-Alle, who was the first clarinet soloist to visit South Africa, as well as one of the most interesting and mysterious characters encountered in this research.
103

Evidence-Based Research for the Geriatric Population

Unknown Date (has links)
The purpose of this study was to analyze the existing quantitative experimental research evaluating the effect of music on symptoms of the geriatric population. A review of literature was conducted on 47 studies found in twelve refereed journals evaluating. Common objectives, assessments, and procedures were identified and clinical guidelines for evidence-based procedures were developed. Results and further quantitative research are suggested and discussed. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Therapy. / Degree Awarded: Fall Semester, 2007. / Date of Defense: October 12, 2007. / Evidence-Based Research, Gerontology, Music Therapy / Includes bibliographical references. / Jayne M. Standley, Professor Directing Thesis; Alice-Anne Darrow, Committee Member; Sarah Gregory, Committee Member.
104

Louis Moreau Gottschalk, John Sullivan Dwight, and the Development of Musical Culture in the United States, 1853-1865

Unknown Date (has links)
This dissertation investigates the relationships between the lives and works of Louis Moreau Gottschalk (1829-69) and John Sullivan Dwight (1813-93). It demonstrates that the points of intersection were influenced not only by musical concerns – composition, performance, and criticism – but also by larger social and cultural issues that shaped mid-nineteenth-century America, including race, religion, politics, and philosophy. A broader goal of this project is to gain a fuller understanding of the culture of America at mid-century and most specifically of its musical life. This was a crucial time for the formation of the musical styles and tastes that prepared the way for the current conditions of American musical culture. The final purpose of this dissertation is to reveal the far-reaching influence of the connections explored here. Through the combination of social and cultural research, style analysis, and reception history, I demonstrate that the music composed and performed by Louis Moreau Gottschalk and the critical writings of John Sullivan Dwight were shaped by a variety of social forces, including the cult of virtuosity, blackface minstrelsy, exoticism, nationalism, sentimentalism, and New England Transcendentalism. The effects of the careers of Dwight and Gottschalk can still be felt in the ways music is seen, heard, and performed in America. The two men were connected within a web of cultural intersections that thrives in the diversity of American music today. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Fall Semester, 2007. / Date of Defense: October 26, 2007. / Musical Aesthetics, Hegelian Dialectic, Sentimentalism, Cult Of Virtuosity, Blackface Minstrelsy, Music Criticism, Exoticism, Nationalism / Includes bibliographical references. / Denise Von Glahn, Professor Directing Dissertation; Matthew Shaftel, Outside Committee Member; Douglass Seaton, Committee Member.
105

An Analysis of Gender, Authority and Educational Background of Voice Teachers in Undergraduate Degree-Granting Institutions

Unknown Date (has links)
Music education is a predominantly female occupation; however while women dominate the ranks of elementary and choral education they lose representation as grade level increases. In addition sex-role segregation within the field is also evidenced by the domination of males in the areas of instrumental and jazz music education. As with other areas of post-secondary education, females have made gains and now occupy 43% of music faculty positions, however it may be that the males and females have gender specific sex-roles. Due to the specific, gendered nature of voice parts, it may be that applied voice teacher training programs would have an equal distribution of females (sopranos, mezzo-sopranos, contraltos) and males (counter-tenors, tenors, baritone, basses). The distribution of the sexes within the career field may affect hiring practices, promotions, and access to administrative positions thereby mitigating sex inequalities and sex-role biases which exist in other areas of post-secondary education. This study was an initial step investigating biological sex and authority as they relate to applied voice teachers in four-year institutions in the United States. Voice-teaching was found to be a predominantly female occupation with men and women holding a near equal number of full-time professor status positions. Upon closer examination, sex-role stratification within the field may be evidenced. For example, the proportion of males increased as faculty rank increased while the proportion of females decreased as faculty rank increased. There also seemed to be sex-role stratification with regard to specific teaching responsibilities held by males and females. The reasons for these differences are explored. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Spring Semester, 2009. / Date of Defense: March 3, 2009. / Gender, Voice Teaching Authority / Includes bibliographical references. / Kim Van Weelden, Professor Directing Dissertation; Richard Morris, Outside Committee Member; Clifford Madsen, Committee Member; John Geringer, Committee Member.
106

The Effects of Music Therapy and Relaxation Prior to Breastfeeding on the Anxiety of New Mothers and the Behavior State of Their Infants during Feeding

Unknown Date (has links)
This study examined the effects of music therapy and relaxation techniques with first time mothers who were breastfeeding. Dependent variables were behavior state of the mother during breastfeeding, behavior state of the infant during breastfeeding, the mother's self-reported perception of anxiety and relaxation during breastfeeding, and the mother's perception of breastfeeding and her use of music one week post discharge. Subjects were sixty (N=60) women who had chosen breastfeeding as their preferred feeding method for their infant. Between 24-48 hours after giving birth to their infant, subjects were randomly assigned to either an experimental group (N=30) who received music therapy prior to breastfeeding or a no music control group (N=30). Results showed a statistically significant difference between the behavior-state of the mothers during their breastfeeding attempt. The experimental group displayed significantly less anxiety-related behaviors and more behaviors associated with relaxation and comfort. There was no significant difference between the behavior-state of the infants during breastfeeding. Data from self-report surveys revealed that mothers in the experimental music group reported feeling significantly more relaxed and less anxious after breastfeeding in the hospital then did the control group. No significant difference was found between groups based on mothers' perceptions of breastfeeding one week post hospital discharge. Additional data were collected for further analysis and implications are discussed. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Degree Awarded: Summer Semester, 2005. / Date of Defense: June 14, 2005. / Anxiety And Mothers, Prevention Of Postpartum Depression, Depression, Postpartum, Childbirth, Lactation, Postpartum Depression, Maternal Confidence, First Baby, First Time Mothers, Psychological, Behavioral, Emotions, Stress, History Of Breastfeeding, Breast Milk, Breastfeeding Benefits, Pregnancy, Hospital, Anxiety During Hospital Stay, Counseling, Intervention, Music Therapy And Relaxation, Anxiety Reduction, Music Therapy Postpartum / Includes bibliographical references. / Jayne M. Standley, Professor Directing Thesis; Clifford Madsen, Committee Member; Dianne Gregory, Committee Member.
107

Classical Saxophone Transcriptions: Role and Reception

Unknown Date (has links)
Transcriptions occupy a fundamental place in Western musical development, having been created used since the Middle Ages Composers, performers, and arrangers are still constantly adapting music in order to learn various musical styles and to bring variety to their programs. Besides the advantages to composers, musicians, and students of music, transcriptions allow audiences to hear repertoire that would be unavailable to them in its original format. Transcriptions may also permit listeners to hear familiar works through fresh interpretations that can illuminate aspects of the music not heard in the original instrumentation. Classical saxophonists, in particular, use transcriptions for various purposes, including those previously mentioned. This study of saxophone transcriptions raises three overarching points: • Transcriptions have been and remain an important component of classical saxophone performance and recording. • Recorded saxophone transcriptions range from high art to popular music, their material borrowed from the last nine centuries or more of Western music history—and these works are reviewed differently in different journals. • The key to a successful programming of transcriptions lies in historical and performance practice research, and in awareness of one's audience. A study of transcriptions within the context of the saxophone's history, how these pieces are interpreted by the performers and organized on recordings next to—or instead of—original works for the saxophone, and reviews of these recordings were all employed in the present study in order to determine how transcriptions represent the instrument. Analysis of saxophone recordings and reviews, including four case studies that take a closer look at individual saxophone CDs, demonstrates how saxophone transcriptions portray the classical saxophone to various audiences. The study of this repertoire, and of saxophonists performing it, must go hand in hand with a study of the saxophonists themselves and the ways in which they view these works. Most saxophonists are arrangers; many of the pieces they perform and record were created by them, as well. The choice to perform these transcriptions should prompt more decision-making on the part of the saxophonist than does that of completely original works, especially if the performer is also the arranger. This study shows that, whether practiced by a saxophonist or any other performing musician, creation and performance of transcriptions are multi-faceted activities. Transcriptions remain an important and valuable component of the recorded saxophone repertoire. They offer to audiences the opportunity to hear a stylistically appropriate rendition of music that adds variety and broader appeal to the mostly twentieth-century classical saxophone repertoire, thus opening the way for more listeners to discover and enjoy this sound resource. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Degree Awarded: Fall Semester, 2008. / Date of Defense: July 29, 2008. / Arrangement / Includes bibliographical references. / Douglass Seaton, Professor Directing Thesis; Denise Von Glahn, Committee Member; Patrick Meighan, Committee Member.
108

El Gato Montés: A Victim in Spain's Struggle to Establish A National Operatic Identity

Unknown Date (has links)
The task of creating Spanish opera in a musical environment which was hostile and critical has been a consternation and challenge for almost every Spanish composer with a desire to create a Spanish national operatic identity. The opera El Gato Montés, by composer-librettist Manuel Penella Moreno (1880-1939) premiered in 1916. The work achieved great public success in and outside of Spain, including a 10 week sold-out performance run in New York City in 1920. Penella's talent for composing lovely melodies is manifest in the music for El Gato Montés. The libretto is dramatic and effective. Its appeal to the public at large was demonstrated with its triumphant premiere and following successful performances. Ultimately, this opera met the same fate as the great majority of Spanish operas. It was set aside and forgotten. The only exception to this pattern was Manuel de Falla's (1876-1946) La vida breve (1913). The purpose of this study is to present Penella's El Gato Montés as an exceptional example of Spanish opera and present a brief history of the development of this genre, from its birth with the opera La púrpura de la rosa by Juan Hidalgo de Polanca in 1660, through the premiere of El Gato Montés in 1916. An analysis of the work will identify and discuss the variety of characteristics of Spanish society, culture and music which are incorporated in the opera, and make the opera a distinctly Spanish work. These characteristics include: the representation of Catholic morality and customs, machismo, familial aspects of a matriarchal society, the gypsies of Southern Spain and their cante flamenco, and the bullfight with its associated musical form, the pasodoble. Several of the criticisms that appeared at the time of the opera's premiere will be discussed, including the accusation that the opera was nothing more than an "españolada," an artificial caricature of the true Spain. It is the author's opinion that El Gato Montés is a work worthy of consideration as an important contribution to Spanish music and the operatic repertoire. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Degree Awarded: Summer Semester, 2009. / Date of Defense: June 19, 2009. / Manuel Penella, Bull Fighting, Spanish Opera, Cante Flamenco / Includes bibliographical references. / Alice Ann Darrow, Outside Committee Member; Larry Gerber, Committee Member.
109

Muzikmafia: Community, Identity, and Change from the Nashville Scene to the Popular Mainstream

Unknown Date (has links)
In this dissertation I examine the MuzikMafia, a distinct musical community that developed from a stylistically diverse Nashville scene into a social collective and commercial enterprise, both of which emphasize musical excellence and promote musical and artistic diversity. In order to understand the MuzikMafia more deeply, I explore three of its defining structures: community, identity, and change. Analysis of each aspect provides insight into what the MuzikMafia actually is, the role of music in the lives of its members, and the reasons behind the MuzikMafia's period of commercial growth and development from 2001 through 2005. I observe how a shared musical and social ideology created a bond between several marginalized Nashville artists and how that bond, or rather its commodification, transformed the MuzikMafia into a significant part of the commercial mainstream. The dispossessed interact with the dominant structures of capitalist society in a variety of ways. Music serves as a medium of expression and often as an agent of social change through individual and group action. The MuzikMafia is an example of one such dispossessed group that eventually gained national and international popularity. I argue that, despite its numerous anti-establishment sentiments, the MuzikMafia confirms if not supports the existing hegemony of Nashville's commercial music industry. Based upon participant observation, oral history fieldwork, and behind the scenes experiences among several platinum-selling artists, this research provides new insight into the study of popular music, presenting evidence that, not only is ethnomusicological fieldwork in the popular mainstream possible, but such research contributes much to the ongoing development of ethnomusicology and popular music studies. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Fall Semester, 2007. / Date of Defense: August 23, 2007. / Nashville, Country Music, Popular Music, Ethnomusicology, MuzikMafia / Includes bibliographical references. / Frank Gunderson, Professor Directing Dissertation; Barry Faulk, Outside Committee Member; Dale A. Olsen, Committee Member.
110

The Life and Music of John Boda with an Emphasis on His Saxophone Works

Unknown Date (has links)
John Boda (1922-2002) was a highly accomplished pianist, conductor, composer, and professor. His diverse musical talents and eclectic hobbies defined him and influenced countless students, colleagues, friends and family members. During his long and productive music career, he taught at The Florida State University for fifty-three years and wrote more than 150 compositions for every genre except opera. This study explores the life and music of Boda with particular attention given to his saxophone works. Despite his success, many of Boda's compositions are unpublished and unrecognized for their merit. Of the four pieces he wrote for the saxophone, Perambulations (1977), Forest Sounds and Dance (1982), Concert Piece (1982), and Two Movements for Saxophone Quartet (1983), none are published and only two are listed in A Comprehensive Guide to the Saxophone Repertoire 1844-2003 by Jean-Marie Londeix. These works are valuable additions to the saxophone repertoire and warrant awareness within the saxophone community. Chapter One is a biography of John Boda, focusing on his musicianship. Chapter Two is a summary of Boda's compositional style at various stages throughout his career. Many compositions are referenced to illustrate the continuity of structure and form in his pieces. Chapters Three, Four, Five, and Six, respectively, examine each of Boda's four saxophone works. A historical background and stylistic overview are given for each piece and musical examples are taken from original manuscripts. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Degree Awarded: Fall Semester, 2009. / Date of Defense: August 19, 2009. / Saxophone, Boda, John Boda / Includes bibliographical references. / Patrick Meighan, Professor Directing Treatise; James Mathes, Outside Committee Member; Frank Kowalsky, Committee Member; Jeff keesecker, Committee Member; Anne Hodges, Committee Member.

Page generated in 0.0923 seconds