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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.
31

Claiming Voice: Madalena Casulana and the Sixteenth-Century Italian Madrigal

Heere-Beyer, Samantha Erin 04 June 2009 (has links)
This thesis explores the ways in which Madalena Casulana (ca. 1540ca. 1590) expressed her stated desire to overturn the misconceptions of sixteenth-century patriarchy that maintained that women did not have the ability to think and compose music as men did. Through an investigation into her life and works, as well as her philosophical and musical heritage, this thesis reveals that Casulana was not only aware of the gender barriers and stereotypes that made her position as a female composer precarious at best, but also that she sought to liberate women from their rigidly proscribed status. Examining the Greco-Roman roots of contemporary thoughts about biology and gender difference provides insight into the segregated world in which Casulana worked and explains the language of innuendo that permeated Casulanas musical medium, the madrigal. Her madrigals reveal a high level of training and creativity within the medium, but it is the way in which she utilizes her skill of representation through the madrigal that reveals her own voice amid the traditional tropes. Through manipulation of madrigal tropes, Casulana liberates the female voice from its traditional role as the conquered victim of male sexual fantasy, bridges the gap between the traditional associations of men as intellectual beings and women as sensual, and emphasizes unity and equality between the sexes.
32

You Can't Be Serious for String Quartet: Insight and Analysis

Summers, Alec 04 June 2009 (has links)
You Cant Be Serious, for string quartet, is my longest and most musically advanced composition to date. While written somewhat as a self-portrait, or perhaps more a self-reflection on my musical life up to this point, the piece is not programmatic in any way; a study into the non-musical influences on the composition of the piece would not shed light on or reveal the true nature or meaning of the work. This piece was written in an intuitive manner, and for that reason, my aim in this essay is to examine and dissect it, revealing my innate musical tendencies. In this way, I hope to better understand my personal compositional process and the musical elements, (e.g. form, rhythm, pitch, harmony, etc.) that come most naturally to me in my writing. In order to accomplish this, I examine the piece from varying levels of perspective and utilize several analytical techniques, including phrase analysis, pitch/harmony analysis, and an investigation into the many transitional passages that are very important in the work. Through phrase analysis, I reveal the form of the piece, highlight distinctions between sections, and address the usage of repetition within the work. By analyzing pitch (harmony and melody), I reveal musical distinctions and commonalities that define my personal aesthetic. The transitional passages are a critical element in the development of the piece, and how the music moves from one sound world, or musical landscape, to another. This is where the self-portrait element of the piece is most relevant, in the sense that it reflects my multi-faceted work in the field of music jazz, rock and roll, commercial music and new art music. I hope to unveil compositional processes in these sections that dictate the form of the piece, play with listeners expectations, and illustrate my compositional choices that show how I develop and transition between musical ideas.
33

DRUMMING FOR THE MOUSE: KUMIDAIKO AND THE EXHIBITION OF JAPAN AT WALT DISNEY WORLD

Pachter, Benjamin Jefferson 04 June 2009 (has links)
Performing at Walt Disney World as often as six times a day, seven days a week, the kumidaiko group Matsuriza has the unique opportunity to expose thousands of people per day to the world of Japanese taiko. Simultaneously, the group serves as an ambassador of sorts for Japan, representing the country within a section of the Epcot theme park known as World Showcase. Their performance space is the Japan pavilion, part of a modern day Worlds Fair that seeks to introduce tourists to various cultures from around the world. Matsurizas participation in Disneys Worlds Fair is not without its consequences, however. The group must grapple with issues of commoditization, authenticity, and representation in Walt Disney World that have long caught the eyes of scholars. At the same time, the group must deal with the expectations of the tourists that have come to Epcot, expectations that are fueled in part by the atmosphere created by the Walt Disney Company. Due to this confluence of issues, kumidaiko at Walt Disney World as performed by Matsuriza is a reified art form, static and unchanging. Taiko is discussed by group members using a discourse that adheres to the sense of Japan created within the pavilion, and repertoire and performance practice are modified so as to not disrupt the atmosphere that has been created. Even as kumidaiko continues to grow and evolve outside of Epcots borders, within the theme park it is simply another exhibit on display for the paying tourist in the museum of culture that is World Showcase.
34

Music and Identity Politics in Terre-de-Bas, Guadeloupe

Durkopp, Ryan W 04 June 2009 (has links)
This thesis explores the ways that music and language in Guadeloupe subvert ideologies of French nationalism in the negotiation of a multi-layered identity. Guadeloupe is a department of France, yet offers a case study that clearly runs counter to Herderian ideas of isomorphic identitiesthat French people live in France, speak French, and have French culture. The negotiation of a multi-layered identity is in part based on the fact that music (compas, zouk, and gwo-ka) and language (Guadeloupean Creole) are championed as non-French cultural artifacts, carrying symbolic weight that affirmins more localized aspects of cultural and political identity. Matters are complicated as Guadeloupeans assert a pan-Caribbean identity through common language, orthography, musical traditions, and a shared perception of sameness. Despite the wide range of cultural practices of members in the region, Guadeloupeans are able to conceptualize a community based upon cultural indexes such as music consumption and language use. The negotiation of identity in Guadeloupe is a constant project with high stakes, as seen in the 44-day strike in January and February 2009. Institutions such as supermarkets, schools, and banks closed their doors in an attempt to resist French hegemony and demand higher pay for the lowest level of workers. After much publicity about the situation French authorities finally acquiesced, yet tensions between France and its former colony are still high. As a result of the historical and recent socio-political movements in the region, the examination of identity politics in Guadeloupe is an extremely rich site of scholarly inquiry. This thesis examines two musical groups on the island of Terre-de-Bas, Melody Vice and Explosion. The bands make use of several strategies that assert localized identities through the regional genre of compascarnival and festival music that originated in Haiti but that is now consumed throughout the Caribbean. At once French, Guadeloupean, and Saintois, music producers and consumers articulate both pan-Caribbean conceptualizations of identity, as well as more localized forms of identity. Through repertoire, language, instrumentation, and iconography community members are able to negotiate what it means to be a French citizen living in Terre-de-Bas, Guadeloupe.
35

INDIGENOUS KNOWLEDGE AND CULTURAL VALUES IN EWE MUSICAL PRACTICE: THEIR TRADITIONAL ROLES AND PLACE IN MODERN SOCIETY

Gbolonyo, J. S. Kofi 15 June 2009 (has links)
Among the Ewe, music is the pivot around which indigenous cultural practices revolve. Ewe musical texts, the focus of this research, are embedded with and are dynamic in the transmission of indigenous knowledge and values. Besides being a repository of knowledge and artistic traditions, through music, musicians document, preserve, and transmit indigenous knowledge and reenact the historical, social, and political structure of the Ewe. Ewe musical texts do not only possess documentary value but also represent the exercise of the imagination of composers. In this century, however, this role of music and the resulting cultural values faces a great challenge. Modern global cultural transformations continue to influence Ewe cultural elements. Furthermore, the mass commodification of the arts in modern times has affected the educational and cultural functions of Ewe arts and continues to reduce them to a state of entertainment. Due to these influences and challenges, some Ewe youth currently are ignorant about their cultural heritage, and are therefore, losing their cultural identity. This study, therefore, is in response to the need for examining the aspects and functions of Ewe indigenous knowledge system, values, and musical practice and to help policy makers to create and promote awareness and use of indigenous knowledge and values among Ewe youth and scholars. It investigates Ewe indigenous knowledge and cultural values embedded in Ewe musical practice and the extent to which musical practice preserves and transmits them. The study explores the relationships between music and related arts and how their interactions affect preservation and transmission of knowledge. It documents traditional songs and analyzes the extent to which musical texts express, preserve, and transmit knowledge and suggest steps that will promote the awareness and use of indigenous knowledge and values, and their harmonization with modern culture. The study examines musico-linguistic practices: as vehicles of philosophical concepts; that establish analogies between artistic creativity and procreation; that underscore Ewe concepts of triality, democratic principles, moral and humanistic values. The study is a modest contribution to ethnomusicological literature demonstrating how music strengthens other domains of culture, and how indigenous knowledge can find relevance in modern society.
36

Conflicting Lines, Cohesive Structures: Multiple-Directed Linearity in Witold Lutoslawski's Third Symphony

Ogburn, James Joseph 17 June 2009 (has links)
Witold Lutoslawski is widely recognized as having contributed numerous innovations to the twentieth-century canon of "Western" avant-garde music. His contributions include new approaches to notation and aleatoric technique (especially in ad libitum sections), formal structure "chain technique" and unusual four movement forms), and pitch organization (interval pairing and non-serial twelve-tone approaches). While emblematic of many of these qualities, Lutoslawski's Third Symphony also demonstrates an overlooked aspect of his late compositions: multiple-directed linear processes. In my essay, I focus on linear processes within several levels of the musical structure (pitch, rhythm, orchestration, register, texture, and form), applying contour theory, set theory, and statistical analysis where appropriate. In Lutoslawski's Third Symphony many levels of the structure arrive at their goal in distinct places, are simultaneously oriented in different directions, or otherwise subvert each other. In addition, singularly directed linear passages interrupt each other in horizontal succession. These types of multiple-directed linearity are the objects of my study. Although multiple-directed linearity is not exclusive to Lutoslawski's music, it is a facet that has been overlooked or mentioned only in passing within Lutoslawski studies. The composition component of my dissertation is Proximate Spaces for piano and chamber orchestra. The formal continuity of Proximate Spaces was suggested to me by competing ideas of the 1990's surrounding the search for a unified theory to explain the fundamental forces, dimensional composition, and existence of matter in the known universe. Much of the pitch material derives from a two-octave mode (18 pitches in series) and three subset hexachords of that mode. The work develops the tension between mechanistic devotion to this mode and episodes of free chromaticism, between strictly repeating rhythmic patterns and rhythmic variation, between instrumentation according to families and a free exchange of musical ideas regardless of instrumental relation. Initially aligned with the mechanistic paradigms of mode and regular rhythmic patterns, in several places the piano breaks free and attempts to incite revolt against the piece's system by abandoning strict adherence to these structures. Although some other members of the ensemble briefly depart from the system, ultimately the machine prevails.
37

West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston

Squinobal, Jason John 25 June 2009 (has links)
This Dissertation is a historical study of the cultural, social and musical influences that have led to the use of West African music in the compositions and performance of Art Blakey, Yusef Lateef, and Randy Weston. Many jazz musicians have utilized West African music in their musical compositions. Blakey, Lateef and Weston were not the first musicians to do so, however they were chosen for this dissertation because their experiences, influences, and music clearly illustrate the importance that West African culture has played in the lives of African American jazz musicians. Born during the Harlem Renaissance each of these musicians was influenced by the political views and concepts that dominated African American culture at that time. Imperative among those influences were the concept of pan-Africanism, the writings of Marcus Garvey and the music of Duke Ellington. Additionally, Thelonious Monk, Kenny Clarke and Dizzy Gillespie three of the most important contributors to the bebop revolution made great impressions on Blakey, Lateef, and Weston. All three musicians traveled to West Africa, and while each visited Africa for different reasons, all three were greatly influenced by the music they heard and the musicians they interacted with. All of these influences led to significant use of West African music in the works of Blakey, Lateef and Weston. Blakey, Weston, and Lateef became professional musicians in their own rights during a period of intense civil rights activities in the United States. Civil Rights activism along with the liberation of African Nations inspired compositions and performances by these three musicians that incorporated elements of West African music with jazz. Through these activities Blakey, Weston, and Lateef were able to provide artistic commentary on the strides being made for the civil rights of both Africans and African Americans.
38

Reshaping American Music: The Quotation of Shape-Note Hymns by Twentieth-Century Composers

Smolko, Joanna Ruth 25 June 2009 (has links)
Throughout the twentieth century, American composers have quoted nineteenth-century shape-note hymns in their concert works, including instrumental and vocal works and film scores. When referenced in other works the hymns become lenses into the shifting web of American musical and national identity. This study reveals these complex interactions using cultural and musical analyses of six compositions from the 1930s to the present as case studies. The works presented are Virgil Thomsons film score to The River (1937), Aaron Coplands arrangement of Zions Walls (1952), Samuel Joness symphonic poem Let Us Now Praise Famous Men (1974), Alice Parkers opera Singers Glen (1978), William Duckworths choral work Southern Harmony and Musical Companion (1980-81), and the score compiled by T Bone Burnett for the film Cold Mountain (2003). Utilizing archival sources and interviews with composers, this study draws from a number of methodologies and disciplines in order to present a kaleidoscopic view of the meanings and contexts of these compositions, including cultural, religious, American, and music history, as well as musical and textual analysis. Through this thick-history approach, the study demonstrates the ways in which shape-note quotations evoke American regional and national history, and the composers personal memories and identities.
39

Pennsylvania Dutch Tune and Chorale Books In The Early Republic: Music as a Medium of Cultural Assimilation

Grimminger, Daniel Jay 15 June 2009 (has links)
The Pennsylvania Dutch Kirchenleute (Lutheran and Reformed Church People), who spoke a dialect of German (Pennsylvania Dutch), were the largest ethnic group in early America outside of the English-speaking population. Like all ethnic minorities, they went through a process of change in relationship to the dominant English-speaking society in the eighteenth and nineteenth centuries. This sequential process (i.e., full ethnic retention, adaptation, acculturation, and amalgamation) is reflected in the Pennsylvania Dutch tune and chorale books that supported various stages of this evolution, depending on location and editor. Details of each music publication between the 1790s and 1850 contributed to this change linguistically, theologically, and musicologically through their content and appearance. Books that supported and promoted full ethnic retention retained the German language entirely, had a simple preface outlining the purpose of the book, employed a pure European repertoire, utilized unrealized figured bass or a harmonization on three staves, were printed from engraved or punched plates, and sought to retain German theology from the Reformation era. Some later examples of retention were not produced for ethnic reasons, but for theological reasons that resulted in the retention of traits of European chorale books. Tune books participating in ethnic change moved away from the use of the German language and European repertoire. They employed singing-school introductions and were resultant of the type-set printing process. Assimilating publications embraced revivalist theology and a type of consumerism that made the books and their users look more like their English-language equivalents than their European predecessors. All the while, Pennsylvania Dutch culture and all of its peculiarities were disappearing. This dissertation is a study of Dutch retention and assimilation, analyzing the tune and chorale books in the context of other folklife including visual art, food, manuscripts, and other publications.
40

Samuel Babcock (1760-1813), Archetypal Psalmondist of the First New England School of Composers

Sampsel, Laurie J. 30 September 2009 (has links)
The life, musical activities, compositions, and musical relationships of the Boston-area composer Samuel Babcock (1760-1813) make him an archetypal psalmodist active during the period from 1790 to 1810. Research on early American Protestant sacred music to date has focused on the major composers and compilers of the period such as William Billings and Andrew Law, and on indexing the repertory. This dissertation approaches the topic from a different historiographical perspective, measuring Babcock against the criteria suggested by musicologist Nym Cooke for a composer more typical of the First New England School. Part I of the dissertation establishes the facts of Babcocks life, analyzes and describes his music, and documents the distribution of his works. His fourth cousin, psalmodist Lemuel Babcock (1748-1835), provides a point of comparison. Samuel Babcock, active during the reform of sacred music at the turn of the nineteenth century, composed music strongly influenced by British Methodist-style psalmody. He selected sacred poetry that inspired him musically, and paid careful attention to text setting. Both Babcocks are remembered as singers, singing masters, choir leaders, and composers. However, Samuel Babcocks music is more modern than his cousins. This study of musical style and other evidence suggests that the few pieces first printed with the ambiguous attribution Babcock are very likely by Lemuel Babcock. Part II is a critical edition of both composers complete works.

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