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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.

Development of the African American Gospel Piano Style (1926-1960): A Socio-Musical Analysis of Arizona Dranes and Thomas A. Dorsey

Johnson, Idella Lulamae 01 October 2009 (has links)
DEVELOPMENT OF THE AFRICAN AMERICAN GOSPEL PIANO STYLE (1926-1960): A SOCIO-MUSICAL ANALYSIS OF ARIZONA DRANES AND THOMAS A. DORSEY Idella Lulamae Johnson, PhD University of Pittsburgh, 2009 African-American gospel music has long been recognized as a vocal music, and its piano accompaniment has also been an indispensable and important component in shaping and defining the genre. This dissertation traces and examines the historical and stylistic development of the gospel piano style from 1926 to 1960. Arizona Dranes and Thomas A. Dorsey are highlighted as two of the earliest and formidable practitioners who aided in codifying and promulgating the gospel piano style. The four primary areas of investigation include: 1) explicating the musical development of the piano style from 1926 to 1960 through the pianistic styles of twenty-three gospel pianists; 2) providing biographical information on over twenty-five gospel pianists; 3) examining the sacred versus secular dichotomy through musical similarities and differences that exist between the gospel piano style and other popular, African-American piano styles; and 4) presenting an ethnographic exploration of the musical and sociohistorical roles of gospel pianists. Each area of inquiry is informed by methods in Ethnomusicology and Musicology, and augmented by methodologies in African-American Studies, Anthropology, and Sociology. Wilsons work on conceptual approaches to African and African-American music-making (1974, 1984, 1992), and Gates work on Signifying (1988) provide the major theoretical framework for the musical analysis. Fifty-five recordings of various gospel pianists, representing nine sub-styles, are transcribed and analyzed in order to define and delineate established practices, techniques, idiomatic harmonic movement, and shared motives, riffs, and fill-ins -- all which are important in establishing a stylistic and performance canon for the gospel piano style. Eleven motivic techniques that are endemic and idiomatic to the foundation and development of the gospel piano style are identified. The gospel piano style is grouped into three historical periods. Dranes and Dorsey define the first period with twenty-six musical characteristics, thirteen musical characteristics define the second period, and ten musical characteristics define the third.

Erhu as Violin: Development of China's Representative Musical Instrument, c. 1990-2008

Zhang, Shuo 26 January 2010 (has links)
Erhu is known internationally as a symbol of Chinese music. While the instrument has a history of nearly a millennium, its solo repertory in concert performance developed only in the past 100 years or so, drawing upon traditional Chinese material. The enormous influence of Western culture arrived with the open door policy of China in the late 1970s gave rise to new trends of Westernization in the Chinese instrumental music. Erhu, due to its similarity to the violin, underwent great transformation, particularly in its playing technique and repertory on the concert stage. During the decade of 1980s, erhu musicians began to perform arranged violin repertoire. Pieces like Zigeunerweisen and Carmen Fantasy became standard erhu concert repertoires, and also as a symbol for the virtuoso of erhu playing. Other influences include an imitation of the violin to perform standing up, allowing greater bodily movement and stage presence. The violin repertoire has become the major requirements for the students of the top national musical institutions training professional erhu musicians. Meanwhile, the composition of new works for erhu and Western symphony orchestra or erhu and piano is becoming a common practice. This paper explores the new trends in Chinese instrumental music in relation to China's post-1990 modernity. What do the unprecedented changes in erhu music landscape indicate in this period? How do we view this phenomenon in the greater context of China in the 1990s and in the new millennium? Through musical and contextual analysis, my findings illustrate how changes in the music sphere are tied to the greater cultural changes and social processes as China developed into a fast growing economic power in the global context today.

Steel Drums in the Steel City: Performance Practices Among Steel Drum Musicians in Pittsburgh

Bona, Lisa M. 25 January 2010 (has links)
The steel drum bears an indexical relationship to notions of 'Caribbean identity' that correspond with fun, sun, and relaxation. These associations grow out of media representations in film, music, and the American tourist industries. Musicians in Pittsburgh and elsewhere around the world, however, use the steel drum in their own ways, expanding the types of music the steel drum is heard playing. While some still choose to use the steel drum, or steel pan as it is also known, in what is perceived as authentic Caribbean steelband music, others have found ways of incorporating it into a variety of musical genres such as jazz fusion. Music venues, audience perceptions, and performance opportunities determine the ways the steel drum is played and expressed in old and new forms. As the home of steel pan makers and many steel pan musicians, Pittsburgh plays a significant role in these exchanges. Ethnographic material from the Steel City reveals that expectations of authenticity influence the reception of steel pan music. World music education curriculums and multicultural programming in the region shape the instrument's identity as well. This thesis analyzes the complex ways the steel drum is imbued with notions of "Caribbeanness" and how musicians perform on this instrument within and beyond these cultural parameters.

YouTube and Music: Competing Expressions of Turkish Nationalist Sentiment in the Virtual Sphere

Withers, Jonathan S. 14 May 2010 (has links)
The video sharing website YouTube represents a vibrant space for sociomusical interaction. The use of the space in Turkey is characterized by a particularly high level of politicization, as seen through the ban of the site in that country (current as of the time of writing). As a musical medium, YouTube provides a space where users can post and view videos that combine music with imagery and commentary. Being one of the most popular international video sharing websites, YouTube might seem to be an apolitical, borderless arena for a completely new kind of interaction. However, videos of Turkish folk songs, which have been used by the state in nationalist discourse, often serves as a forum for expressing nationalist feelings. By focusing on videos of one particular folk song, Kalenin Bedenleri (The Walls of the Castle), this study analyzes contested representations of Turkish identity. The importance of the medium of video sharing can be seen in the growth of other outlets as a response to the ban on YouTube, such as Facebook, İzlesene, and Dailymotion. This study analyzes the ways in which the differing forms of these alternate outlets reveal new barriers that arise out of the nature of the Internet and accessibility. By examining both the media and a particular song, this thesis shows the multiple ways that music, YouTube and Internet video sharing are used as a forum for discussing Turkish nationalist sentiment by users around the world.


Knauth, Dorcinda Celiena 30 September 2010 (has links)
A growing body of scholarship examines the diverse and new ways that popular music is used as a vehicle for Islamic discourse in contemporary Indonesian society. This dissertation compares three modern leaders who place their music within their own ideological context through non-musical discourse. K.H. Abdullah Gymnastiar (Aa Gym) is a preacher in Bandung whose music attempts to bring together Arabic traditions and optimistic practical advice; his piece "Jagalah Hati" shares in the theology of the Islamic philosopher Abu Hamid al-Ghazali and represents the "Managemen Qolbu" philosophies of his pesantren Darut Tauhid, a center for the nasyid musical style. Ahmad Dhani is a rock musician of the Jakarta band Dewa 19, who refashioned himself as a spiritual leader in order to oppose radical Islam through Islamic rock music; his songs "Satu" and "Laskar Cinta" clearly reference the philosophies of the Indonesian Sufi saint Syekh Siti Jenar. Emha Ainun Nadjib (Cak Nun) is a writer in Yogyakarta who uses a modern revamping of traditional Javanese music in eclectic and philosophical community gatherings with his gamelan ensemble Kiai Kanjeng; their pieces "Gundul Pacul" and "Ilir-Ilir," examples of Islamic fusion, are analyzed with reference to Cak Nun's prose writings "Menyorong Rembulan dan Matahari Berkabut" and "Gundul Pacul, 'Fooling Around,' Cengengesan." This dissertation also describes the work of other Islamic musicians in Indonesia, including Snada, Bimbo, Edcoustic, Ungu, Letto, Gigi, MQ Voice, and The New MQ Voice. The three spiritual leaders use their music to fuel an Islamic revival in Indonesia that can be called Sufi. Their definitions of Sufism vary, but all are attempting to spur a discussion of Islam that is meaningful for Indonesians. By performing Islamic music, musicians teach their listeners about their own understandings of the religion and in effect are "performing Islam." This dissertation explores the musicians' theosophic associations, their ideas of how their music can be conceived of as universal, and their roles as civic leaders.


Ridwan, Indra 27 January 2011 (has links)
This thesis explores the musical characteristics of Sundanese childrens songs (kakawihan barudak Sunda) and interprets the meanings embedded in these songs. Kakawihan barudak Sunda are sung throughout the province of West Java. Kakawihan barudak Sunda refer to: (1) a repertoire of songs, and (2) the social context of singing these songs. The lyrics of kakawihan barudak Sunda contain deep meanings and reflect particular Sundanese historical, social, and cultural/religious values. Kakawihan barudak Sunda are disseminated orally from one generation to the next. Sundanese people believe that these songs have existed for hundreds of years. In the 1950s, the context of performance of kakawihan barudak Sunda shifted from village contexts to entertainment, music competitions, and festivals. This thesis presents a musical and lyrical/textual analysis of five songs and contributes to English-language scholarship about Sundanese music and culture. This thesis also provides written materials for teaching Sundanese language and cultural values, particularly for elementary school students in West Java, Indonesia.


Lin, Da 27 January 2011 (has links)
The qin, historically recognized as an instrument of Chinese literati, has been presented in various forms of mass media for over fifty years. After the establishment of the People’s Republic in 1949, the government promoted public performances in a propaganda/persuasion media system; consequently, mass media started to play significant roles in reshaping aesthetic standards, performance practices, musical features, and meanings of the qin tradition. The mass media in China, however, went through a commercialization reform after the late 1970s and has shaped the current propaganda/persuasion model. This new media structure has hastened the emergence of new musical features and meanings of the qin in the commercial logic as opposed to the Party logic. Such interactions with technology have arguably constituted contemporary performance practices that have departed from traditional aesthetic standards held by literati practitioners who played the qin for self-satisfaction. This paper analyzes qin music as it has been produced and disseminated in different forms of mass media after 1950s, reveals the dynamic multiplicity of meanings of qin music, and unfolds a transformation through which qin music lost its aura that was handed down from antiquity, but is gradually conditioned in its new environment characterized by the tension between the political force and market forces. The paper focuses on one of the most active qin musicians, Li Xiangting, and his activities in the past decade, to show how a prominent qin player, by exploiting mass media technology, mediates his music and ideological theories to promote new perceptions of musical features, aesthetical forms, and social values of the qin. It is through collaboration with the development of mass media in China that many contemporary qin musicians carry on their practices via social conflicts, accommodations, and changing conditions of Chinese economy, society, and culture.

"Tuning-in" to Kundalini Yoga: Physio-sonic Experiences in a Pittsburgh Yoga Studio

Decker, Alison 27 January 2011 (has links)
Kundalini Yoga classes in the United States have offered a holistic yoga practice with particular emphasis on chant (mantra) since the late 1960s. The use of the voice assumes a central position in Kundalini Yoga as various forms of mantra, sound intentionally uttered to alter ones state of consciousness, are incorporated in every class. The ways in which mantra is used in Kundalini Yoga presents epistemological questions concerning the ways sound shapes participants experiences of the yoga class itself, of their own bodies, and more broadly of their own mind-body states of being. Is it possible to discover what it means for Kundalini Yoga participants to add to a soundscape with their own voices? How important is each element of a Kundalini Yoga soundscape to the participants (i.e. breathing, mantra, background music), and how might they think and talk about Kundalini soundscapes? An ethnographic case study within a weekly Kundalini Yoga class in Pittsburgh demonstrates the way its soundscapes can shape participants sensory experiences by simultaneously restricting their fields of vision and redefining what it means to listen. Building on theoretical approaches drawn from phenomenology, this study explores kinesthetic experience by suggesting that the ways in which the sense of ones physical state is intertwined with hearing in Kundalini Yoga (physio-sonic experience) enables practitioners to access a deeper level of emotional and physical consciousness which is activated and mediated by sound. Through a repositioning of the body as the center of ethnomusicological fieldwork, this thesis analyzes physio-sonic experiences of Kundalini Yoga activities, illuminating ways to listen and engage with sound that join awareness of mind and body. Such experiences have lead regular participants to conceive of Kundalini Yoga practice not only as a way to balance and refine their whole body-mind, but even in some cases to conceive of the practice as a model for how to approach life outside of the yoga studio.

Afrobeat,Fela and Beyond: Scenes, Style and Ideology

Dosunmu, Oyebade Ajibola 30 January 2011 (has links)
Afrobeat first emerged in the late 1960s amid the rapidly changing postcolonial terrain of Lagos, Nigeria. Created by Fela Anikulapo-Kuti (1938-1997), the genre blends scathing anti-establishment lyrics with Yoruba traditional music and Western forms, particularly jazz. Felas ideological dictum: Music is the Weapon of the Future, encapsulates his view of music as an oppositional tool, his enactment of which led to frequent violent confrontations with the Nigerian state. Throughout his lifetime, Fela held hegemonic sway over afrobeats stylistic and ideological trajectories. However, following his death, the genre has witnessed a global upsurge with protégés emerging in New York City, San Francisco, Paris, London and other cultural capitals of the world. In my dissertation, I chronicle afrobeats transnational networks and discuss processes of stylistic and ideological affiliation through which such networks have emerged. Using the conceptual tool of genre as social process, I combine archival and ethnographic data collected during several months of fieldwork in the United States and Nigeria, in order to argue the conditionality of genre definitions and boundaries.

Pitch and Harmony in György Ligetis Hamburg Concerto and Syzygy for String Quartet

Corey, Charles Robert 06 June 2011 (has links)
The analysis component of this dissertation focuses on intricate and complex pitch relationships in György Ligetis last work, the Hamburg Concerto. This piece uses two distinct tuning systemstwelve tone equal temperament and just intonationthroughout its seven movements. Often, these two systems are used simultaneously, creating complex harmonic relationships. This combination allows Ligeti to exploit the unique features of each system and explore their relationships to each other. Ligetis just intonation in the Hamburg Concerto comes mainly from the five French horns, who are instructed to keep their hands out of the bell to allow the instrument to sound its exact harmonics. The horns themselves, however, are tuned to varying different fundamentals, creating a constantly changing series of just-intoned pitches anchored above an equal-tempered bass. This method of generating just-intoned intervals adds a second layer to the relationship between equal temperament and just intonation. This paper focuses on creating ways to understand this relationship, and describing the ramifications of these tunings as they unfold throughout the piece. Ligeti very carefully crafts this work in a way that creates a balance between the systems. Research done at the Paul Sacher Stiftung has uncovered a significant collection of errors in the published score. Clearing up these discrepancies allows for a much more accurate and more informed analysis. Throughout this dissertation, mistakes are corrected, and several aspects of the score are clarified. The tuning systems are described, and a likely tuning scheme for the horns is posited. (The analytical component of the dissertation delves into the many varying intervals which all fit into one interval classa feature that is best explored when two distinct tuning systems are juxtaposed.) A language is created herein to better understand these pitch relationships that fit neither into equal temperament nor just intonation. The analysis clearly shows that very simple musical intervals turn out to be cornerstones of this piece, traceable throughout the entire Hamburg Concerto. The composition, Syzygy for string quartet, is written in just intonation. Through four movements, the relationships evoked by the titles (always groups of homonyms) are examined and illuminated.

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