A history of the evolution of dance music throughout time and the instruments used for each type of dance.

The lecture recital was given July 10, 1973. The Symphonie-Passion by Marcel Dupre was performed following a lecture on various factors that influenced the development of the organ symphony in France. In addition to the lecture recital, three other public recitals were performed, including solo compositions for the organ and three chamber works for organ and instruments. The first solo recital, including works of J. S. Bach, P. Hindemith, L. Sowerby, and L. Vierne, was performed on June 4, 1969. On April 17, 1970 the second solo recital was performed. Compositions by J. S. Bach, D. Buxtehude, M. Duprd, N. Dello Joio, S. Karg--Elert, and J. Langlais were included in the program. On January 25, 1971, a program of organ chamber works by N. Lockwood, D. Pinkham, and F. Martin, as well as solo works by F. Lizst, W. Latham, and Marcel Duprl, was performed. The four programs were recorded on magnetic tape and are filed with the written version of the lecture as a part of the dissertation.

This thesis examines the impact technology has on the music industry. Despite decrease in physical sales and piracy, statistics indicate that consumer requests for music content are strong. Although sales of physical product have decreased, the demand for digital music has dramatically increased. The current market players and technology innovations provide new opportunities to deliver music to the consumer. It is imperative to balance the divergent interests of consumers and artists, while ensuring profits for all parties involved. / by Jazmine A. Valencia. / Thesis (M.S.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, FL : 2008 Mode of access: World Wide Web.

Orientador: Marcos Fernandes Pupo Nogueira / Banca: Gisela Pupo Nogueira / Banca: Orlando M. M. Mancini / Banca: Paulo de Tarso Camargo Cambraia Salles / Banca: Sidney Molina / Resumo: O objetivo deste trabalho é levantar as questões relevantes para a reconstrução das partes perdidas pertencentes ao repertório pré tonal, com destaque ao período entre o final do renascimento e início do barroco, a chamada seconda prattica. Para isso, iniciamos com um levantamento teórico dos elementos musicais da prima e da seconda prattica. Como representante da seconda prattica ou maneirismo, escolhemos o compositor e príncipe italiano Don Carlo Gesualdo de Venosa. Estudando a obra deste compositor, verificamos que as duas práticas conviveram não apenas na mesma época, mas também em obras do mesmo autor. Gesualdo possui em sua obra seis livros de madrigais, um livro inteiro de motetos com partes pedidas, as Sacrae Cantiones a seis e sete vozes e outro também chamado de Sacrae Cantiones a cinco vozes, este completo, além das Responsoria, Psalmi della Compiete e o Miserere e o Benedictus. Seu uso de elementos da seconda prattica aumenta a cada livro de madrigais e é grande também nas Responsoriae. Mas suas Sacrae Cantiones mantém o tratamento musical da prima prattica. A título de ilustração reconstruímos um desses motetos, Da Pacem / Abstract: The objective of the present work is to identify the relevant question on the issue of reconstruction of missing parts in the pre-tonal repertoire. A special emphasis will be given to the period between the end of Renaissance and the beginning of the Baroque, period known as "seconda prattica". A theoretical identification of the musical elements of the prima and seconda prattica will be conducted. As a representative of the "seconda prattica" or maneirism the Italian composer and prince Don Carlo Gesualdo de Venosa was chosen. By analyzing his works, we can conclude that both practices coexisted not only at the same time but also in the works of the same author. Among Gesualdo works, we find six books of Madrigals, the Sacrae Cantiones a five voices (complete), the Sacrae Cantiones a six and seven voices, the Responsoria and Miserere and Benedictus. We observe that his use of "seconda prattica" becomes more pronounced at each subsequent book of madrigals and the practice is also widely used in the Responsoria. However, his Sacrae Cantiones are done using the style of "prima prattica". As an exemle of the methods herein discussed, we rebuild one of his motets, Da Pacem / Doutor

The physical sale of music and the effectiveness of traditional media are expected to continue to decline, challenging marketers to develop new methods to create awareness about music. Although music sales are declining, interest in music is healthy, and strongest amongst the American young adult market - between the ages 18-34. This marketing plan uses traditional and innovative techniques to capture the attention of the target market, which is more culturally diverse and technologically advanced than any previous demographic. / by James Rocco Amedeo. / Thesis (M.S.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

Orientador: Gisela Gomes Pupo Nogueira / Coorientador: Alberto Tsuyoshi Ikeda / Banca: Herom Vargas / Banca: Ricardo Lobo Kubala / Resumo: O presente trabalho disserta sobre hibridismos em música, sobretudo na obra violonística do cubano Leo Brouwer. Foi feita uma discussão de caráter geral sobre os diversos usos de hibridismos presentes em algumas músicas de compositores latinoamericanos. Para tanto foram abordados alguns autores dos chamados estudos culturais, por tratarem especificamente desse tema, ainda que usem outros termos ou palavras. Com isso pretende-se dar aos intérpretes de violão subsídios baseados na diversidade cultural, trazendo a interpretação como um campo de possibilidades. Por fim, a pesquisa apresentou elementos diversificados presentes na música de Brouwer, o que a caracteriza como uma prática híbrida / Abstract: This dissertation is about hybridity in music, focusing on the work of the Cuban guitarist Leo Brouwer. The various ways hybridity is present in some songs of Latin American composers were discussed here. Therefore, some authors from what is called cultural studies were addressed, by specifically refer to this topic, albeit using other terms or words. This is intended to provide subsidies to guitar interpreters based on cultural diversity, bringing interpretation as a field of possibilities. Lastly, the research presented several elements found in Brouwer's music that characterizes it as a hybrid practice / Mestre

Orientador: Paulo Augusto Castagna / Banca: Marcos Fernandes Pupo Nogueira / Banca: José Leonardo do Nascimento / Banca: Viviana Mônica Vermes / Banca: Marcos da Cunha Lopes Virmond / Resumo: Inicialmente, a tese procura demonstrar a presença da belle époque na cidade de Campinas em finais do século XIX. Embora sem todos os seus fundamentos, o fenômeno se apresenta por meio de sua reurbanização, eventos culturais e instituições diversas. Neste sentido, o estudo da trajetória de José Pedro de Sant'Anna Gomes se insere, confirmando o impacto da belle époque sobre uma periodização distinta. Procurou-se reunir o conhecimento mais recente sobre Sant'Anna Gomes, assim como, paralelos possíveis com os modelos disponíveis no período. Por fim, apresenta-se o estudo de duas de suas obras instrínsicamente relacionadas com a sociedade campineira da época e seus novos paradigmas. / Abstract: This thesis seeks to demonstrate the presence of "belle époque" in the city of Campinas at the end of the 19th century. Although lacking all its foundations, the phenomenon presents itself through redevelopment, cultural events, and diverse institutions. In this context, the study of the trajectory of José Pedro de Sant'Anna Gomes is inserted, confirming the impact of belle époque on a specific periodization. We gather the most recent knowledge about Sant'Anna Gomes, as well as possible parallels with the models available in the period. Finally, we present the study of two of his works intrinsically related to the Campinas society of the time and its new paradigms. / Doutor

The goal of this research is to discover Shostakovich's inspiration and motivation for writing the Twenty-Four Preludes and Fugues. Through the in-depth research of the cycle, this thesis will discuss the different aspects of the unique harmonic ambiguity of both the preludes and the fugue subjects so that readers understand Shostakovich's language of musical communication. Shostakovich lived during a transitional period in the history of Russia when totalitarianism was being challenged. The research will also explore how the political environment influenced his composition during those years. / by Jihong Park. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

Lau, Shui Chung Jason. / Thesis submitted in: November 2006. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 122-127). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese Translation) --- p.iii / Acknowledgements --- p.iv / Table of Contents --- p.v / "List of Figures, Tables and Examples" --- p.viii / Romanization and Translation --- p.ix / Chapter Chapter One --- Introduction --- p.1 / Returning to their Homelands ´ؤContemporary Ethnomusicological Research --- p.2 / Background and Issues --- p.5 / Methodology and Approach --- p.8 / Sources and Related Studies on Zheng Music --- p.9 / Study of Zheng Music in Hong Kong --- p.10 / Chapter Chapter Two --- The Development of Zheng in Hong Kong Since the 1940s --- p.14 / Important Years in the Colonial History of Hong Kong --- p.14 / History of Zheng in Hong Kong --- p.15 / Chapter 1. --- 1940s and 1950s --- p.15 / Chapter 2. --- 1960s --- p.18 / Chapter 3. --- 1970s --- p.22 / Chapter 4. --- 1980s --- p.26 / Chapter 5. --- 1990s --- p.30 / Chapter 6. --- 2000s --- p.34 / Practical Examinations for Zheng --- p.36 / Zheng in Hong Kong Today --- p.38 / Chapter Chapter Three --- Hong Kong Zheng School? --- p.41 / "The ""Hong Kong Zheng School""" --- p.41 / The Basic Criteria for Establishing a Regional School --- p.43 / Chapter 1. --- So Chun-bo's Criteria for Establishing a Regional School --- p.44 / Chapter 2. --- He Baoquan's Criteria for Establishing a Regional School --- p.44 / "Does the ""Hong Kong Zheng School"" Stand?" --- p.46 / Fengshouge - the First Composed Zheng Piece in Hong Kong --- p.49 / Huangcheng Laike - the First Zheng Solo Piece Composed by So Chun-bo --- p.55 / Conclusion --- p.58 / Chapter Chapter Four --- Regional Schools - A Post-1949 Invention --- p.59 / A Brief History of Zheng --- p.59 / Chapter 1. --- Zheng Notation in the 20th Century --- p.60 / Chapter 2. --- Different Models of Zheng --- p.61 / Chapter 3. --- Change of Tuning System for Zheng Music --- p.62 / Chapter 4. --- Controversy over the Origin of the Zheng --- p.66 / Chapter 5. --- Problems in Regional Zheng Schools --- p.67 / Zheng Schools in China --- p.69 / Development of Zheng in the PRC after1949 --- p.72 / Manuscripts of Guqin and Pipa --- p.76 / Manuscripts of Zheng --- p.78 / Differences Between Guqin and Zheng --- p.81 / Contents of the Early Published Zheng Scores in the 20th Century --- p.84 / Chapter 1. --- Nizhengpu and Guzheng Duzouqu Written by Liang Tsai-ping --- p.84 / Chapter 2. --- Guzheng Tanzhoufa Written by Cao Zheng --- p.88 / Fundamental Problems in Zhejiang and Shaanxi Schools --- p.91 / Chapter 1. --- The Zhejiang School --- p.91 / Chapter 2. --- The Shaanxi School --- p.95 / Chapter 3. --- Reasons for their Success --- p.97 / Chapter 4. --- The Jiao School --- p.98 / Conclusion --- p.99 / Chapter Chapter Five --- Conclusion --- p.100 / Introduction --- p.100 / Construction of a Regional School - A Mainland Chinese Conception --- p.101 / "The ""Invented Tradition""" --- p.102 / Epilogue --- p.104 / Chapter Appendix I --- Total Number of Participants in Chinese Instrument Classes in the HKSMF --- p.106 / Chapter Appendix II --- Total Number of Participants in Zheng Solo Classes in the HKSMF --- p.107 / Chapter Appendix III --- List of Set Pieces for Zheng Solo Classes in the HKSMF --- p.109 / Chapter Appendix IV --- List of Own Choice Pieces for Open or Advanced Zheng Solo Classes --- p.111 / Chapter Appendix V --- Syllabus of the Practical Examinations for Zheng Organized by So Chun-bo --- p.113 / Character List and Glossary --- p.115 / Bibliography --- p.122 / Websites --- p.128

在香港，若逝世者生前沒有宗教信仰或指定的喪葬儀式，家人通常都會為他舉行道教葬禮。黎志添教授認為道教葬儀在香港已經習俗化。事實上，在一般情況下，進行道教葬儀根本不能反映死者生前信奉的宗教信仰。為何道教葬儀在香港會成為大部份香港人的習俗？我認為，道教葬儀音樂已成為香港人不言而喻的一種身份。 / 港人一般不會關心葬儀，就算舉辦也不會深究儀式內容。但他們卻認為儀式中的音樂代表了他們的身份。在實地考察中，我發現道教葬儀音樂包含了不少廣東音樂的元素，曲牌《一錠金》就是其中的例子；事實上，採用道教儀式是香港人認同本土中國人身份的表現。 / 在實地考察中，我發現研究道教殯儀音樂可有多個視角，其音樂及宗教元素更蘊含多層意義。本文以樂師的活動為切入點，以政治身份角力的角度，研究香港道教殯儀音樂。 / In Hong Kong, a Taoist funeral is usually held for a deceased person by his or her family if the deceased did not have any religious belief or preference. In most cases, a Taoist funeral is a mere convention rather than a reflection of choice or religious affiliation of the deceased. To explore the reason of this ritual popularized in this particular region, I would like to suggest that the music played in a Taoist funeral is part of Hong Kong people’s identities. / Most Hong Kong people, in fact, would avoid the idea of death, not to mention death rituals. When they do, they usually have little knowledge of the Taoist ritual. Most, however, consider the music to be an essential part of the ritual, which reflects to a great extent, their identity. They do, however, consider that the music played represent their identity. / During the fieldwork for this thesis, I identified a number of traditional Cantonese music pieces in the ritual. For example, the Cantonese tune “Yi-ding jin“一錠金has been playing a significant role. Ordinary Chinese people, as a matter of fact, accept that the music in Taoist funeral rituals represent their identity. / I have come to understand that there are many layers in a Taoist funeral. The musicians, the ritual, and the Taoist philosophy are part and parcel of the funeral other than the music. Through extensive fieldwork and interviews, I attempt to draw a clear picture of Taoist funeral music activities in the Hong Kong community and explore the entwined relationship between politics and identity dynamics within Hong Kong Taoist funeral music. For a long time, perhaps even today, the identity of the Hong Kong people has remained a controversial issue, given that Hong Kong was a British colony before the return of its sovereignty to China. My research, however, shows that the Hong Kong people are keen to adopt a death ritual that demonstrates their Chinese identity. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chan, Chi Chun. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 101-108). / Abstracts also in Chinese. / Acknowledgements --- p.v / Table of Contents --- p.ix / List of Figures --- p.x / Romanization and Translation --- p.xi / A Note on Photography --- p.xii / Chapter Chapter 1 --- : Introduction / Introduction and Background --- p.1 / Literature Review --- p.5 / Methodology and Approaches --- p.8 / Organization of the thesis --- p.13 / Chapter Chapter 2 --- : Funeral Music in Hong Kong / An Introduction to Funeral Parlours in Hong Kong --- p.15 / The Quanzhen School and the Zhengyi School in Hong Kong Funeral Parlours --- p.26 / Funeral Music in Hong Kong Society --- p.30 / Chapter Chapter 3 --- : Musical Practice of the Zhengyi School / Introduction --- p.38 / Musical Instruments in the Zhengyi school --- p.38 / Transmission --- p.49 / Changes? The Debate Between the Local Jiaoshi and the Non-local Jiaosh --- p.51 / Chapter Chapter 4 --- : Identity beyond the “Dead“ and the Hybridity of the Ritual / Introduction --- p.67 / Influence of Commercialization --- p.67 / Hybridity of Different Elements in Funeral Rituals --- p.75 / Chinese Identity of the Relatives and the Diseased --- p.78 / Chapter Chapter 5 --- : Conclusions --- p.83 / Appendices --- p.92 / Appendices A --- p.92 / Appendices B --- p.98 / Appendices C --- p.99 / Appendices D --- p.100 / References --- p.101