This dissertation investigates how German-language critics articulated and publicly negotiated ideas about music and expressionism in the first five years after World War I. A close reading of largely unexplored primary sources reveals that "musical expressionism" was originally conceived as an intrinsically musical matter rather than as a stylistic analog to expressionism in other art forms, and thus as especially relevant to purely instrumental rather than vocal and stage genres. By focusing on critical reception of an unlikely group of instrumental chamber works, I elucidate how the acts of performing, listening to, and evaluating "expressionist" music were enmeshed in the complexities of a politicized public concert life in the immediate postwar period. The opening chapters establish broad music-aesthetic and sociopolitical contexts for critics' postwar discussions of "musical expressionism." After the first, introductory chapter, Chapter 2 traces how art and literary critics came to position music as the most expressionist of the arts based on nineteenth-century ideas about the apparently unique ontology of music. Chapter 3 considers how this conception of expressionism led progressive-minded music critics to interpret expressionist music as the next step in the historical development of absolute music. These critics strategically—and controversially—portrayed Schoenberg's "atonal" polyphony as a legitimate revival of "linear" polyphony in fugues by Bach and late Beethoven. Chapter 4 then situates critical debates about the musical and cultural value of expressionism within broader struggles to construct narratives that would explain Germany's traumatic defeat in the Great War and abrupt restructuring as a fragile democratic republic. Against this backdrop, the later chapters explore critics' responses to public performances of specific "expressionist" chamber works. Chapter 5 traces reactions to a provocative performance of Schoenberg's Chamber Symphony, op. 9 (1906) at the Berlin Volksbühne in February 1920. Chapter 6 examines the interplay of musical-aesthetic and sociopolitical issues in critical reception of several postwar concerts that juxtaposed Schoenberg's "expressionist" Chamber Symphony with Franz Schreker's "impressionist" Chamber Symphony (1916). Chapter 7 considers how critics situated performances of Alexander Zemlinsky's Second String Quartet, op. 15 (1916) in relation to ideas about "expressionism" in music. Finally, Chapter 8 considers critical reception of performances of Béla Bartók's Second String Quartet, op. 17 (1917) in the context of two concert series sponsored by "expressionist" journals: the Anbruch-Abende in Vienna (1918) and the Melos-Abende in Berlin (1922 and 1923). Each of these final chapters uses contemporary criticism as a vehicle for a close reading of the relevant musical work, resulting in a portrait of "expressionist" music that is both contextually and musically nuanced.

by Wong Yan Chau, Christina. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 175-186). / Chapter I. --- Introduction --- p.2 / Chapter II. --- Historical Background --- p.5 / Chapter III. --- A Review of the Related Literature --- p.14 / Chapter A. --- The Culture Industry Approach --- p.15 / Chapter B. --- The Liberal-Pluralist Approach --- p.26 / Chapter C. --- The Technological Approach --- p.31 / Chapter IV. --- The Theoretical Perspective --- p.36 / Chapter V. --- Methodological Approach to Study --- p.42 / Chapter A. --- Content Analysis of Lyrical Messages --- p.42 / Chapter 1. --- Method --- p.42 / Chapter 2. --- Data --- p.43 / Chapter 3. --- Analytic Framework of the Textual Analysis --- p.45 / Chapter B. --- Analysis of Rock Music within Hegemony --- p.48 / Chapter 1. --- Method --- p.48 / Chapter 2. --- Data --- p.50 / Chapter VI. --- Meanings in Rock Music --- p.52 / Chapter A. --- Themes in each fictional mode --- p.52 / Chapter B. --- Thematic content of Rock Music --- p.54 / Chapter 1. --- The Ironic Mode --- p.54 / Chapter 2. --- The Mimetic Mode --- p.64 / Chapter a. --- Phenomena of Identity Crisis --- p.64 / Chapter i. --- Loss of direction --- p.65 / Chapter ii. --- Roots-seeking --- p.68 / Chapter iii. --- Alternating identity --- p.69 / Chapter iv. --- Alienation --- p.71 / Breakaway --- p.71 / A Stranger in the City --- p.74 / Chapter b. --- Outlook on Life --- p.76 / Chapter c. --- Social Problems --- p.79 / Chapter i. --- War --- p.79 / Chapter ii. --- Incivility --- p.81 / Chapter d. --- The Experience of Growing Up --- p.82 / Chapter i. --- Anti-patriarchism --- p.82 / Chapter ii. --- Wandering --- p.83 / Chapter iii. --- The Loss of Childhood --- p.84 / Chapter e. --- Love --- p.85 / Chapter i. --- Yearning for love --- p.85 / Chapter ii. --- Frustrations with love --- p.86 / Chapter iii. --- Wild love --- p.88 / Chapter iv. --- Inauthentic love --- p.90 / Chapter 3. --- The Leadership Mode --- p.93 / Chapter a. --- The Exploratory Spirit --- p.93 / Chapter b. --- Individuality and Non-Conformity --- p.96 / Chapter c. --- The Authentic Self --- p.98 / Chapter 4. --- The Romantic Mode --- p.102 / Chapter a. --- Nostalgia for a Glorious Past --- p.102 / Chapter b. --- Anarchy in the Demonic World --- p.105 / Chapter c. --- Union with nature --- p.107 / Chapter d. --- The Pastoral Utopia --- p.111 / Chapter e. --- Fictional Characters and Objects Speaking --- p.112 / Chapter 5. --- The Mythic Mode --- p.117 / Chapter C. --- The World View of Rock Music --- p.120 / Chapter VII. --- The Relations of Rock Music to Hegemony --- p.125 / Chapter A. --- Messages of Rock and the Hegemony --- p.125 / Chapter B. --- Music as a Contested Terrain --- p.130 / Chapter 1. --- The Hegemonic Power: Cooptation and Marginalization --- p.130 / Chapter 2. --- The Deviant Culture: Struggle by Means of adaptation and negotiation --- p.140 / Chapter VIII. --- Conclusion --- p.155 / Chapter IX. --- Limitations of the Study --- p.158 / Chapter X. --- Future Studies on Rock Music --- p.161 / Notes --- p.165 / Bibliography --- p.175 / Discography --- p.185 / Appendix 1. The Sample of Rock Songs --- p.187

This thesis explores the complexities of race relations in the nineteenth century American West. The groups considered here are African Americans, Anglo Americans, Chinese, Mexican Americans, and Native Americans. In recent decades historians of the West have begun to tell the narratives of racial minorities. This study adopts the aims of these scholars through a new lens--music. Ultimately, this thesis argues that historians can use music, both individual songs and broader conceptions about music, to understand the complex and contradictory race relations of the nineteenth century west. Proceeding thematically, the first chapter explores the ways Anglo Americans used music to exert their dominance and defend their superiority over minorities. The second chapter examines the ways racial minorities used music to counter Anglo American dominance and exercise their own agency. The final chapter considers the ways in which music fostered peaceful and cooperative relationships between races. Following each chapter is a short interlude which discusses the musical innovations that occurred when the groups encountered the musical heritage of one another. This study demonstrates that music is an underutilized resource for historical analysis. It helps make comprehensible the complicated relations between races. By demonstrating the relevance of music to the history of race relations, this thesis also suggests that music as a historical subject is ripe for further analysis.

Abstract not available / Thesis (M.A.-Music)-University of Natal, 2000

The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.

The study explores the theme of protest as encoded in selected Kalanga music. In particular, the study focuses on the analysis of songs sung by Kalanga musicians such as Chase Skuza, Ndux Junior and Batshele Brothers, Ndolwane Super Sounds and Tornado Heroes within the period 2000-2013.The selected period is generally considered to be a crisis period in Zimbabwe. Further, the study also relies on views from key respondents obtained through semi structured interviews and questionnaires. The research adopts the Critical Discourse Analysis (CDA) framework and the hegemony theory to help identify the discourses as encoded in the theme of protest in Kalanga music. The two frameworks are engaged because they challenge critical thinkers to move away from seeing language as immaterial to acknowledging and believing that words are meaningful in specific political, social and historical contexts. The study establishes that Kalanga music is protest art that speaks on behalf of the people by pointing out the injustices and malpractices that take place in society. The selected music demonstrates the battles that are ongoing that the musicians are protesting against. The study notes that protest music raises the consciousness of the citizens on the wayward behaviour of individuals and institutions. The protest themes identified include; corruption, poor governance and poor leadership, unfulfilled promises, lack of unity, repressive and oppressive laws, a skewed representation of the nation’s history, deployment of Shona teachers in Matabeleland, decrying moral decadence, protest against jealousy and envy and protest against xenophobia. Findings of the study also demonstrate that music goes beyond simply reflecting and describing situations but it also becomes an avenue through which discursive spaces are opened. The study also shows that Kalanga music provides alternative platforms for the articulation of matters generally considered taboo within Zimbabwean spaces, Kalanga music has a potential to contribute to national cohesion and national growth using its constructive criticism of the political, social and economic state of Zimbabwe. The study has clearly enunciated that protest music assists in the interrogation of a society’s moral compass and in turn question some convictions. Kalanga songs are not merely frivolous components of various sects of Zimbabwean culture, or passing sources of insignificant entertainment. Instead, they and their singers are critical contributors to the shaping of those eras, playing irreplaceable roles as they spur collective mindsets of protest across many social aggregates through their appeal to the desires, the morals, the lamentations, the angers and the passions of the Kalanga people. / Linguistics and Modern Languages / Ph. D. (Languages, Linguistics and Literature)

The Concerto for Bassoon by Andrzej Panufnik is a valuable addition to bassoon literature. It provides a rare opportunity for the bassoon soloist to perform a piece which is strongly programmatic. The purpose of this document is to examine the historical and theoretical context of the Concerto for Bassoon with special emphasis drawn to Panufnik's understanding of religion in connection with Polish national identity and the national struggle for democratic independence galvanized by the murder of Father Jerzy Popieluszko in 1984. Panufnik's relationship with the Polish communist regime, both prior to and after his 1954 defection to England, is explored at length. Each of these aspects informed Panufnik's compositional approach and the expressive qualities inherent in the Concerto for Bassoon. The Concerto for Bassoon was commissioned by the Polanki Society of Milwaukee, Wisconsin and was premiered by the Milwaukee Chamber Players, with Robert Thompson as the soloist. While Panufnik intended the piece to serve as a protest against the repression of the Soviet government in Poland, the U. S. context of the commission and premiere is also examined. Additionally, the original manuscript and subsequent piano reduction are compared. Although the Concerto for Bassoon has been subject to formal analysis by several scholars, discussion of the piece is generally contained within a larger discussion of several other compositions, and a comprehensive analysis of the piece has not yet been presented. This document contains a thorough formal analysis of all movements, as well as analysis of Panufnik's compositional style within the context of serialism, postmodernism, and the new Polish school of composition. The Concerto fro Bassoon features several devices common to Panufnik's larger opus, including the se of a common three-note cell, strong contrasts between section and movements, and symmetrical patterns of transposition, metric alteration, dynamic alteration, and registral expansion.

In 1895, Emil Georg Conrad Sauer (1862-1942), a world-renowned German pianist and former student of Franz Liszt wrote his first piano concerto, which was published five years later in 1900. Sauer performed it extensively to enthusiastic crowds in Europe and the United States while on tour during the next several years. Then it vanished from the concert repertoire. It is no longer performed and has only been commercially recorded once. The purpose of this dissertation is to establish why it might have disappeared, and why there is value in bringing it back to the standard piano repertoire.

Text in Afrikaans / Die doel van hierdie studie is om op die liedtekste van die kunstenaars, Bok van Blerk, Fokofpolisiekar, The Buckfever Underground (en Toast Coetzer) en Karen Zoid te fokus en om te bepaal wat hulle funksie in die eietydse Afrikaanse kultuurlandskap is, en wat hulle rol in die definiëring van kulturele identiteit is. In hierdie studie sal daar ook klem gelê word op die sosiopolitieke faktore wat tot die opbloei van die Afrikaanse musiekbedryf gelei het. Deur die analise van dié kunstenaars se lirieke, sal ek vasstel of hulle wel betekenisvolle werk van literêre gehalte lewer. Ek het spesifiek hierdie musikante gekies omdat hulle jong eietydse musikante is. / The purpose of this study is to focus on the song texts of artists, Karen Zoid, Fokofpolisiekar, The Buckfever Underground (and Toast Coetzer) and Bok van Blerk and to determine their function in today’s cultural reality, and whether these musicians and their music have an influence on today’s youth and their search for a Cultural Identity. This study will also focus on the socio-political factors that led to the rise of the Afrikaans Music Industry. By analyzing these artists’ lyrics, I want to determine whether they are significant works of literary quality. These musicians were chosen because they are regarded as young contemporary musicians. / Afrikaans & Theory of Literature / M.A. (Afrikaans)

Text in Afrikaans / Die doel van hierdie studie is om op die liedtekste van die kunstenaars, Bok van Blerk, Fokofpolisiekar, The Buckfever Underground (en Toast Coetzer) en Karen Zoid te fokus en om te bepaal wat hulle funksie in die eietydse Afrikaanse kultuurlandskap is, en wat hulle rol in die definiëring van kulturele identiteit is. In hierdie studie sal daar ook klem gelê word op die sosiopolitieke faktore wat tot die opbloei van die Afrikaanse musiekbedryf gelei het. Deur die analise van dié kunstenaars se lirieke, sal ek vasstel of hulle wel betekenisvolle werk van literêre gehalte lewer. Ek het spesifiek hierdie musikante gekies omdat hulle jong eietydse musikante is. / The purpose of this study is to focus on the song texts of artists, Karen Zoid, Fokofpolisiekar, The Buckfever Underground (and Toast Coetzer) and Bok van Blerk and to determine their function in today’s cultural reality, and whether these musicians and their music have an influence on today’s youth and their search for a Cultural Identity. This study will also focus on the socio-political factors that led to the rise of the Afrikaans Music Industry. By analyzing these artists’ lyrics, I want to determine whether they are significant works of literary quality. These musicians were chosen because they are regarded as young contemporary musicians. / Afrikaans and Theory of Literature / M.A. (Afrikaans)