This paper analyzes composer Aaron Cassidy’s 2014-2016 ensemble work The wreck of former boundaries, focusing on Cassidy’s compositional approach to sonically simulating interactive modes and sonic ideals featured prominently in mid-20th century recordings of free jazz artists such as Albert Ayler (Bells [1965]) and John Coltrane (Ascension [1965]). Because these musical conventions can be heard as socio-political simulacra in and of themselves, I argue that Wreck’s sonic simulations dissimulate the anti-hegemonic implications of the sound of free jazz, depicting spontaneous, hetero-original confrontations with socio-political constraint as symbolic and insubstantial. In my conclusion I argue that while an apparitional circulation of free jazz simulacra seems to de-politicize free jazz musical conventions, Wreck can be understood more precisely as critically analyzing the history of revolution. Heard through the interpretive lens of a broader history of hegemonic improvisations that absorb and displace open expressions of political defiance, Wreck appears to pessimistically reimagine free jazz as a novel form of symbolic, musical constraint.

No description available.

No description available.

Cette thèse retrace l'histoire de l'édition musicale, depuis la création artistique jusqu'à sa consommation, en passant par toutes les étapes de sa confection et de sa distribution. Une époque :la première moitié du XIXe siècle. Un lieu :Bruxelles. Des acteurs, les éditeurs eux-mêmes, mais aussi l’ensemble de leurs collaborateurs, à commencer par les compositeurs, mais aussi les graveurs et lithographes, les imprimeurs, les commissionnaires et autres marchands de musique qui ont participé à ce commerce spécifique. Un support physique enfin :la partition imprimée devenue un nouveau produit commercialisable et consommable. <p>Seuls les éditeurs de musique les plus importants de cette période ont été envisagés ici. Ils sont au nombre sept dont un domine largement les six autres. Il s’agit de la maison Schott frères. Tous ces éditeurs ont été traités avec le même soin et de la même manière, autour de trois axes de recherche :la production, la diffusion et la consommation de la musique. <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

German musicology has customarily situated a paradigm shift in musical aesthetics some time during the first half of the sixteenth century. This dissertation examines the suggestion that German Reformation theology inspired a modern musical aesthetic. In Part One, the existing narrative of relationship between theological and musical thought is tested and rejected. Chapter 1 analyses twentieth-century music historians' positive expectation of commensurability between Luther's theological ideas and the sixteenth-century concepts of the musical work and musical rhetoric, concluding that their positive expectation was dependent on a Germanocentric modernity narrative. Chapter 2 assesses Listenius' Musica (1537), the textbook in which the concepts of the musical work and musica poetica were expounded for the first time. I argue that, since Listenius' textbook was intended as a pedagogical tool, it is inappropriate to read his exposition of musica poetica and opus as if logical sentences on musical aesthetics. Part Two investigates the treatment of musica in the theology of early German Reformation disputants. Chapter 3 finds that Luther's early musical thought was borrowed from the late mediæval mystics, and resisted the influence of the Renaissance Platonists. Chapter 4 shows that, far from embracing humanist ideas of musical rhetoric, Luther's Reformed musical aesthetic became increasingly anti-rational and sceptical of music's relation to verbal meaning. Chapter 5 examines the discussions of music by the German Romanist polemicists. It finds that their music-aesthetic assertions were opportunistic attempts to situate the Lutherans outside the bounds of orthodoxy. The dissertation concludes that the discussions of music in early German Reformation texts ran counter to the general sixteenth-century trajectory towards a humanistic or modern aesthetic of music. It further argues that the aesthetic proposals of sixteenth-century German theologians should be taken seriously in the formation of our present-day picture of sixteenth-century musical thought.

Santa Eulalia M. Md. 7, dated January 20, 1600, is part of the San Miguel Acatán Repertory, which originated in the northwestern highlands of Guatemala and is presently owned by the Lilly Library of Indiana University. The manuscript contains thirty-four four-part songs and dances, two thirds of which are villancicos for Christmas, Easter, the Eucharist, and the feasts of All Saints and St. Michael. The remaining third consists of Latin biblical texts in either fabordón or contrapuntal settings, three pieces with Náhuatl texts, and an instrumental pavana. The thesis contains a modern edition of Santa Eulalia M. Md. 7 with critical notes and commentary, a comparison of the pieces with villancicos and fabordones of European origin, and a survey of several aspects of Mayan culture.

The purpose of this study was to develop a guide to help teach commercial music style imitation, Styles selected were ragtime, dixieland, Whiteman, Goodman, Miller, bop, Berry, Presley, Motown, hard rock, horn band, soft rock, straight ahead big band, Ellington, Basie, country rock, bluegrass, Country-Western, Mantovani, Boston Pops, and Love Unlimited Orchestra. Melody, harmony, rhythm, voicing, instrumentation, form, special effects, performance techniques, electronic alteration, and articulation were discussed for each style. A table summarizing each discussion, and an arrangement and recording of the same melody in each style were included, The guide appears successful, judging from commercial writers' estimations, The work will probably aid writers, performers, researchers, and publishers. Similar works could be done on other commercial and ethnic styles.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-29T11:34:11Z No. of bitstreams: 1 Therence Santiago Alves Feitosa.pdf: 1035575 bytes, checksum: ba349bb5cad3001f254414b7f8047d8c (MD5) / Made available in DSpace on 2018-08-29T11:34:11Z (GMT). No. of bitstreams: 1 Therence Santiago Alves Feitosa.pdf: 1035575 bytes, checksum: ba349bb5cad3001f254414b7f8047d8c (MD5) Previous issue date: 2018-06-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present investigation focuses on analyzing some songs produced in the 1980s by the bands Legião Urbana, Titãs, Barão Vermelho and Engineers of Hawaii. The research, through the lenses of pop rock, presents discussions about some cultural, social and political scenarios that were part of Brazil at that time. The idea is to develop "certain cartographies" of the period, from analyzes of the internal structures and contents of the lyrics of these songs. The thesis intends to show the pop rock of the 1980s, as a translating instrument in relation to what some young people (rockers) lived at the time. A part of the Brazilian media of that moment "discovered" this "new" phenomenon and dedicated itself to divulge this musical genre (BASTOS, 2005). The 1980s in Brazil were presented as a period of clear transition, since in that decade a military dictatorship that lasted approximately 20 years ended (RAMOS, 2010). In the music scene a genre gained strength, voice and form: pop rock. As a hypothesis it is possible to argue that it is precisely in the cultural spheres that symbolically the daily relations are configured (LÓTMAN, 1981), that is, in day-to-day practices, space is opened for representations, as well as for the construction of series of languages. According to Lótman (1978), every artistic work is within its own context of producing subjectivity. Barbero (2013) advocates communication as a process, therefore, it is understood that the communicative nature happens in a fluid way, in constant and intertwined movements that transpose in the scope of culture. At that moment there were several dialogues between media, artists and the public, this took place in miniature movements that approached subjects of culture, objects of culture and nature / environment. In this thesis, it is intended to propose how the context of the songs were related to certain processes of exploitation of the different materials of the culture available in Brazil. As theoretical foundation, research of a qualitative nature is mainly used as references of the semiotics of culture, communication and anthropology / A presente investigação se concentra em analisar algumas canções produzidas nos anos de 1980 pelas bandas Legião Urbana, Titãs, Barão Vermelho e Engenheiros do Havaí. A pesquisa, através das lentes do pop rock, apresenta discussões sobre alguns cenários culturais, sociais e políticos que faziam parte do Brasil naquela época. A ideia é desenvolver “certas cartografias” do período, a partir de análises das estruturas internas e dos conteúdos das letras dessas canções. A tese possui a intenção de mostrar o pop rock da década de 1980, como um instrumento tradutório em relação ao que viviam alguns jovens (roqueiros) na ocasião. Uma parte da mídia brasileira daquele momento “descobriu” esse “novo” fenômeno e dedicou-se a divulgar esse gênero musical (BASTOS, 2005). Os anos de 1980 no Brasil se apresentaram como um período de clara transição, pois nessa década acabava uma ditadura militar que havia durado aproximadamente 20 anos (RAMOS, 2010). No cenário musical um gênero ganhava força, voz e forma: o pop rock. Enquanto hipóteses é possível defender que é justamente nas esferas culturais que simbolicamente as relações cotidianas são configuradas (LÓTMAN, 1981), ou seja, nas práticas do dia a dia é que se abre espaço para as representações, bem como para a construção de séries de linguagens. Segundo Lótman (1978), toda obra artística está dentro do seu próprio contexto de produção de subjetividade. Barbero (2013) defende a comunicação como processo, portanto, entende-se que a natureza comunicativa acontece de maneira fluída, em constantes e entrelaçados movimentos que transitam no âmbito da cultura. Naquele momento ocorreram diversos diálogos entre mídias, artistas e público, isso se deu em movimentos miniaturais que aproximaram sujeitos da cultura, objetos da cultura e natureza/ambiente. Na referente tese é pretendido propor como as contexturas das canções estavam relacionadas a certos processos de aproveitamento dos diversos materiais da cultura disponíveis no Brasil. Enquanto fundamentação teórica, a pesquisa de natureza qualitativa serve-se principalmente de referências da semiótica da cultura, comunicação e da antropologia

蔡懿嫻. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 246-256). / 附中英文摘要. / Cai Yixian. / Lun wen (zhe xue shuo shi) -- Xianggang zhong wen da xue, 1999. / Can kao wen xian (leaves 246-256). / Fu Zhong Ying wen zhai yao. / 緒論 --- p.1 / Chapter (一) --- 硏究源起 --- p.1 / Chapter (二) --- 中國佛教音樂的硏究現況 --- p.1 / Chapter (三) --- 本選題的意義及硏究目的 --- p.5 / Chapter (四) --- 本論文採用之硏究方法 --- p.6 / Chapter 第一章 --- 佛教及其音樂在中國之發展槪況 --- p.8 / Chapter 第一節 --- 佛教之傳入 --- p.8 / Chapter 第二節 --- 佛教音樂在中國的發展槪況 --- p.10 / Chapter (一) --- 漢代至東晉的初弘階段 --- p.10 / Chapter (二) --- 南北朝的建立階段 --- p.12 / Chapter (三) --- 唐代的繁盛及定型化階段 --- p.13 / Chapter (四) --- 宋元至近代的衰微階段 --- p.15 / Chapter 第二章 --- 佛教在香港的發展槪況 --- p.18 / Chapter 第一節 --- 香港的三大古刹與佛教在香港的歷史槪況 --- p.18 / Chapter 第二節 --- 1900年至1940年佛教在香港的發展槪況 --- p.20 / Chapter 第三節 --- 戰後佛教在香港的發展 --- p.22 / Chapter 第三章 --- 香港的佛教儀式及法事音樂 --- p.24 / Chapter 第一節 --- 香港的佛教儀式 --- p.24 / Chapter (一) --- 《朝暮課誦》及《二時臨齋儀》 --- p.24 / Chapter (二) --- 佛教定期舉行的法事 --- p.25 / Chapter (三) --- 佛教不定期舉行的重要法事 --- p.26 / Chapter 第二節 --- 香港佛教法事音樂 --- p.28 / Chapter 第三節 --- 香港佛教法事音樂的傳授 --- p.29 / Chapter 第四章 --- 《焰口》佛事及其音樂 --- p.34 / Chapter 第一節 --- 《焰口》佛事簡介 --- p.34 / Chapter (一) --- 《焰口》佛事之起源 --- p.34 / Chapter (二) --- 《焰口》佛事之經文版本 --- p.34 / Chapter (三) --- 《焰口》佛事之舉行時間及地點 --- p.36 / Chapter (四) --- 《焰口》佛事之目的 --- p.36 / Chapter 第二節 --- 佛教天童精舍之法會 --- p.37 / Chapter (一) --- 佛教天童精舍之簡介 --- p.37 / Chapter (二) --- 天童精舍之《焰口》佛事 --- p.39 / Chapter (三) --- 《焰口》佛事之參與人員 --- p.41 / Chapter (四) --- 實地考查佛教天童精舍之《焰口》佛事 --- p.41 / Chapter (五) --- 《焰口》佛事之程序 --- p.42 / Chapter (六) --- 《焰口》佛事之音樂記譜 --- p.73 / Chapter 第五章 --- 《焰口》佛事音樂之形態分析 --- p.185 / Chapter 第一節 --- 《焰口》佛事的唱誦形式及經文分類 --- p.185 / Chapter (一) --- 《焰口》佛事的唱誦形式 --- p.185 / Chapter (二) --- 《焰口》佛事的經文分類 --- p.187 / Chapter 第二節 --- 《焰口》佛事梵唄的調式與音階 --- p.193 / Chapter (一) --- 調式 --- p.193 / Chapter (二) --- 調性的轉移 --- p.193 / Chapter (三) --- 音階與音域 --- p.194 / Chapter 第三節 --- 梵唄速度特點 --- p.198 / Chapter (一) --- 散一緊一快一慢 --- p.198 / Chapter (二) --- 散板 --- p.199 / Chapter (三) --- 固定節拍 --- p.199 / Chapter 第四節 --- 旋律的發展手法 --- p.199 / Chapter (一) --- 典型旋律型的運用 --- p.199 / Chapter (二) --- 典型旋律型的變化 --- p.203 / Chapter 第五節 --- 梵唄的結構型態 --- p.205 / Chapter (一) --- 單句反覆變奏體 --- p.205 / Chapter (二) --- 上下句反覆變奏體 --- p.205 / Chapter 第六節 --- 曲調運用手法 --- p.211 / Chapter (一) --- 一曲一詞 --- p.211 / Chapter (二) --- 一曲多用 --- p.211 / Chapter (三) --- 一詞多調 --- p.216 / Chapter (四) --- 套曲 --- p.227 / Chapter 第七節 --- 《焰口》佛事打擊法器的運用 --- p.229 / Chapter (一) --- 《焰口》佛事的打擊法器 --- p.229 / Chapter (二) --- 《焰口》佛事打擊法器的伴奏方式 --- p.232 / Chapter 第八節 --- 儀式音樂在佛教儀式中的意義 --- p.234 / Chapter 第九節 --- 《焰口》佛事與外圍文化的關係 --- p.235 / 總結 --- p.243 / 參考書目 --- p.246

Chuen Fung Wong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 94-102). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese Translation) --- p.iii / Acknowledgements --- p.v / Table of Contents --- p.vi / List of Figures and Tables --- p.viii / Romanization and Translation --- p.ix / Chapter 1. --- Introduction --- p.1 / Beyond Ethnomusicology and Music History --- p.1 / Music Scholarship and Historiography in Modern China --- p.3 / Modern Research on Guqin: Becoming a Chinese Instrument --- p.8 / On Methodology --- p.11 / Chapter 2. --- The Making of Modern Notation: Reformation Models of Guqin Notation in the Twentieth Century --- p.14 / Introduction --- p.14 / Guqin Notation --- p.16 / Traditional Notation/Pre-Modern: An Imagined Tradition --- p.18 / Modern Changes --- p.20 / Notation Model in Oinxue Rumen --- p.21 / Notation Model in Qinjing --- p.23 / Wang Guangqi's Model --- p.25 / Yang Tinliu's Reformation Proposal --- p.28 / Gong Yi´ةs Guqin Yamoufa --- p.31 / Concluding Remarks: The Making of a Modern Notation --- p.35 / Chapter 3. --- Between Creativity and Reconstruction: Dapu and Its Changing Concept --- p.38 / Introduction --- p.38 / Defining Dapu --- p.40 / "Between Ancient and Modern, Historical and Creative" --- p.41 / The Power of Silk String --- p.46 / Dapu in Modern China and Its Practical Uses --- p.48 / Concluding Remarks: Dapu and Modernity in China --- p.51 / "Epilogue: A Brief Report on the Fourth National Dapu Conference,19-26 August 2001, Changshu" --- p.56 / Chapter 4. --- Becoming a Chinese Music history: Guqin and Music Historiography --- p.60 / Introduction --- p.60 / Music Historiography and the Work-Concept in China --- p.63 / Guqin and Musical Works --- p.66 / Situating Guqin Music into History: The Irony of Meihua Sannong --- p.68 / The Tactics of Historicization: The Case of Lisao --- p.72 / Werktreue and Chinese Music Historiography: A Conceptual Imperialism --- p.76 / Chapter 5. --- Conclusion: Guqin and Postcolonial Modernity in China --- p.80 / Introduction --- p.80 / A Postcolonial Reading --- p.82 / The Quest for Modernity --- p.83 / Final Remarks: On Translation and Chinese Music Scholarship --- p.86 / Appendix A Chinese Dynasties and Historical Periods --- p.88 / "Appendix B Map of China, Hong Kong, and Taiwan" --- p.89 / Appendix C General Histories of Chinese Music --- p.90 / Reference Cited --- p.94 / Glossary of Chinese Terms --- p.103