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Modern Chinese Piano Composition and Its Role in Western Classical Music: A Study of Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57Ng, Lok 12 1900 (has links)
China's role in Western music is ever-expanding. Echoing the growth of classical music in China is the importance of Chinese musicians in the global music world. However, it is easy to forget that Western classical music is a foreign import to China, one that has been resisted for most of its history. The intent of this study is to evaluate the role of Chinese music in the Western classical world. This includes Western education, Western repertoire, and also a historical exploration into the mutual influence of the two styles. One Chinese composition in particular, Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57, is selected to analyze the Western and Chinese elements present in the work. This analysis will shed light on the relationship of the two styles and how they amalgamate in modern Chinese music. Although Western classical music today has a strong foothold in China, Chinese contributions to piano literature are largely unknown to the West. China possesses one of the richest musical histories in the world, one which until the twentieth century has largely remained unaffected by Western elements. Its musical heritage extends over thousands of years, deeply rooted in tradition and nationalism. Over the last century, Chinese composition began to incorporate Western musical ideas while still holding on to its own heritage and traditions. This synthesis of Western and Chinese musical elements created a new compositional sound founded on Chinese roots. Huang An-lun, one of China's most prominent living composers, embodies this style in his compositions. Chinese composition is no longer something that is exotic or alien to Western music. Instead, it integrates many Western ideas while still being founded in Chinese heritage, creating a new style that has much to offer the Western classical world.
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Fence, Flavor, and Phantasm: Balancing Japanese Musical Elements and Western Influence within an Historical and Cultural ContextDesjardins, Kelly 05 1900 (has links)
Given the diversity found in today's Japanese culture and the size of the country's population, it is easy to see why the understanding of Japanese wind band repertoire must be multi-faceted. Alongside Western elements, many Japanese composers have intentionally sought to maintain their cultural identity through the addition of Japanese musical elements or concepts. These added elements provide a historical and cultural context from which to frame a composition or, in some cases, a composer's compositional output. The employment of these elements serve as a means to categorize the Japanese wind band repertoire. In his studies on cultural identities found in Japanese music, Gordon Matthews suggests there are three genres found within Japanese culture. He explains these as "senses of 'Japaneseness' among Japanese musicians." They include Fence, Flavor, and Phantasm. Bringing a new perspective to the idea of Japanese influence, I trace the implementation of these facets of Japanese music through the wind band music of Japanese composers. I demonstrate that Japanese wind band genres are the result of a combination of Japanese musical elements and Western influence and argue that the varying levels of this combination, balanced with historical and cultural context, create three distinct genres within the Japanese wind band repertoire.
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Sounding the Ancestors: Sangpuy Katatepan Mavaliyw and the Ancestral Spirit ImaginaryChen, Yang T. 12 1900 (has links)
Sangpuy Katatepan Mavaliyw is a Taiwanese Aboriginal pop artist of the Pinuyumayan ethnic group. His albums have been acclaimed by Aboriginal listeners and Han-Taiwanese mainstream music critics for capturing the traditional Aboriginal sound and evoking the presence of the ancestors. In this thesis, I explore why Sangpuy's songs are understood to evoke ancestral spirit imaginary using a semiotic approach. I compare his music to traditional Pinuyumayan music such as pa'ira'iraw and shamanic songs to demonstrate how he uses similar musical gestures to evoke the sense of ancestral spirits. Other sonic elements such as the inclusion of the soundscape of a Pinuyumayan village provides a direct link to the lived experiences of the Pinuyumayan. I also position Sangpuy's music in the broader context of nationalism in Taiwan and how Sangpuy uses his music to negotiate Aboriginal issues such as land rights and environmentalism. Through this analysis, I demonstrate how Taiwanese Aborigines are incorporating their Indigenous ideology into popular music to carve out a space for themselves in Taiwanese society and garner more support for Indigenous rights in Taiwan.
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On the Nature of Melody in Asia and Medieval EuropeSiddons, James 12 1900 (has links)
In current musicological research, considerable attention is given to the description of melodic structure and pitch organization. But it is problematical that the analytical concepts and terminology of the Common Practice Era are largely inadequate for meaningful description of melody of Asia and medieval Europe. For most traditions of melody in Asia and medieval Europe, there is some sort of developed system of theory, but each system is limited to the repertory it describes. Consequently, the comparative study of melody in these fields has been seriously hampered, and much published research in melody has had to concern itself with the formulation of analytical approaches more than the actual study of melody. This study attempts to resolve this problem by offering for consideration an analytical model, the acoustic melodic formula, that is of use in the comparative study of melodic structures and formulas in Asia and medieval Europe. The acoustic melodic formula is a structural design consisting of three conjunct intervals, namely, a lower perfect fourth, a middle third of varying intonation, and an upper third, also of varying intonation. In addition to identifying the acoustic melodic formula in Japan, Korea, central Asia, and Jewish, Byzantine and Latin chant, this study also investigates how such melodies have additional tones--melodic embellishments--added to them through folk improvisation and artistic elaboration.
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Dickinson tributaries in the watershed of music education: Martha Dickinson Bond (1856–1936) and Clarence Dickinson (1873–1969)Keithcart, Elizabeth Haydon 01 January 2008 (has links) (PDF)
The watershed of music education in the United States originated with tributaries from Puritan families, churches and communities of the 1630s. For more than three hundred years, Dickinson family members have been influenced by music educators. In turn, the Dickinsons, as ministers, educators and music educators, influenced innumerable students and communities. The purpose of this narrative case study was to describe the influence of music educators on students' lifelong learning and musicianship. Utilizing a nested case study approach focusing on two individual cases within a larger family case, this inquiry examined the ways music educators addressed critical issues in music education in Dickinson communities prior to 1860. Further, this study investigated the ways music educators influenced the lives and relationships of Martha Dickinson Bond and Clarence Dickinson and the ways the Dickinsons were influential in their students' lives. Sources of data were drawn from the Clarence Dickinson Collection of Sacred Music at William Carey College; private collections from the estate of Martha Dickinson Bond; and collections from libraries, churches, historical societies, and archives in former Dickinson communities. Data sources included interviews with students of the Dickinsons, artifacts, records, diaries, letters, recorded and written music, photographs, participant-observations, and direct observations. Content analysis involved developing chronologies and case profiles; identifying and coding patterns from data; utilizing matrix displays for within-case and between-case analysis; synthesizing emergent constructs and themes; and illustrating themes with examples from data. Data analysis revealed themes about the influence of music educators holistically over three centuries (1630s-1930s): Religion; Relationships; Character Development; Literacy; Musical Development; Community Contributions; and Inspiration . Recommendations for music educators, music therapists, and teacher educators were organized by five identified stages of musical development over the human lifespan. Recommendations for further study corresponded to guiding research questions.
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The Trombone in German and Austrian Concerted Church Music of the Baroque Period: A Lecture Recital, Together with Three Recitals of Selected Works of L. Basset, L. Grondahl, W. Hartley, V. Persichetti, K. Serocki, H. Tomasi, D. White and OthersWilliams, Jeffrey P. 08 1900 (has links)
The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs was intended to demonstrate a variety of music written originally for trombone. The lecture recital, "The Trombone in German and Austrian Concerted Church Music of the Baroque Period," was presented on July 3, 1974. The lecture was an attempt to illuminate the position of the trombone, both as an ensemble instrument and as a solo obbligato instrument, in church music of the Baroque period. The program included the performance of two works by Heinrich Schutz for bass voice, four trombones, and continuo; one work by Andreas Hammerschmidt for alto, bass, trombone, and continuo; and one work by Johann Joseph Fux for soprano, trombone, two violins, and continuo. A line of influence was traced from the Venetian composers Giovanni Gabrieli and Claudio Monteverdi, through Schiitz, Hammerschmidt, and Fux, to Mozart.
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Elements of cross-cultural music composition : the creation of Esidialo-- a Samia marriage suiteMusungu, Gabriel Joseph 07 1900 (has links)
Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study.
The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories.
In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based.
The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite.
To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation.
Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns. / Art History, Visual Arts & Musicology / D. Litt et Phil. (Musicology)
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Elements of cross-cultural music composition : the creation of Esidialo-- a Samia marriage suiteMusungu, Gabriel Joseph 07 1900 (has links)
Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study.
The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories.
In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based.
The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite.
To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation.
Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns. / Art History, Visual Arts and Musicology / D. Litt et Phil. (Musicology)
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Maila-go-fenywa, Rangwato Magoro and Mmino wa Kosa: some perspectives on theory and practiceMasoga, Mogomme Alpheus 25 August 2009 (has links)
Looking at current African music studies, one notices an interesting shift from the `norm' to a fresh engagement and analysis. Fresh perspectives are increasingly being presented to position African music dialogue in the arena of the so-called `established music fields'. While these developments are noticeable, the unmentioned, unsung and uncelebrated indigenous African music practitioners, composers, performers, poets, praise singers and so forth must not be forgotten. This work does not claim novelty in terms of the latter gap, but takes the debate further to highlight, though in a small way, such a need. Mme Rangwato Magoro, from Malatane village in the greater Ga-Seloane community, is included as the main research collaborator in this brief piece of work. The work may come as a shock to any established researcher in music and music science. The author could not help but attempt to allow the voice of Mme Magoro to determine the format and content of this piece of work. In addition, the Maila-go-fenywa performance group is linked with the compositional and performance work and the praise poems of Mme Magoro. In conclusion, discussions and debates on musical arts education are addressed in terms of implementation, with examples drawn from the work of Maila-go-fenywa. / Art History, Visual Arts & Musicology / M.A. (Musicology)
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Illusion and reality : playback singers of Bollywood and HollywoodLayton, Myrna June 03 March 2014 (has links)
Text in English / India’s film production industry, referred to commonly as Bollywood, and the film production industry of America, referred to as Hollywood, have created a large number of musical films since sound was introduced into motion pictures. Both create fictional stories—illusions, if you will—through the use of prerecorded sound and playback technology coupled with lip-synching interpolated onto filmed images. While studies exist that treat the music of both production centres, there is very little research that compares both, and very little research on playback singers. Playback singers in both Bollywood and Hollywood may or may not be the actors who are seen on the screen; however, people in the Bollywood system—its directors, producers, creators, as well as the journalists who write about it—are very open about this practice, and playback singing is a highly respected career. Conversely, in the Hollywood system, playback singing that is done by an individual other than the on-screen actor remains uncredited or under-credited, and those who do the work are just hired workers; they are not respected as artists in the same way that their Bollywood counterparts are. I believe this difference has a cultural basis, shaped by variation in the way that illusion and reality are expressed by film production staff and interpreted by audiences in the two cultures. Through primary and secondary research, this project seeks to discover the differences and to understand how cultural implications of illusion and reality affect the playback singers in both film centres. / Art History, Visual Arts & Musicology / D. Litt et Phil. (Musicology)
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