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Thesis (doctoral)--Universität Warschau. / Includes bibliographical references (p. 279-[300]).

Thesis (Ph.D. (English)) - Rhodes University, 2009.

Thesis (MMus (Music))-- Stellenbosch University, 2010. / ENGLISH ABSTRACT: This thesis explores the Faust legend and its musical manifestations since the 19th century. The objective is to provide a thorough background to the legend, before drawing up an account of compositions inspired by the Faust legend. Firstly, the origin of the legend is investigated, followed by a brief summary of the most important literary works on the subject of Faust. This is followed by a comprehensive outline of the story as told by Johann Wolfgang von Goethe, and then the most significant compositions inspired by the legend are discussed. A short section containing comparisons of the compositions and the conclusions of the study appears at the end. The legend tells the story of Faust, a scholar, philosopher and alchemist in search of divine knowledge, power and pleasure. Faust encounters the devil and makes a pact with him in which he agrees to surrender his immortal soul, if the devil can satisfy Faust’s thirst for knowledge and grant him the experience of true happiness. The Faust legend is a very popular theme among composers and artists. One of the reasons for the success of the Faust legend is its universal appeal. This has led to various composers using the material as the basis for their works. Goethe’s version of the legend has proven to be the most popular source for composers. To produce a composition that attempts to capture the drama in its entirety, including its psychological and spiritual elements, is not feasible. Works centred on a smaller section, scene or character from Goethe’s Faust were often more successful than the larger operatic compositions. Like all great universal ideas, the Faust legend lends itself to an abundance of interpretations. Similarities between works are rare. Each composer who made use of the Faust legend interpreted it subjectively, which has produced many unique and varied compositions. / AFRIKAANSE OPSOMMING: In hierdie studie word die Faust legende, soos wat dit in verskeie musikale komposisies van die 19de eeu uitgebeeld is, ondersoek. Die doel van die studie is om ‘n lys van werke wat deur die Faustlegende geïnspireer is, saam te stel. Die tesis ondersoek die oorsprong van die legende en gee ‘n kort opsomming van die mees prominente litirêre werke met die Faustlegende as onderwerp. Daarna volg ‘n uiteensetting van die storielyn soos vertel deur Johann Wolfgang von Goethe. ‘n Lys, bestaande uit gesaghebbende Faust komposisies, word ingesluit en laastens volg vergelykings en gevolgtrekkings uit die studie. Die legende vertel die verhaal van Faust, die professor, filosoof en alchemis op soek na kennis, mag en plesier. Faust tree in gesprek met die duiwel en gaan met hom ‘n ooreenkoms aan om sy siel prys te gee in ruil vir kennis en ware geluk. Die Faust legende is sekerlik een van die mees gewilde literêre onderwerpe vir gebruik deur komponiste en kunstenaars. Die universaliteit van die legende dra by tot die gewildheid daarvan en om gebruik te word as onderwerp in toonsettings. Goethe se weergawe word meestal ingespan as bron van inspirasie. Om die volle omvang van die drama, met al sy sielkundige en geestelike elemente in ‘n komposisie vas te vang, is feitlik onmoontlik. Soos die meeste groot universele werke, word Faust op verskillende maniere geïnterpreteer. Gevolglik is daar min ooreenkomste tussen die verskillende toonsettings. Elke komponis se interpretasie van die legende is uniek.

Facade: An Entertainment is a composition for six instrumentalists and reciter based on Edith Sitwell's "Facade" poems. While much has been written regarding this composition in general terms, relatively little has been said concerning the relationship between the poetry and the music. The purpose of this study is to examine this relationship and to provide a more in-depth analysis of the music than has previously been published. Several works that may have influenced Walton in the composition of Facade: An Entertainment and Facade II will also be examined.

by Li Chi Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1992. / Includes bibliographical references (leaves 134-137). / PREFACE --- p.iii / Chapter Chapter One --- PROLOGUE- THE CLASSICAL AND ROMANTIC STYLES --- p.1 / Chapter Chapter Two --- THE CONCEPT OF DIALECTICS AND TRANSCENDENCE --- p.9 / Chapter Chapter Three --- STUDY OF FRANZ LISZT'S SYMPHONIC POEMS --- p.15 / Les preludes (1848) --- p.18 / Ce qu'on entend sur la montagne (1848-9) --- p.27 / Tasso: lamento e trionfo (1849) --- p.38 / Heroide funebre (1849-50) --- p.47 / Prometheus (1850) --- p.55 / Mazeppa (1851) --- p.63 / Festklange (1853) --- p.71 / Orpheus (1853-4) --- p.79 / Hungaria(1854) --- p.86 / Hunnenschlacht (1857) --- p.95 / Die Ideale (1857) --- p.103 / Hamlet (1858) --- p.112 / Von der Wiege bis zum Grabe (1881-2) --- p.120 / Chapter Chapter Four --- EPILOGUE - SOME OBSERVATIONS --- p.128 / BIBLIOGRAPHY --- p.134

This thesis proposes an alternative approach to sound synthesis. It seeks to offer traditional string players a synthesiser which will allow them to make use of their existing skills in performance. A theoretical apparatus reflecting on the constraints of formalisation is developed and used to shed light on construction-related shortcomings in the instrumental developments of related research. Historical aspects and methods of sound synthesis, and the act of musical performance, are addressed with the aim of drawing conclusions for the construction of algorithms and interfaces. The alternative approach creates an openness and responsiveness in the synthesis instrument by using implicit playing parameters without the necessity to define, specify or measure all of them. In order to investigate this approach, several synthesis algorithms are developed, sounds are designed and a selection of them empirically compared to conventionally synthesised sounds. The algorithms are used in collaborative projects with other musicians in order to examine their practical musical value. The results provide evidence that implementations using the approach presented can offer musically significant differences as compared to similarly complex conventional implementations, and that - depending on the disposition of the musician - they can form a valuable contribution to the sound repertoire of performers and composers.

This thesis attempts an intervention in popular music classification. It argues that popular musicians do not only choose the titles to their works, but go further to define the genres of these works. The dynamic at play is such that most popular musicians claim to produce works of different and new genres with each new work they create. By engaging with the works of a selection of Nigerian popular musicians, the thesis demonstrates that the disorderliness in popular music branding can be restricted. Through a critical discourse analysis of the textual elements of the material and of ‘alternative’ audience contributions, the thesis advocates a new genre of popular music, namely the genre of ‘political music’. This distinctive genre is extractable from the otherwise conventional genres of popular music, and is composed of three comprehensible subgenres namely protest political music, unity political music and terrestrial praise political music. The study’s selection is made of popular music material from hip hop, reggae, afro-beat, and juju genres. They are delivered in popular Nigerian languages ranging between Yoruba, Hausa, Igbo, English and Pidgin English.