Thesis (Ph.D.)--Boston University, 1931. This item was digitized by the Internet Archive.

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Orientador: Juliana Santini / Banca: Rejane Cristina Rocha / Banca: Julio Cezar Bastoni da Silva / Resumo: Este trabalho tem como objetivo analisar as estratégias narrativas utilizadas na construção de diferentes espacialidades em Desde que o samba é samba, segundo romance de Paulo Lins, publicado em 2012. Com fortuna crítica ainda pequena, a obra recria e ficcionaliza o nascimento e desenvolvimento do gênero Samba no bairro carioca Estácio, em meados da década de 1920, que se desenvolve não apenas a partir das figuras fictícias, como Valdirene e Sodré, mas também pela ficcionalização de figuras históricas, como Tia Ciata, Ismael Silva, Francisco Alves e Osvaldo Caetano Vasques. A partir disso, este trabalho busca problematizar como as histórias do Samba e da Umbanda atuam na mobilidade, ou não, das personagens da narrativa, uma vez que todas elas são situadas em um momento histórico definido e sofrem, direta ou indiretamente, influências impulsionadas pela construção espacial do romance. No mais, buscou-se diferenciar as diferentes formas de mobilidade que dinamizam toda a história, não apenas a geográfica, mas também a social, econômica e cultural. Portanto, este trabalho procurou observar a construção dos espaços na trama a fim de constatar a dimensão da interferência que as espacialidades e mobilidades podem tomar na valoração das manifestações culturais e sociais construídas ao longo da narrativa. Além disso, terão ênfase, principalmente, os múltiplos espaços, simbólicos e físicos, da obra que, ora apresentam tensões e rivalidades desenvolvidas a partir de um relacionamento c... (Resumo completo, clicar acesso eletrônico abaixo) / Resumen: Este trabajo tiene como objetivo analizar las estrategias narrativas utilizadas en la construcción de diferentes espacialidades en Desde que el samba es samba, según romance de Paulo Lins, publicado en 2012. Con fortuna crítica aún pequeña, la obra vuelve a crear y hacer una ficción sobre el nacimiento y desarrollo del género Samba en el barrio carioca Estácio, a mediados de la década de 1920, que se desarrolla no sólo a partir de las figuras ficticias, como Valdirene y Sodré, sino por la ficción de figuras históricas, como Tía Ciata, Ismael Silva, Francisco Alves y Osvaldo Caetano Vasques. A partir de eso, este trabajo búsqueda problematizar como las historias del Samba y de la Umbanda actúan en la movilidad, o no, de los personajes de la narrativa, una vez que todas ellas son situadas en un momento histórico definido y sufren, directa o indirectamente, influencias impulsadas por la construcción espacial del romance. En el más, he buscado diferenciarse las diferentes formas de movilidad que dinamizan toda la historia, no sólo la geográfica, pero también la social, económica y cultural. Por lo tanto, este trabajo buscó observar la construcción de los espacios en la trama a fin de constatar la dimensión de la interferencia que las espacialidades y movilidades pueden tomar en la valoración de las manifestaciones culturales y sociales construidas al largo de la narrativa. Además de eso, tendrán énfasis, principalmente, los múltiples espacios, simbólicos y físicos, de la obra que... (Resumen completo clicar acceso eletrônico abajo) / Mestre

by Chan Yuet Chun. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1991. / Includes bibliographical references. / List of tables --- p.1 / Introduction --- p.2 / Chapter Chapter I. --- "The Song Writer, Hugo Wolf" --- p.8 / Chapter Chapter II. --- Johann Wolfgang Goethe - the Man and his Poetry --- p.27 / Chapter Chapter III. --- H. Wolf and J. W. Goethe's Lyrics --- p.31 / Chapter Chapter IV. --- "An Analysis of the Forms Used in Selected ""Goethe Lieder"" by H. Wolf" --- p.35 / Chapter A. --- Varied Strophic Form --- p.46 / Chapter B. --- Bipartite Form --- p.49 / Chapter C. --- Rondo Form --- p.52 / Chapter D. --- Tripartite Form --- p.60 / Chapter E. --- Mixed Form --- p.82 / Chapter F. --- Free-structured Form --- p.91 / Chapter G. --- Through-composed Form --- p.105 / Chapter H. --- Cyclical Treatment in Wolf's Aus dem 'Buch Suleika' des West-ostlichen Divans --- p.119 / Chapter Chapter V. --- Conclusion --- p.131 / Chapter Appendix 1. --- Tables --- p.133 / Chapter 2. --- English Translations of the Selected Goethe Lieder --- p.155 / Bibliography --- p.168

A majority of modern studies of Erik Satie’s Trois Gnossiennes seem to consider the French composer’s early piano music as a form of anti-Wagnerian nihilism. This view is misinformed. From Ravel’s first staging of Satie’s early piano music at the Société Musicale Indépendante in 1910, to John Cage’s lecture on the ‘Defence of Satie’ in 1948, composers from both waves of the modernist period (1890-1914 and post 1940s) have often given too much attention to Satie’s apparently anti-romantic and anti-Germanic mentality, failing to consider his early symbolist identity in the French fin de siècle. As a result, numerous studies today examine Satie as a precursor to the light-hearted nihilism of Les Six, Dadaism and the later John Cage. However, this dissertation argues that Satie’s initial behaviour in the fin de siècle period may have been influenced by mysticism, closely associated with the ideals of late-romanticism. Examining the period 1886-1893 (the years of Satie’s youth), this thesis offers a reinterpretation of some of the primary characteristics of Satie’s early piano music, taking into consideration the contextual evidence available on the anti-establishment of Montmartre. In this case, Satie’s aim was to use symbolist means to resist modern rationality, while also ascetically restraining himself from the grandiose subjectivity of late-romantic rhetoric.

The ephemeral nature of live music can, from some perspectives, serve to place limitations on its lasting socio-cultural impact. This thesis addresses such claims by analysing the enduring appeal of a ‘legendary’ venue, the Glasgow Apollo (1973-85), where a series of momentous live music moments from several decades ago continue to be celebrated. In order to accomplish this, the study primarily uses semi-structured and focus group interviews to explore the reminiscences of the audience and artists who shared live music experiences at the venue. Through the application of Actor Network Theory, the work focuses on the influence that actors such as locality, technology, industry and music genre held over these encounters, as well as the manner in which the collective memories of the events in question have subsequently shaped their cultural value. The study first establishes the foundation for Glasgow’s cultural traditions, which thereafter helped to shape the concert experiences at the Apollo. It then follows the actors through, and beyond, the period of the venue’s tenure, to argue that the Apollo ‘legend’ lingers due to the manner in which these live experiences have been collectively framed within several of the platforms dedicated to the venue’s legacy.

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This thesis examines music and its relationship to gender and the related social commentary woven throughout New Woman writing, putting forth the New Woman musician figure for consideration. In contrast to the male-dominated world of Victorian music, New Woman fiction is rife with women who not only wish to pursue music, but are brilliantly talented musicians and composers themselves. These women are the focal point of this thesis. The primary texts used are Kate Chopin’s The Awakening (1899); Sarah Grand’s Ideala (1888), The Heavenly Twins (1893), and The Beth Book (1897); George Egerton’s Keynotes (1893), Discords (1894), Symphonies (1897), and Fantasias (1898); George Moore’s Evelyn Innes (1898) and Sister Teresa (1901); and Mona Caird’s The Daughters of Danaus (1894); with George du Maurier’s Trilby (1894) (and, to a lesser extent, the Moore texts) offered in contrast to the foregoing. This thesis seeks to answer the following question: what is music’s function in New Woman fiction, and to what end? Each chapter offers an answer to this question using different areas of women’s musicianship: stifled musicians, performers, composers, and auditors. In addition, the penultimate chapter works toward a theory of “melopoetic composition,” or the blending of literary and musical composition, and discusses the role of mirror neurons in creating a unique reading experience which is visual, aural, and neural. Ultimately, this thesis illustrates that the sister arts of music and literature were woven together by the sisterhood of the New Woman writers, who used fiction as a medium through which to assert their multi-layered creative capabilities.

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