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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 8 of 8 (0.07 seconds)Spelling suggestions: "subject:"phusical arrative"" "subject:"phusical farrative""
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Concerto for orchestraPassos, Luís Otávio Teixeira 01 August 2011 (has links)
Concerto for orchestra is a twenty-minute work for large orchestra. It was conceived
from my personal interest in creating a musical narrative that could create different
moods, colors, contrast, agreement, tension, and resolution. I had a major influence from
Ligeti’s Double Concerto regarding pitch, mood and form organization. I used his
technique of interval signal to differentiate different sections of a movement as well as
chromatic balance─the alternation of diatonic scales related chromatically. I also had
influences from Mahler, Debussy, Nancarrow, and from my own work. The narrative of
my Concerto is based on Ligeti’s notion of states, events and transformations. My
Concerto presents states that are transformed into new states. The piece is divided in four
movements: Lights, Convergences, Lights II, Convergences II. The Lights movements
favor delicate texture, based on a major melodic line and a subtle accompaniment. They
also give prominence to solo sections. Convergences favors the idea of dialogue,
multitudinousness, contrast, and dense textures. Convergences II emphasizes the tutti
versus solo and ritornello form from Baroque concertos. / text
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Music as Narrative in American College FootballMcCluskey, John M. 01 January 2016 (has links)
American college football features an enormous amount of music woven into the fabric of the event, with selections accompanying approximately two-thirds of a game’s plays. Musical selections are controlled by a number of forces, including audio and video technicians, university marketing departments, financial sponsors, and wind bands. These blend together in a complex design that offers audible and visual stimulation to the audience during the game’s pauses. The music chosen for performance in these moments frequently communicates meaning beyond entertainment value. Selections reinforce the game’s emotional drive, cue celebrations, direct specific audience actions, and prompt behaviors that can directly impact the game. Beyond this, music is performed to buttress the successes of the home team, and to downplay its failures. As this process develops over the course of the game, the musical selections construct a sonic narrative that comments on the game’s action, enhancing or suppressing audience members’ emotional reactions to the events on-field, and informing their understanding of the game’s developments. By preparing for and responding to in-game situations, music creates a coherent narrative out of football’s unpredictable events.
This project demonstrates the use of musical narrative in American college football via close consideration of case studies of games representing five of the most prominent college athletic conferences, the Atlantic Coast Conference, the Big 10, the Big 12, the Pac 12, and the Southeastern Conference. These sources include interviews with college football’s musical agents, including sound operators, band directors, and producers, as well as documentation of the games’ on-field developments and the music that accompanies them. Finally, this project utilizes of musical narrative as a new means of critically considering the power lines of race and gender in college football culture.
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(Re)Framing the Storyteller’s Story in John Adams’s "Scheherazade.2"Schreiber, Rebecca A. 26 July 2019 (has links)
No description available.
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The Dramatic and Narrative Function of Varied Sonata-Form Structures in Antonin Dvorak’s “Nature, Life, and Love” Overture Trilogy, Op. 91-93Sallade, Alexander C. 04 October 2021 (has links)
No description available.
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An Aesthetic of Eccentricity: A Narrative Analysis of Two Early Berlioz OverturesShomo, Michael F. January 2015 (has links)
No description available.
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Hearing “les plaintes de la Pologne”: impressions of a nationalist narrative in selected nocturnes of Frédéric Chopin.McGregor, Jennifer Lauren 13 April 2011 (has links)
Chopin’s artistic philosophies were heavily indebted to his love of vocal music and his staunch belief that vocal expression represented the supreme essence of musical declamation. To his contemporaries in the Parisian salons, his veneration of the vocal ideal illuminated the expressive significance of Chopin’s musical language. Influenced by the dramatic function of operatic and vocal works, and by interpretive trends that associated literary programs with instrumental (textless) music, Chopin’s contemporaries searched for concealed narratives within his piano nocturnes. This thesis considers the narrative function of Chopin’s late nocturnes within the sociopolitical and musical culture of the Parisian salons, and utilizes a modern approach to narratology that resonates with a prominent facet of historical interpretation. The study reveals a specific reception in which audiences, influenced by the philosophies of Polish messianism, heard national narratives, sung pronouncements of his Polish nationality, and political support for the Polish nation in Chopin’s nocturnes. / Graduate
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El baile como elemento narrativo de la película Lalaland / Dance as a narrative element of the film LalalandQuispe Diaz, Nicole Brenda 20 June 2020 (has links)
El género de cine musical siempre se ha caracterizado por tener escenas llenas de emociones acompañadas con bailes coreográficos de un grupo de personas o de parejas, conjunto de una canción cantada por los propios protagonistas o acompañadas de coristas y de la música que se acopla de acuerdo a la trama o la época. Sin lugar a dudas, este género merece una exhaustiva investigación de cada elemento que lo compone y caracteriza, sobre todo el baile. Aquellos movimientos coreográficos llevan consigo no solo el compás de la música o la letra de la canción, sino, también, connotan cierto comportamiento de los personajes que lo bailan como si se tratara de demostrar algo más que unos simples pasos. La presente investigación se centra en demostrar que el baile no solo es más que un elemento del género musical, sino que es parte de la narrativa de este género, sobre todo, de una de las grandes películas del género musical actual que es Lalaland dirigido por Damien Chazelle. / The genre of musical cinema has always been characterized by having scenes full of emotions accompanied by choreographic dances of a group of people or couples, set of a song sung by the protagonists themselves or accompanied by choristers and the music that is coupled according to the plot or the time. Undoubtedly, this genre deserves an exhaustive investigation of each element that composes and characterizes it, especially dance. Those choreographic movements carry not only the beat of the music or the lyrics of the song, but also connote certain behavior of the characters that dance as if it were to demonstrate something more than a few simple steps. The present investigation focuses on demonstrating that dance is not only an element of the musical genre, but it is part of the narrative of this genre, especially one of the great films of the current musical genre that is Lalaland directed by Damien Chazelle. / Trabajo de investigación
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“Primitive” Bodies, Virtuosic Bodies: Narrative, Affect, and Meaning in Rock DrummingSmith, Mandy J. 07 September 2020 (has links)
No description available.
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