Thesis (M. Phil.)--University of Queensland, 2002. / Includes bibliographical references.

Thesis (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 102-103). Available also in a digital version from Dissertation Abstracts.

Treatise (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 102-103). Available also from UMI Company.

No description available.

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Ned Ward’s monthly The London Spy (1698–1700) maps the life and character of London and exposes “the Vanities and Vices of the Town” (2). Written after the lapse of the Licensing Act in 1694, the work also exemplifies new freedoms of the press that flourished when pre-publication censorship was no longer enforced: The London Spy is unabashedly scandalous, and frequently critical of public institutions and the state. Ward profited from the public’s interest in his always irreverent, frequently indecorous and salacious tales. However, he aims to be critical and insightful as well as superficial and shallow in The London Spy; by capitalizing on the differences between his two characters, the Spy and his Friend, Ward vilifies “Vice and Villany,” with one hand while satisfying a voyeuristic appetite for the prurient and scatological with the other. This study examines how the two perspectives of The London Spy, the Spy and his Friend, work together within a highly fragmented and contradictory framework in order to show how Ward attempts to please both the unrefined reader looking for salacious material and, occasionally, the more discerning reader who understands the underlying problems and appreciates satire. Ward uses two differences between the Spy and his Friend to negotiate the balance between these two perspectives. First, The Spy is a naive and ignorant spectator and tourist, while the Friend is a cynical and experienced guide. The second difference is that the Spy is curious and at times compassionate where the Friend is diagnostic in his approach and unaffected on a personal level by the troubles of other people. The Spy and his Friend also distance themselves from the crowds and spectators they encounter, acting as observers or “spies.” The two perspectives of The London Spy are central to Ward’s negotiation between voyeuristic and knowing audiences.

Thesis (M.S.)--University of Wisconsin--Madison, 1973. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-Graduação Música em Contexto, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2017-04-17T15:07:27Z No. of bitstreams: 1 2016_AlexMarquesDuarte.pdf: 4585624 bytes, checksum: 3ff1e91f2723b286f10a995af988248c (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2017-04-18T15:49:15Z (GMT) No. of bitstreams: 1 2016_AlexMarquesDuarte.pdf: 4585624 bytes, checksum: 3ff1e91f2723b286f10a995af988248c (MD5) / Made available in DSpace on 2017-04-18T15:49:15Z (GMT). No. of bitstreams: 1 2016_AlexMarquesDuarte.pdf: 4585624 bytes, checksum: 3ff1e91f2723b286f10a995af988248c (MD5) / Tendo como objeto de pesquisa o Concerto para iPad e Orquestra do compositor Ned McGowan, obra única do gênero, este projeto objetiva realizar um estudo sobre o processo de inserção dos dispositivos móveis nas práticas musicais no período atual. O referido Concerto quebra paradigmas ao trazer para a sala de concerto um iPad, propondo um novo conceito para o dispositivo. A pesquisa procura entender como esse dispositivo se insere em contextos formais da música por meio de um estudo empírico que inclui a realização do referido Concerto pela Orquestra do Teatro Nacional Cláudio Santoro, concerto este idealizado e gerido pelo autor desta dissertação, contando com a presença do próprio compositor. A pesquisa conta também com a transcrição da palestra do compositor Ned McGowan na conferência TEDx para realizar uma ponte entre o pensamento do compositor e os referenciais teóricos contidos no trabalho, além de entrevistas com o iPadista e o regente. A discussão de Pierre Schaeffer acerca das experimentações instrumentais e o manifesto „A Arte dos Ruídos‟ de Luigi Russolo dão suporte para a discussão contida no trabalho, além de uma comparação entre o referido Concerto e a peça „Amanhecer de uma Cidade‟ de Russolo. Uma análise da obra de McGowan e um apanhado de práticas musicais realizadas com dispositivos móveis farão a ponte entre a pesquisa e a as conclusões ao final do trabalho. / Using the Concerto for iPad and Orchestra by Ned McGowan, the only work of its kind, as the main object, this project aims to study the integration process of mobile devices in the current period‟s musical practices. The Concert breaks paradigms bringing to the concert hall an iPad, proposing a new concept for the device. The research seeks to understand how this device is inside formal music through an empirical study that includes the realization of this Concerto by the Orchestra of the Teatro Nacional Claudio Santoro. The Concerto was idealized and managed by the author of this work, and had the presence of the composer himself. The work also includes a transcription of McGowan‟s speech at TEDx conference to make a bridge between the composer‟s thought and the theoretical references in the text, as well as interviews with the iPadist the conductor. Pierre Schaeffer‟ discussion about the instrumental experimentation and the manifesto “The Art of Noise” by Luigi Russolo support the discussion contained in the work, and a comparison between the Concerto for iPad and the piece “Dawn of a City” by Russolo. An analysis of McGowan‟s work and an overview of musical practices performed with mobile devices will make the bridge between the research and the conclusions at the end of the work.

No description available.