The purpose of this study is to examine the songs Tre Sonetti del Petrarca by Ildebrando Pizzetti. Effort is made to provide the performer with musical and poetic analyses to aid him in the preparation and interpretation of the songs. A consideration of the development of Italian solo song from 1822 to 1950 and brief biographical sketches of both the composer and the author of the text are included as background material. It is assumed that a detailed examination of the music and poetry will lead to a more meaningful expression in performance.

Turkish citizens who went to Germany as migrant workers during 1960s and 1970s attached themselves to the language and music of their home country in order to sustain their local, regional or national belongings. In the 21st century, against the backdrop of globalization, the second and third generation of the Turkish group in Germany has different ties with Turkey and &ldquo / Turkish culture&rdquo / . Are the belongings of the German-Turkish youth still shaped by language, music and cultural artifacts related to Turkey? What do they try to preserve, what do they reassemble or re-arrange? What is the meaning of music in these processes of identity? Considering the literature on the German-Turkish youth, this study aims at giving voice to an &ldquo / invisible&rdquo / group through an unheard genre of music. This study looks at young women, second and third generation of Turkish background, in Germany and the role of Turkish classical music in their everyday lives. A genre with a history of about a millennium, Turkish classical music as a performance entered the German context in late 1970s with the first Turkish classical music choir. v Since then the production of Turkish classical music has been feminized, and the young women singing in these choirs, who are somehow the followers of previous generations, develop ties to the music and the music circles they attend. The ethnographic data, which has been collected through a fieldwork of three months in Germany, mainly in Berlin, among young women in Turkish classical music choirs, shows that multiple belongings play a role in the transnational experience of music making among German-Turkish young women. When considered the Turkishness and Germanness of their identities with religious, linguistic and national aspects, it can be said that the young women experience a contestation of belongings and try to hide themselves in music in an effort to escape the tension of contested belongings. However, Turkish classical music is a source of contested belongings since the young women considered produce a type of music that they do not normally listen to.

Camille Saint-Saëns's (1835–1921) Messe de Requiem op. 54 (1878) is among the many works by that composer that are all but forgotten by contemporary musicians. As is the case with most of Saint-Saëns's forgotten works, it is of remarkably high quality, possessing numerous features that make it desirable and accessible to a variety of ensembles. This study seeks to bring greater awareness of the piece to a wider audience, to provide a framework for understanding the most prominent style features of the work, and to ascertain its relationship to other well-known French Requiems of the nineteenth century. To this end, this study identifies and summarizes two trends in French Requiem composition in the nineteenth century: the dramatic trend, exemplified by the Grande Messe des morts op. 5 (1837) of Hector Berlioz, and the conservative trend, exemplified by the second and third of Charles Gounod's four Requiem settings: the Messe breve pour les morts (1873), and the Messe funèbre (1883). Salient style features of these three works are discussed in order to determine how their respective composers bring about the dramatic and conservative affects of their respective works. An analysis of the form, text setting, expressive elements (including dynamics, articulation, and orchestration), harmonic practice, and choral voice leading of Saint-Saëns's Requiem is also given, including a discussion of the relationship of the style features of this work to those of the Berlioz and Gounod Requiems.

In the following study I explore the role of musical practices in the making of different sensibilities. Beginning with the founding of colonial musical institutions in the late nineteenth century in Canada and ending with a consideration of the ideals and subjectivities embodied in a 2008 concert at the Arts and Letters Club of Toronto, I take up the education of feeling as it is rehearsed into being through various musical practices and juxtapose notions of identity with actual material and social relations. Anchored as it is in particular physical locations, my project draws on spatial analysis, discourse analysis and historical contextualization. The study is a genealogy of music education in Canada with music education referring to the institutional settings in which professional musicians and music educators are taught; public school music programs; and public celebrations of national identity in which music is employed with the goal of enjoining participants in particular historical/political narratives and emotional responses. My concern is to track the production of Imperial subjects and the normalization of hierarchies of the human, for example, rationalities of race, gender and class, as they become embodied and normalized in colonial institutional structures and discourses of national identity. I am particularly concerned with the ways that the displacement of Indigenous peoples, along with narratives of white entitlement, are rationalized and rehearsed into being in musical contexts. I also take up the question of how the discipline of musical training might lead to increased identification of classically- and university-trained musicians with the ruling order, and passivity in “political terms of obedience”—a subjectivity Foucault refers to as “docile bodies.” I identify this mode of being as “terminal naivety” in order to draw attention to personal and societal effects, and costs, that result from positioning ourselves and our artistic endeavours as politically disinterested.

In the following study I explore the role of musical practices in the making of different sensibilities. Beginning with the founding of colonial musical institutions in the late nineteenth century in Canada and ending with a consideration of the ideals and subjectivities embodied in a 2008 concert at the Arts and Letters Club of Toronto, I take up the education of feeling as it is rehearsed into being through various musical practices and juxtapose notions of identity with actual material and social relations. Anchored as it is in particular physical locations, my project draws on spatial analysis, discourse analysis and historical contextualization. The study is a genealogy of music education in Canada with music education referring to the institutional settings in which professional musicians and music educators are taught; public school music programs; and public celebrations of national identity in which music is employed with the goal of enjoining participants in particular historical/political narratives and emotional responses. My concern is to track the production of Imperial subjects and the normalization of hierarchies of the human, for example, rationalities of race, gender and class, as they become embodied and normalized in colonial institutional structures and discourses of national identity. I am particularly concerned with the ways that the displacement of Indigenous peoples, along with narratives of white entitlement, are rationalized and rehearsed into being in musical contexts. I also take up the question of how the discipline of musical training might lead to increased identification of classically- and university-trained musicians with the ruling order, and passivity in “political terms of obedience”—a subjectivity Foucault refers to as “docile bodies.” I identify this mode of being as “terminal naivety” in order to draw attention to personal and societal effects, and costs, that result from positioning ourselves and our artistic endeavours as politically disinterested.

This thesis studies the structural transformation of public musical life in Stockholm during the period 1840–1890, with focus primarily on the classical musical sphere. The study is based on qualitative and quantitative analysis of a number of different sources such as newspapers, music magazines, offprints, and other archival material. Using Jürgen Habermas’s theory of structural transformation of the public sphere as a starting point, the thesis aims to elucidate the processes within the structural transformation of Stockholm’s public musical life. In particular, this study examines processes of institutionalisation and professionalisation within four main areas of public musical life: the music press market, concert life, performers, and audiences. The actions of individuals and institutions are also studied in order to highlight the priorities and proclivities underlying the identified changes to public musical life. The period in question saw the transition of concert life from representational culture to the bourgeois public sphere, as well as the gradual division between ‘classical’ and ‘popular’ musical spheres. The study shows that public musical life emerged and expanded within the bourgeois public sphere. Therefore, the ideas and demands of the bourgeoisie were crucial to structural transformation of Stockholm’s public musical life. The old Royal institutions still constituted the core of the public musical life but were adapted to the new bourgeois society. The process of institutionalisation within the musical life was characterized by organisational functions, but also by social institutionalisation of practices within the four main areas mentioned above. The bourgeois ideas of musical Bildung played a significant role in the processes of institutionalisation and professionalization, as it illuminates the priorities and proclivities underlying this process. Several aspects of this development are related to influences from early nineteenth-century musical idealism. The structural transformation of public musical life in Stockholm during the period 1840–1890 laid the foundation for the further developments in the 20th century, and its impact is in some respects evident still today.

abstract: During the twentieth-century, the dual influence of nationalism and modernism in the eclectic music from Latin America promoted an idiosyncratic style which naturally combined traditional themes, popular genres and secular music. The saxophone, commonly used as a popular instrument, started to develop a prominent role in Latin American classical music beginning in 1970. The lack of exposure and distribution of the Latin American repertoire has created a general perception that composers are not interested in the instrument, and that Latin American repertoire for classical saxophone is minimal. However, there are more than 1100 works originally written for saxophone in the region, and the amount continues to grow. This Modern Latin American Repertoire for Classical Saxophone: Recording Project and Performance Guide document establishes and exhibits seven works by seven representative Latin American composers.The recording includes works by Carlos Gonzalo Guzman (Colombia), Ricardo Tacuchian (Brazil), Roque Cordero (Panama), Luis Naón (Argentina), Andrés Alén-Rodriguez (Cuba), Alejandro César Morales (Mexico) and Jose-Luis Maúrtua (Peru), featuring a range of works for solo alto saxophone to alto saxophone with piano, alto saxophone with vibraphone, and tenor saxophone with electronic tape; thus forming an important selection of Latin American repertoire. Complete recorded performances of all seven pieces are supplemented by biographical, historical, and performance practice suggestions. The result is a written and audio guide to some of the most important pieces composed for classical saxophone in Latin America, with an emphasis on fostering interest in, and research into, composers who have contributed in the development and creation of the instrument in Latin America. / Dissertation/Thesis / D.M.A. Music 2011

The focus of this study is on the relationships among three basic auditory representations as well as their interaction with a measure of overall musicianship (sight-singing) among a group of classical and non-classical university music students (N = 112) selected from three different universities. Students were enrolled in level one of an aural skills course at the time. Basic auditory representations included were tonic centrality, measured by Colwell’s (1968) Feeling for Tonal Center, tonal grouping, measured by Colwell’s (1968) Auditory-Visual Discrimination, and harmonic function grouping, measured by a revised version of Holahan, Saunders and Goldberg’s (2000) assessment. I evaluated relationships by correlating scores on each measure and also compared these relationships among classical and non-classical music students. The participants in this study were the most skilled at forming auditory representations of tonic centrality and non-classical musicians significantly (p = .002) outperformed classical musicians in this area. Tonic centrality was also most strongly correlated with overall musicianship (τ = .45, p < .001) within the sample, and this relationship appeared to be stronger among non-classical musicians (τ = .52, p < .001) than among classical musicians (τ = .39, p < .001). This difference may be accounted for by the increased reliance on grounding in a tonal center required by the musical activities of a typical non-classical music student. Given the changing balance of musical endeavors present in tertiary music schools today (Lehmann, Sloboda, & Woody, 2007), educators are encouraged to better understand the particular strengths non-classical musicians may bring to the classroom in terms of ear-based musical abilities. Likewise, music educators on each level are encouraged to incorporate ear-based activities such as improvisation and playing by ear to the benefit of musicians of all genres.

abstract: A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color. The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece. / Dissertation/Thesis / Masters Thesis Music 2016

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-06-28Bitstream added on 2014-06-13T20:35:55Z : No. of bitstreams: 1 bloes_cca_me_ia.pdf: 228923 bytes, checksum: 52a61c28147b60972276fc37ba2c2776 (MD5) / Universidade Estadual Paulista (UNESP) / Com esse trabalho busca-se compreender o processo de integração da música popular urbana à música de concerto representada pelos pianeiros que surgiram no Brasil a partir da segunda metade do século XIX. Os pianeiros foram representantes de uma nova geração de pianistas que se profissionalizaram e se desenvolveram para atender às necessidades de entretenimento das diversas classses sociais da época em detrimento de um efetivo crescimento econômico e urbano. Além de pianistas profissionais, foram também responsáveis pelo desenvolvimento de elementos fundamentais para uma nova concepção de música popular urbana, participando da formação e fixação dos gêneros musicais populares da época e incorporando-os ao piano. A abordagem desse processo estabeleceu-se, tendo como pano de fundo, a dicotomia cultura popular-cultura de elite que é analisada sob a ótica da circularidade de Baktin e seu conceito de dialogismo e polifonia. O problema é, então, estruturado em um pensamento que não propõe a exaltação ou domínio de uma cultura sobre a outra, mas um processo de reciprocidade e circularidade, no qual dialogam diferentes vozes que constituem o dircurso polifônico. Assim, diante desse processo de integração de culturas, o pianeiro assume o papel de intermediário cultural ou seja, passa s ser um elo de ligação entre a música erudita e a música popular, ampliando os conceitos e influenciando a cultura e a sociedade da época, tendo em vista que, até então, o piano pertencia exclusivamente à musica erudita restrita às camadas da elite. / The aim of this work is to understand the process of integration between the urban popular music and the concert music represented by the pianeiros that have emerged in Brazil since the second half of the 19th century. The pianeiros represented a new pianists generation that have professionalized and improved themselves in order to chieve the entertainment needs of the different social classes of that period that were exclused of the real economic and social growth. Besides being professional pianists, they were also responsible for developing the crucial elements of a new concept of urban popular music, taking part in forming and settling the popular music kinds of their yers and taking these ones to be played on the piano. The apporach of that process had as backgound the tichotomy between popular culture and elite culture, which will be unterstood using Bakhtin's idea of the optics of ciecularity and the concepts of dialogism and polyphony that it brings. Then, research question is structured in a line of thought that does not see superiority or mominancy of any culture above other cultures, but in the other hand proposes a process of reciproity and circularity in which dialog is held by the different voices that constitute the polyphonic discourse. Though this integration of cultures, the pianeiro played the role of cultural intermediate, acting as a link between classical and popular music and then changing musical concepts and influencing their own cultures and societies in a moment that piano belonged exclusively to the classical music restricted to the social elites.