This thesis examines the history of the performance and dissemination of chamber music in Melbourne during the period 1877 to 1901. It explores the role and development of chamber music in concerts held by Melbourne’s leading musical societies and public subscription series, and various concerts featuring local and touring performers. Discussion is placed within an international context and the thesis asks whether local musicians were influenced by contemporary developments in Europe and if so, was the primary influence English or German? / The bulk of the thesis explores the history of some of Melbourne’s musical societies and public concerts and focuses in particular on the repertoire that was performed, methods of program construction, the perceived ‘educational’ value of chamber music and performances within educational institutions. It demonstrates that performances of chamber music flourished during Melbourne’s economic boom of the 1880s, and that although performances declined during the following depression of the 1890s, standards of performance had improved, audiences were better educated and informed about chamber music, and Melbourne was relatively quick to introduce contemporary chamber repertoire. The first chamber works by local musicians and composers were also composed and performed in Melbourne during this period. / The availability of competent musicians was a significant factor and played a role in determining the type of repertoire that was performed. With large numbers of competent pianists and string players, and very few wind players, present in Melbourne during this period, for example, the repertory tended to focus on works for piano and/or strings. The contribution of local and international performers, particularly English and German-born and/or trained instrumentalists, is also considered. English and German musicians not only had an impact on the shaping of the repertory, but also influenced the way that concerts were organized. These influences, however, often overlapped and were not always clearly defined.

In Culture and Imperialism, Said illustrates that we have no "autonomous cultural forms," but rather "impure" ones that are the products of historically "discrepant experiences." American culture has an interesting relationship with the history of imperialism. The Europeans that settled the U.S. imported slave labor to assist in the growth of the new nation and this practice ironically "hybridized" American culture despite institutionalized segregation of the races, mixing disparate cultural ideas in a common social location. Said's theory fits an analysis of jazz in America since the music was instigated by the enslavement of native Africans, West Indians and inhabitants of the Caribbean, and the tensions this produced between traditional European and non-European cultural experiences are emblematic of its evolution into a popular form of music. Concomitant to its popularity in the later 1930s was a scholarly interest in the history of jazz, which culminated in narratives ascribing to it a recognizable "American" history and a set of familiar European aesthetic characteristics, neglecting the "discrepant experiences" of jazz history. During the 1940s, some artists were working with musical ideas that expanded the innovative spaces left open by those preceding them. Criticized for playing "anti-jazz," they produced music for audiences who were late to realize the significance of their contributions. Among them was John Coltrane, a saxophonist who took these controversial approaches into unconventional musical territories. Similar to the shortsighted criticisms weighed against his mentors, critics regarding Coltrane neglected the ways in which his music is important as an expression of the fundamental power struggles that are at the heart of American culture. I analyze several of Coltrane's recordings to illustrate how they are artifacts which can be studied for evidence of the tendency in narratives to preclude the "hybridity" important to the history of jazz. My focus is on the liner notes that accompany the recordings, which I read "contrapuntally" with other forces in their production in order to discuss the tensions between economics, communication and representation that are integral to an understanding of Coltrane's music. / Graduation date: 1999

Thesis (Ph.D.)--Bowling Green State University, 2007. / Document formatted into pages; contains viii, 345 p. : ill. Includes bibliographical references.

Recently, since music festivals and ¡§live house¡¨ performances have become popular in Taiwan, the number of independent bands have been increased gradually. Bands nowadays have more advantages than previously, but they also face more challenges, such as commercial factors, keen competitions among other bands, the impact of new music style, including electronic music and Hip Hop, and so on. Above all, the most challenging one is the source of incomes. Therefore, rock musicians always face the difficulty of career change. This study attempts to explore the career development of Taiwanese rock musicians. The questions are listed as follows. First, what are their motivations to be rock musicians? How can they earn their living as rock musicians? Second, what is their career planning and career development? Third, why do some of the rock musicians decide to look for other jobs? What are the processes they have to go through while transferring to other jobs? Can they adjust to new jobs well? The based theories of the study are career development and career planning. The methods of data collection include observation, documental analysis and interview. The study uses triangulation to increase credibility and reliability. The objects are six rock musicians who live in Taipei and Kaohsiung. The conclusions are as follows. (1) The most remarkable motivations to influence the rock musicians in Taiwan are the learning experiences, the career conditions, social environment, and musicians¡¦ personality. (2) According to the result, the career-decision process and career development task correspond to the theories of Ginzberg and Super. (3) Economic problem is the significant motivation that prompts the rock musicians to change to other jobs. Remarkably, they anticipate making the decisions on schedule, not accidentally. Besides, most of the interviewers transfer to other jobs during the five transferring periods which Levinson proposed in his theory. (4) Western rock music influences Taiwanese rock musicians both on music style and outer appearance. (5) Taiwanese rock music style is different in every place associated with the ¡§urban characteristic.¡¨ (6) Famous and mainstream rock bands and musicians can have more economic power to earn their living as rock musicians. (7) Taiwanese rock music workers have to make more improvement as western ones, especially on creative work. (8) Rock musicians of different ages have distinct expectations on their own career life and future. (9) Female rock musicians have more advantages than males on outer appearance, while they are more limited by marriage and family on the other hand. (10) Married or some rock musicians with heavy economic burden may be influenced on their career development. Finally, Few suggestions are generated from this study: First, when one decides to ento this career, he must cultivate his musical ability well. Second, he must take his own responsibility and understand his works¡¦ position in the music market.

Thesis (M.A.)--University of Kentucky, 2001. / Title from document title page. Document formatted into pages; contains viii, 69 p. : ill. Includes abstract. Includes bibliographical references (p. 67-68).

Thesis (M.A.)--Marshall University, 2002. / Title from document title page. Document formatted into pages; contains v, 23 p. Includes a live performance (duration 1.01.03). Includes bibliographical references (p. 21-23).

Thesis (M.S.)--Florida State University, 2003. / Advisor: Dr. Bruce T. Grindal, Florida State University, College of Arts and Sciences, Dept. of Anthropology. Title and description from dissertation home page (viewed Apr. 7, 2004). Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Dept. of Music, Dec. 2003. / Includes bibliographical references. Also available on the Internet.

Thesis (M.A.)--Marshall University, 2002. / Includes bibliographical references (p. 21-23).

Thesis (Ph. D.)--York University, 2001. / Typescript. "Publisher's no.: UMI NQ67904." Includes bibliographical references (leaves 388-421). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67904.