Thesis (M.A.)--York University, 2001. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 115-122). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ71642.

Thesis (Ph. D.)--York University, 2001. Graduate Programme in Music. / Typescript. 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.

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This thesis is based on the research conducted by the author for the series, Richard Niles' History of Pop Arranging, seven thirty-minute documentary programmes for BBC Radio 2, researched, written and presented by the author and broadcast in 2003. It also draws on interviews conducted by the author (and other research) between 2002 and 2007 both for the radio series and for this thesis and on the author's experience as a professional arranger in popular music working with many of the genre's significant recording artists including Paul McCartney, Ray Charles, Cher, Tina Turner, Westlife, Tears For Fears, Dusty Springfield, James Brown, Pet Shop Boys, Kylie Minogue and producers including Trevor Hom, Steve Lipson, Steve Mac and Steve Anderson. It will be argued that the role of the arranger in popular music has often been undervalued and that during a critical period of popular music history (1950-2000) arrangers played a significant part in the evolution of musical content. This thesis is, to the best of the author's knowledge, the first time (apart from the above mentioned documentary) the subject has ever been examined. The arranger is "invisible" because musical arrangers are often un-credited on record liner notes or in books or articles concerning popular music. A considerable amount of research has been necessary to determine who wrote many of the arrangements considered herein. Motown's Berry Gordy purposely kept the names of musicians and arrangers off the records because he feared others might 'poach' the trademark 'Motown Sound'. Other record labels considered the job of the arranger to be reminiscent of an earlier era, diluting the Rock 'n' Roll image of emotion and spontanaeity they wished to promote. Some producers and recording artists disliked sharing credit for their work. Motown arranger David Van dePitte told the author that arranging was "thankless and anonymous - a very service-oriented profession where others often take credit for what you've done." Arranging has therefore remained an intrinsically unseen art created by 'invisible' artists. By analyzing many recordings, revealing the techniques and concepts they have used in their work to create popular records, arrangers and their art will be made more 'visible'.

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Šio darbo objektas – pasirengimas vaišėms bei pačios vaišės. Darbo tikslas – aptarti XX a. II pusės – XXI a. pradžios Suvalkijoje ruošiamų vaišių ypatumus. Siekiant šio tikslo, keliami tokie uždaviniai: 1) aprašyti pasiruošimą vaišėms: parodyti, kiek dėmesio moterys skiria savo išvaizdai, kokias dovanas perka, kaip vaišėms puošiama namų aplinka bei vaišių stalas; 2) aptarti samdomų muzikantų kolektyvą, progas, kuriomis jie samdomi, atliekamą repertuarą, muzikantų užmokestį; 3) aprašyti samdomų šeimininkių darbo ypatumus, progas, kuriomis jos samdomos, užsakovų keliamus reikalavimus, šeimininkių atlyginimą; 4) aptarti įvairioms vaišėms patiekiamų patiekalų bei gėrimų asortimentą; 5) palyginti Suvalkijos ir Žemaitijos regionų XX a. II pusės vestuvių puotas. Rašant darbą, daugiausia remtasi pačios darbo autorės surinktais duomenimis. Tam buvo parengtos keturios anketos. Apklausos buvo atliktos 2006 – 2007 metais Suvalkijoje. Darbo pradžioje aptariamas pasirengimas vaišėms. Dėmesys sutelktas į einančiųjų į vaišes proginius drabužius bei aksesuarus. Siekiama išsiaiškinti, kokios dovanos kokiomis progomis yra perkamos bei kiek tam skiriama lėšų. Taip pat kalbama apie vaišių aplinkos bei vaišių stalo puošimą. Iš atsakymų matyti, jog, atėjus šventėms, suvalkiečiai mėgsta puošti savo namų aplinką bei vaišių stalą. Aptariamos samdomų muzikantų pasirinkimą muzikuoti lėmusios priežastys, progos, kuriomis jie samdomi bei darbo sezoniškumas. Nemažai dėmesio skiriama švenčių metu... [toliau žr. visą tekstą] / The object of the work – the preparation for parties and the parties. The aim of the work – to discuss the parties‘ peculiaritys, which are organized in the second half of the 20th century – in the beginning of the 21st century in Suvalkia. To reach this aim, there are a few tasks: 1) describe the preparation for parties: show how much attention women allow to their appearance, what presents buy, how they for parties decorate surroundings of the houses and of the parties‘ tables; 2) discuss the association of the hired musicians, occasions, when they are hired, repertoire, their payment; 3) describe the work‘s peculiaritys of the hired cooks, occasions, when they are hired, demands, which give clients and their payment; 4) discuss dishes and drinks, which are prepared for various parties; 5) compare the wedding‘s balls in Suvalkia and in Samogitia. The work is written with reference to the information, which was collected by work‘s author. For that reason was prepared four questionnaires. Interviews were done in 2006 – 2007 in Suvalkia. In the beginning of the work it‘s talking about the preparation for parties. Attention is concentrated to the occasional women‘s clothes and other similar things. Author wants to find out, what presents for what occasions people buy and how much money they spend for that. Also it‘s talking about parties‘ surroundings and parties‘ tables decorations. Respondents‘ answers tell, that suvalkiečiai like to decorate their houses‘ surroundings and... [to full text]

This thesis argues that in North America since the late 1980s, young women's interest in feminism has been expressed through participation in feminist music subcultures. The project provides an overview of the studies of culture, musical subculture, and gender and music making, as well as an historical context of feminism and a discussion of the relationship between second and third wave feminism. / The first case study explores Riot Grrrl's roots in the DIY activism of DC hardcore punk, its links to the female-oriented indie music scene of Olympia, Washington, and the subculture's use of alternative media. The second study examines efforts to integrate queer politics into third wave feminism through lesbian punk rock music subculture. The final study of electronic feminist punk rock examines how young feminists use alternative media such as zines, internet message boards, web sites, music making, and performance to educate young women about sexual abuse and homophobia. / Analysis of the Riot Grrrl, lesbian punk rock, and electronic feminist punk rock subcultures demonstrates how young women claim spaces for their own feminist politics, even if they have gone relatively undetected by the mainstream culture.

Dissertation submitted in partial compliance with the requirements for the Master’s Degree in Technology: Chiropractic, Durban University of Technology, 2010. / Background: Professional orchestral string musicians are exposed to many physical and psychological stressors due to demands placed on them from playing their instruments. The prevalence of performance-related musculoskeletal disorders (PRMD’s) in this highly skilled group of individuals has been investigated internationally, consistently showing a high injury rate. There is however, a paucity of literature documenting the prevalence of musculoskeletal injuries in South African professional orchestral string players. It is hypothesized that South African trained orchestral string musicians may be at a greater risk for PRMD development due to the unique training and performance environments encountered in this country. Objectives: This study aimed to determine the demographic and injury profile; prevalence rate of current injury and risk factors for musculoskeletal injury in South African professional orchestral string musicians. Method: The study utilized a self administered quantitative questionnaire distributed to all string players in the three professional orchestras in South African in a semi-supervised fashion. SPSS version 15.0 (SPSS Inc., Chicago, Illinois, USA) was used to analyze the data. A p value < 0.05 was considered as statistically significant. iv v Results: There were 27 respondents, with the average participant being a Caucasian, right handed, non-smoking female, 37.11 years of age, 1.5631 meters tall, with a weight of 62.96 kilograms (BMI = 25.768) who exercised regularly (primarily in the gym). A bachelors degree in Music was the most commonly awarded qualification, obtained between the years 2000 and 2009, from a University outside of the Republic of South Africa. The prevalence of PRMD’s in the sample was 63% (n = 17), with a 95% confidence interval of 42.4% to 80.6%.In this study there was a high rate of injury (6.53 PRMD’s per player over a 12 month period), equating to 111 reported injuries in a population of 27 string players. The upper back (defined as the area between the shoulder blades) was the most commonly injured part of the body (77.8%, n = 21), followed by the upper extremity, mainly the shoulder (70.4%, n = 19). No statistically significant relationships were found in determining and confirming expected risk factors in the string players. Conclusion: Professional orchestral string musicians in South Africa suffer from a high rate of injury which is comparable to international studies of the same nature

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Fred Jewell was one of the leading composers of band and circus music of the early twentieth century. Born in Worthington, Indiana in 1875, he started his musical career at age sixteen as a baritone player in a circus band. He rose to the position of bandmaster for the Barnum and Bailey, Gentry Brothers, Hagenbeck-Wallace, and Sells-Floto Circuses. He wrote dozens of marches and other pieces of music for the circus. Upon returning to Indiana, he began to concentrate on the concert band, writing music in several genre for that ensemble.He relocated to Iowa from 1918-1923, where he established his publishing company and directed the Iowa Brigade Band. He returned to Worthington in 1923, where he became director at the local high school and the President of the Town Council. His publishing business grew during the 1920s, and he was named director of the Indianapolis Murat Temple Shrine Band, one of the nation's leading Masonic ensembles. Frequently in demand as a guest conductor, he joined the American Bandmasters Association and wrote many marches for the educational market. He guided his publishing company through the depression years until his death in 1936.It is as a composer of marches that Jewell is remembered decades after his death. Several of his marches, including "E Pluribus Unum," "Gentry's Triumphal," "The Screamer," and "Quality-plus" have remained in the repertoire of concert bands. Following Jewell's biography, this study includes a chronological discussion of his works, with each piece of music analyzed brieflyas to instrumentation, form, and facts of publication. Jewell's scoring styles and his publishing career are also discussed.An increased interest in the influence of American bands during Jewell's lifetime has stimulated researchers in that area. Jewell, as one of the leading figures of the time, can be thought of as a model typical of enterprising musicians and composers whose careers spanned a wide spectrum, both geographically and in versatility. Their impact on the artistic development of America is just beginning to be recognized. / School of Music