There is no abstract available for this dissertation. / School of Music

The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs. / School of Music

Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2006. / Bibliography: p. 377-385. / Introduction -- Literature review, discussion of methodologies and research orientation -- "20% of nothing": Australian rock music management -- Australian country music management -- Australian pop music management: the third party -- Conclusion: managerial creativity. / Artist managers 'create' careers for musicians, yet little has been written about their creativity in the academic domain. Thus this thesis develops the notion of managerial creativity. Artist managers build and maintain 'brands', and this is a creative industry function. The thesis begins with a description of what artist management is, then it reviews the way in which various Australian musicians' and artist managers' careers are created and maintained. A musical idea or product arises from the synergy of many sources and not only from the mind of a single person (Csikszentmihalyi, 1996). Therefore it is easier to enhance creativity by changing conditions in the environment the artist is located in than by trying to make artists think more creatively. Managerial creativity involves the creation and maintenance of the system, context or environment from which artistic creativity emerges and is therefore the facet of the music industry that can most effectively enhance musical creativity. / Mode of access: World Wide Web. / ix, 390 p., ill

Females make up the minority in professional euphonium playing and teaching roles in the USA. The purpose of this research is to unveil the reasons behind this imbalance and to discover potential impacts females experience as a minority in the field. Research methods included sending a questionnaire to professional female euphonium players and teachers to document the experiences of participants. A secondary purpose of this study is to further document the existence of past and present potential female euphonium role models. Through a discussion of possible origins of and reasons behind a perceived lack of female euphonium players, I am seeking ways to achieve greater parity by garnering a more comprehensive understanding of the challenges faced by female euphonium players.

In Romanian, the word lăutari refers to highly skilled professional Romani (Gypsy) musicians. By interacting with Romanian culture and tradition, the lăutari settled down in the country and developed a unique musical tradition. Their music is characterized by intricate, elaborate, and refined ornamentation; its execution requires a highly level of technique. George Enescu, regarded as Romania's most influential musician, was affected by lăutari music. He created a unique musical language that recreates Romanian character by using lăutari elements. This dissertation examines how to approach Enescu's Violin Sonata No. 3 and perform it by understanding the characteristics of lăutari music as well as the work's use of such lăutari violin techniques as diverse expressive slides, vibrato, double stops, various ornaments, artificial harmonics, imitation of folk instruments, and a variety of bow strokes. Enescu's Violin Sonata No. 3 is regarded as a challenging work in the violin literature requiring a high level of violin technique. Although the standard violin repertoire is enormous, many violinists are looking to rediscover new and challenging repertoire, distinguish themselves from others, and promote themselves as professional performers. Therefore, this study should help violinists to approach the idiomatic violin writing of Enescu's sonata, especially its lăutari techniques and style.

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

(česky) Hlavním předmětem diplomové práce je nástin a charakteristika hudebního života a analýzy hudebních aktivit na dvoře Josefa Adama knížete ze Schwarzenbergu s teritoriálním zaměřením na oblast Českého Krumlova v období 2. poloviny 18. století jako příslušníka vyšších vrstev společnosti. Osvíceného knížete s hlubokým zájmem o společenský a umělecký život, štědrého mecenáše umění a především hudebního znalce a vynikajícího organizátora hudebního programu na svých panstvích. Jedním z úkolů je rovněž zachytit drobný příspěvek do problematiky studia šlechtické hudební kultury (období baroka a klasicismu) a socioekonomického okruhu s touto kulturou související či vzájemně se ovlivňující na konkrétním příkladě schwarzenberského dvora v souboru označovaném jako dechová harmonie. Společně s vývojem souboru dechové harmonie dojde ke stručné charakteristice divadelních aktivit a schwarzenberské hudební sbírky, úzce provázaných s hudebním provozem na dvoře Josefa Adama knížete ze Schwarzenbergu. Abstract (in English): The main aim of the diploma thesis is to provide characteristics of the musical life and analysis of the musical activities at the court of Prince Joseph Adam of Schwarzenberg, who belonged to higher society, with territorial focus in the area of Český Krumlov during the second half of the...

Fung Chui Bik. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 1-7 (3rd gp.)). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter One: --- Literature Review --- p.5 / Chapter Chapter Two: --- Methodology --- p.23 / Chapter Chapter Three: --- Historical Background / Chapter 3.1 --- The emerging of Indie music in Hong Kong --- p.26 / Chapter 3.2 --- New wave of DIY --- p.31 / Chapter Chapter Four: --- The Mediations & Active Prosumers --- p.38 / Chapter 4.1 --- The Mediations of Producers-consumers --- p.40 / Chapter 4.2 --- The Mediations of Professional-consumers --- p.52 / Chapter 4.3 --- The Mediations of Media workers --- p.62 / Chapter Chapter Five: --- Different Modes of Indie Prosuming --- p.70 / Chapter 5.1 --- Disciple --- p.73 / Chapter 5.2 --- Practitioner --- p.77 / Chapter 5.3 --- Critical Prosumer --- p.83 / Chapter Chapter Six: --- Conclusion一 A New Indie Culture --- p.86 / References and Bibliography / "Appendix I，II，III, IV"

This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.

Since the 1980s, "traditional" music of the Andes has become familiar to Vancouver audiences, as well as to those in urban centres throughout North America, Europe, Australia and Japan. This thesis explores the performance and presentation of Andean music in Vancouver, as an example of music making in transcultural displacement. Profiles of three musicians are presented, based on data compiled through formal interviews with musicians, observation of performance events, and research of promotional materials produced by Andean musical groups. All three are part of the Latin American immigrant "community" of Vancouver, and all have many years experience performing what they identify as Andean folkloric music. Their backgrounds, however, are diverse, as are the styles of music they currently perform. There are differences, also, in how their music relates to the construction and presentation of their ethnic identities in Canada. Central to this study is the issue of how musicians in a transcultural setting consider the notion of authenticity in maintaining musical traditions. The relation of a musical tradition to musicians' sense of identity, and how it may change over time, is also examined. This study demonstrates that in order to understand how and why a musical tradition changes through the process of globalization, we must examine the dynamics among musicians sharing that tradition, and the complex cultural and social networks in which each is embedded.