Humfrey's music, which is chiefly sacred, includes a large number of anthems, odes, services and songs. His compositions, particularly his sacred compositions, have received extensive investigation only on one other occasion, in Henry Bryce Jordan's unpublished dissertation on the subject. Of his sacred music, the anthems form by far the largest and most signification part. Six of them were printed in W. Boyce's Cathedral Music (London, 1760); twelve more, including the "club anthem" and an evening service, are to be found as part of the Tudway Collection of the British Museum (Harl. MS 7338) and others are extant in manuscript at the libraries of Ely, Salisbury, Windsor, the Friz-william Museum (Cambridge), Christ Church (Oxford, Birmingham University, St. Michael's (Tenbury), and the Additional manuscripts in the British Museum. It was primarily int he anthems that Humfrey introduced into England some of the declamatory methods of the French theatre and thus secured for himself the credit of having established their form and style. His solo songs, on the other hand seem to occupy a somewhat less esteemed position, attributable perhaps to their remarkable simplicity, and in few cases to their apparent neglect of such musical fundamentals as melody and rhythm. It is the songs, more accurately the secular songs for solo voice, which have been chosen as the topic of this study.

Thesis (Ph. D.)--University of Pennsylvania, 1930. / Published also without thesis note. Bibliography: p. 187-199.

Thesis (MMus)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: It is ironic that with so much interest in singing as a career, the possiblities for trained singers are getting less and less, especially in South Africa. With reality programmes such as Idols and Superstars, the popular music world is overflowed with singers with little, if any, voice training. Then there are also singers who try to establish themselves as crossover artists and perform opera arias on stages such as the KKNK Classic Pops and Die Burger’s Afri-Klassiek concerts accompanied by South Africa’s foremost symphony and philharmonic orchestras. But what about the classical singer who cross over into other genres of singing and like some local and international artists have proved to us, musicals could be a genre to explore. This study explore the possiblity of this type of crossover from classical singing to musical singing. By listening to sound recordings and using a series of musical volumes, songs were identified that the classical singer could sing without harming his or her voice technique. One of the success stories of this type of crossover is the Capetonian soprano, Aviva Pelham. In 1972 Pelham established herself as an opera singer in Cape Town and then confused the classical world with her appearance as Eliza Doolittle in 1978. After that she had a successful career on both classical and musical stages. During her career of nearly 40 years as performing artist, Pelham appeared in 28 different opera roles, 11 different operetta roles and 10 musical roles. Aviva Pelham’s achievements were laureated with a Cape Nederburg Opera Prize, four FNB Vita Awards and in 2000 an Arts, Culture and Heritage Award from the Western Cape Minister for Environment and Culture / AFRIKAANSE OPSOMMING: Dit is ironies dat, terwyl daar soveel belangstelling in sang as loopbaan heers, word die geleenthede vir opgeleide sangers meer beperk. In Suid-Afrika veral is die moontlikhede beperk vir klassieke sangers. Met realiteitsprogramme soos Idols en Supersterre is die populêre musiekwêreld vol van sangers met geen of baie min sangopleiding. Daar is dan ook van dié sangers wat probeer om hulself te vestig as crossover-kunstenaars en opera-arias uit te voer op die konsertverhoë, soos bv. die KKNK Classic Pops- en Die Burger se Afri-Klassiek-konserte saam met van Suid-Afrika se voorste simfonie- of filharmoniese orkeste. Maar wat van die die klassieke sanger wat “crossover” in ‘n ander tipe styl van sang en soos deur ‘n paar plaaslike en internasionale kunstenaars al bewys, is musiekblyspele ‘n genre om te ondersoek. Hierdie studie ondersoek dus die moontlikheid van hierdie tipe “crossover” van klassieke sang na musiekblyspele. Daar word deur middel van klankopnames en ‘n reeks volumes van musiekblyspel-liedere, liedere geklassifiseer wat die klassieke sanger kan sing sonder om sogenaamde skade aan sy of haar sangtegniek te doen. Een van die sukses-stories van hierdie tipe “crossover” is die Kaapse sopraan, Aviva Pelham. Pelham het haarself as ‘n operasangeres gevestig in 1972 in Kaapstad en die klassieke wêreld ophol gejaag met haar verskyning as Eliza Doolittle in 1978. Vandaar het sy ‘n suksesvolle loopbaan op beide die klassieke en musiekblyspelverhoë gehad. Pelham het gedurende haar loopbaan, van ongeveer 40 jaar as uitvoerende kunstenaar, 28 verskillende operarolle, 11 verskillende operette-rolle en 10 musiekblyspelrolle vertolk. Aviva Pelham se prestasies is bekroon met ‘n Kaapse Nederburg Operaprys, vier FNB Vita-toekennings en sy is in 2000 vereer deur die Wes-Kaapse Minister vir Omgewings- en Kultuursake met ‘n Kunste, Kultuur en Erfenis-toekenning vir haar bydrae tot die Uitvoerende Kunste.

From the Introduction: "The distribution of fruit in the Fonthill area will be examined and an explanation attempted in terms of the physical environment, economic condition and other criteria affecting the farmers' land-use decision." / An abstract is not provided. / Thesis / Bachelor of Arts (BA)

<p> The focus of this study is the impact of Ontario's regional government schemes on the small town of Pelham where the writer lived as a participant-observer for two years. The argument is made that, while some benefits have been achieved in the provision of certain services, regional government is more of a failure than a success. Pelhamites have found that the new local and regional governments are quite antithetical to what they knew and valued in local politics. Consequently, as a group, these citizens are more antagonistic to their government than they remembered having been prior to the structural reform. This antagonism is felt more intensely among the traditionalists living in the rural areas than among the newly arrived village commuters. The departure from the past is symbolized by planning, a policy framework significantly different from the political style of the old councils. The conflict between local citizens and the new organizations is best illustrated by two public decisions, the implementation of land planning and the closure of schools. These two policies are examined in detail to point out the difficulties that have arisen because of provincial efforts to reform local government institutions without taking into account community values. It is apparent that Pelhamites are not satisfied that the new governments are concerned about their town nor are they confident of their own ability to influence major policy outcomes. The most damaging impact is that it is widely accepted in the town that provincial authorities have not created new communities as promised but have destroyed what community had existed for the people of Pelham.</p> / Thesis / Doctor of Philosophy (PhD)

No description available.

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2004. / Abstract and vita. Includes final project proposal. Includes bibliographical references (leaves 99-101, 54-55).

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2004. / Includes abstract and vita. "November 2004." Includes bibliographical references (leaves 99-101).

Copyright has been struggling to keep up with the fast-paced technological advancements and the development of the information society during the last couple of decades. The shift from the analogue to the digital has made it possible to create precise copies out of original works without any quality loss. This makes it harder to monitor the use of protected works, but it also invites to new creative practises involving the use of already existing works. Sampling music is one of these practices, which has become more accessible in music production since the 1980’s because of the technological advancements. One way of describing sampling is when a part of an existing phonogram, often protected by copyright, is incorporated in a new musical work.  The copyright legislation, represented in inter alia the Information Society Directive encourages the maintenance and development of creativity by providing a high level of protection to authors and other rights holders. This thesis therefore examines in which ways music sampling is allowed under the copyright legislation to seek a better understanding of which type of creativity that falls within the scope of copyright.  The Court of Justice of the European Union (CJEU) has shed some light upon this question regarding a phonogram producer’s reproduction right in judgment of the Court (Grand Chamber) of 29 July 2019, Pelham, C-476/17, EU:C:2019:624. The Court found inter alia that sampling does not infringe a phonogram producer’s reproduction right if the sample is unrecognisable to the ear in the new musical composition. The CJEU also acknowledges that the use of samples in music production can be an exercise of the freedom of the arts protected by article 13 of the Charter of fundamental rights of the EU.  This thesis also examines the author’s right to his work, and a performer’s right to his performance and considers the exhaustive list of exceptions and limitations in the Information Society Directive. It is concluded that the copyright legislation does not leave much room for sampling without a license from the relevant rights holders. Furthermore, it is argued that the CJEU ruling in Pelham has limited a more “ideal” approach set by the Swedish Supreme Court, when interpreting if a potential work should be considered a new work or a reproduction of another work.  It is also concluded that the Information Society Directive’s aim at developing creativity can be interpreted as more of an economic goal in making the whole creative industry blossom, rather than making every creative expression desirable under copyright law. This can however be questioned when examining the two main philosophical motives behind copyright as a legal area.

No description available.