• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 141
  • 51
  • 25
  • 6
  • 5
  • 4
  • 3
  • 3
  • 3
  • 1
  • 1
  • Tagged with
  • 263
  • 133
  • 61
  • 60
  • 55
  • 52
  • 43
  • 36
  • 32
  • 30
  • 29
  • 28
  • 27
  • 26
  • 24
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

A study of the polyphonic music of the thirteenth century in relation to twentieth century music education.

Williams, Graham Norman. January 1967 (has links) (PDF)
Thesis (Mus.Bach. 1968) -- University of Adelaide, Dept. of Music, 1968.
2

Joseph Conrad : his dialogic poetics

Kang, Sukjin January 1998 (has links)
No description available.
3

CLAUDE DEBUSSY AND EQUALIZING BALANCES: A DIFFERENT APPROACH TO ANALYSIS OF CLAUDE DEBUSSY'S MUSIC WITH EXAMPLES FROM PRELUDES, BOOKS 1 AND 2

SACHS, DANIEL 27 May 2005 (has links)
No description available.
4

Primitive Polyphony? Simple Polyphony Outside the Mainstream of the Music History Narrative

Lese, Amy 18 August 2015 (has links)
This thesis addresses the relatively narrow understanding of simple polyphony in music history. Using three examples, I provide a survey, mostly of secondary literature available in English, and offer an overview of the use of simple polyphony in three different places and time periods in Western Europe during the Middle Ages and the Renaissance. More specifically, I examine the music of the Devotio Moderna in the Low Countries and Northern Germany during the fifteenth and sixteenth centuries, the Llibre Vermell and Iberian pilgrim culture in the fourteenth century, and the laude and processional genres in Northern Italy during the thirteenth, fourteenth, and fifteenth centuries. My purpose is to bring the topic of simple polyphony—significant despite its simplicity—back to the center of the music history narrative.
5

Vurazovi vidminnosti miž homofonijeju ta polifonijeju - teorija ta vykonavstvo, L'viv, Vyscyj deržavnyj musycnyj instytut im. Mykoly Lysenka (Atlas), 1995, 122 stor. [Georgiy Pavliy, Expressive Differences Between Homophony and Polyphony - Theory and Performance, Lviv (Atlas), 1995, 122 pp.] [Zusammenfassung]

Pavlij, Georgij 15 March 2017 (has links) (PDF)
Polyphony and homophony differ not only by their structural, but also by their expressive characteristics.
6

Shakespearean polyphony : an exploration of female voices in seven selected plays using a dialogical framework

Intezar, H. January 2013 (has links)
This thesis employs the concept of 'voice' in order to explore the variety of dialogic relationships between men and women in seven Shakespeare plays. Here, 'voice' is defined as an ideological position held by a character and voices within a dialogical relationship test dominant social ideas. In doing so, the aim is to explore how employing a linguistic approach allows us to develop a more nuanced perspective towards women and female voices in Shakespeare. Taking the early modern tradition of an all-male-cast into consideration, this project acknowledges the tension between the idea of embodiment and voice; however, it argues that even though there is no biological female body of the Shakespearean stage, there is a female voice. Dialogism, of course, derives from the work of the Russian theorist Mikhail Bakhtin. These 'voices' are analysed in the context of a theoretical framework informed by his writings on the novel, which are also increasingly being used to make sense of drama in line with Bakhtin's own awareness of a nascent dialogism in Shakespearean drama. 'Polyphony', in particular, assumes a separation between the author's and the characters' points of view. Thus, this project considers Shakespeare's texts as dialogic and his plays as a dialogue of voices, in which the characters have the capacity to hold dialogical relationships where no voice holds more importance than any other. This is significant because these conflicting voices are what make the Shakespearean text different from those in which a single voice is heard - that of the author, for example. As this study talks about an oppressive authoritative/patriarchal language, a dialogic approach unlocks the languages of the others which it tries to marginalise and silence. The research reveals a complex relationship between space, time and voice. More precisely, the carnivalesque becomes visible in Shakespeare's use of innovative discursive devices, such as 'active parody', 'Menippean dialogue' and 'Socratic dialogue', which suggests a multi-toned and ambiguous female voice; a voice that has the capacity to covertly and overtly oppose and challenge social ideologies surrounding gender. The thesis offers new perspectives on the presentation of women and speech. Importantly, it offers a more sophisticated and complex Bakhtinian framework for looking at carnival in Shakespeare. Additionally, a linguistic model of analysis also develops current scholarly use of Bakhtin's concept of carnival. Rather than viewing carnival as simply a time-space of betwixt and between, this project looks at carnival in the context of language (the carnivalesque). More specifically, it reveals how Shakespeare's female figures find pockets of carnivalesque space in everyday existence through dialogue. Thus, suggesting that emancipation is not limited to an allocated time or space, rather, it can also be achieved through language.
7

Evolution narrative et polyphonie littéraire dans l'oeuvre de Geoffrey Chaucer / Narrative evolution and polyphony in the works of Geoffrey Chaucer

Fruoco, Jonathan 24 October 2014 (has links)
Geoffrey Chaucer, grand traducteur, rhétoricien et poète courtois, fut longtemps considéré par la critique comme le père de la poésie anglaise. Or, un tel positionnement a non seulement tendance à occulter tout un pan de l'histoire de la littérature anglo-saxonne, mais également à mettre de côté les spécificités mêmes du style de Chaucer. Le but de cette étude est ainsi de démontrer que sa contribution à l'histoire de la littérature est bien plus importante qu'on ne le pensait. Car en décidant d'écrire en moyen-anglais à une époque où l'hégémonie du latin et du vieux-français était incontestée (en particulier à la cour d'Edouard III et de Richard II), Chaucer s'inscrivit dans un mouvement intellectuel visant à rendre aux vernaculaires européens le prestige nécessaire à une véritable production culturelle ayant permit l'émergence du genre romanesque. Ainsi, en assimilant successivement les caractéristiques de la poésie de Chrétien de Troyes, Guillaume de Lorris et Jean de Meun, Chaucer redonna à la poésie anglaise ses lettres de noblesse. Mais ce ne fut qu'après sa découverte de la Divina Commedia qu'il prit conscience du potentiel de la littérature : Dante lui permit, en effet, de libérer son art dialogique et d'ainsi donner à sa poésie une dimension polyphonique de premier ordre. De fait, si Chaucer ne peut être considéré comme le père de la poésie anglaise, il est en revanche le père de la prose anglaise et l'un des précurseurs de ce que Mikhaïl Bakhtine nomme le roman polyphonique. / Geoffrey Chaucer, translator, rhetorician and courtly poet, has long been considered by the critics as the father of English poetry. However, this notion not only tends to forget a huge part of the history of Anglo-Saxon literature, but also to ignore the specificities of Chaucer's style. The purpose of this thesis is accordingly to try to demonstrate that his contribution to the history of literature is much more important than we had previously imagined. Indeed, Chaucer's decision to write in Middle-English, in a time when the hegemony of Latin and Old-French was undisputed (especially at the court of Edward III and Richard II), was consistent with an intellectual movement that was trying to give back to European vernaculars the prestige necessary to a genuine cultural production, which eventually led to the emergence of romance and of the modern novel. The assimilation of the specificities of the poetry of Chrétien de Troyes, Guillaume de Lorris and Jean de Meun thus allowed Chaucer to give back to English poetry some of its respectability. Nonetheless, it was his discovery of the Divina Commedia that made him aware of the true potential of literature: Dante thus allowed him to free the dialogism of his creations and to give his poetry a first-rate polyphonic dimension. As a result, if Chaucer cannot be thought of as the father of English poetry, he is however the father of English prose and one of the main artisans of what Mikhail Bakhtin called the polyphonic novel.
8

The Language of Diaspora in Jhumpa Lahiri's Unaccustomed Earth

Kemper, Brittany 06 May 2011 (has links)
No description available.
9

Stravinsky’s Ikons: The Influence of Seventeenth-Century Russian Polyphonic Chant on Stravinsky’s Sacred Oeuvre

Johnson, Eric Thomas 24 September 2008 (has links)
No description available.
10

TONAL STRUCTURE IN THE POLYPHONIC MAGNIFICAT OF THE SIXTEENTH CENTURY

BOWEN, RICHARD LEON 11 October 2001 (has links)
No description available.

Page generated in 0.0389 seconds