Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1590. Adviser: Charles Capwell. Includes bibliographical references (leaves 361-395) and discography (leaves 361-362) Available on microfilm from Pro Quest Information and Learning.

No description available.

Thesis (M.S.)--University of Alabama at Birmingham, 2009. / Title from PDF t.p. (viewed June 30, 2010). Additional advisors: Stephen A. Watts, Paul A. Richardson, John T. Tarvin. Includes bibliographical references (p. 36-38).

No description available.

No abstract available. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2012.

The loudspeaker system and the room interface are the two main components in any listening environment. Research will be conducted focusing on the room component using Control Room 'A' of the McGill University Recording Studio in an attempt to optimize the monitoring situation. The sound field of the room will be broken down and analyzed in both time and frequency domains. The problem areas of the room will be identified and the surfaces altered by means of absorption, reflection and diffusion.

Thesis (M.Arch.) - Carleton University, 2006. / Compact disc. Includes bibliographical references. Also available in electronic format on the Internet.

Orientador: José Eduardo Ribeiro de Paiva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T03:50:36Z (GMT). No. of bitstreams: 2 Pinto_WaldirdeAmorim_D.pdf: 1276240 bytes, checksum: 8a86b876e4f1a39e8d680c931ea6e7b2 (MD5) Pinto_WaldirDeAmorim_Anexo.zip: 100462299 bytes, checksum: d1dd90b2bae3cd94ad8bcc39bca911d8 (MD5) Previous issue date: 2013 / Resumo: Esta pesquisa teve por finalidade identificar convergências nos trabalhos de mediação dos produtores musicais envolvidos com o movimento do pagode nas décadas de 1980 e 1990. O samba apresentado nas rodas de pagodes nos anos de 1980, e que ficou comercialmente conhecido como pagode - ou "samba de raiz", mais recentemente -, é caracterizado por musicólogos como representante das comunidades restritas e da tradição do samba. Da mesma forma, os musicólogos costumam caracterizar os artistas que emergiram na década de 1990 - e que tiveram seus trabalhos classificados como pagode - como incorporadores de elementos estrangeiros e modernos ao samba, num "novo" pagode que ficou conhecido como "pagode romântico". A despeito destas dicotomias que envolvem o pagode, ao passar por um estúdio de gravação a música de ambos os segmentos (e períodos) reflete um processo de mediação; e as figuras dos produtores musicais são responsáveis por isso, no âmbito da indústria fonográfica. Utilizando-se da análise de fonogramas de artistas ligados ao pagode (de ambas as décadas) e de entrevistas semi-estruturadas com os produtores musicais daqueles artistas, foi possível identificar algumas estratégias, objetivos e padrões de produção musical que deixam as fronteiras préestabelecidas menos nítidas. Dessa forma pôde-se concluir que, além das dicotomias, há muitas convergências que permitem avaliar o pagode de maneira menos segmentária e mais independente do discurso moderno-tradicional, hibridoautêntico, nacional-internacional que vêm pautando os estudos sobre o assunto; e é quando se analisa o pagode sob o prisma do produtor musical que se identifica o mercado como diminuidor de fronteiras e integrador de pólos distintos / Abstract: This research aimed to identify convergences in mediation work of record producers during the movimento do pagode of the 1980s and 1990s. Samba made in the rodas de pagode in the 1980s, commercially known as pagode - more recently called rootsy samba -, is characterized by musicologists as the representative of restricted communities and samba tradition. Likewise, musicologists often characterize the artists that emerged in the 1990s - and had their work classified as pagode - as incorporators of foreign and modern elements to the samba, creating a "new" pagode which became known as "romantic pagode". Despite these dichotomies involving the pagode, passing the music of both segments (and periods) by a recording studio reflects a process of mediation and the figures of record producers are responsible for that within the music industry. Through the analysis of repertoire of artists connected with the pagode (in both decades) and semi-structured interviews with the record producers of those artists it was possible to identify some strategies, objectives and standards of record production that leave the pre-established boundaries less clear. Thus it can be concluded that besides the dichotomies there are many convergences for assessing the pagode in a less segmental speech - more independent of the modern-traditional, hybrid-authentic, national-international discussions that have been basing the studies on the subject. Analyzing the pagode through the prism of the record producers makes possible to identify the market as borders subtractor and distinct poles integrator / Doutorado / Fundamentos Teoricos / Doutor em Música

No description available.

The aim of the research is to develop a brief for the design of a proposed Centre for Indian Music in Durban. The relevance of such a centre would be established by analysing the history of music in India as compared to the Indian music evolution in South Africa. The effects of imperialism and colonisation had significant impact on the practice and learning of music in both countries. Such political institutions also had great influence on the spaces where music had been performed. Indian music is unique and differs quite significantlyly from Western muslc. A comparison of Indian music (movement through time) and the architecture of Indian music to Western music would provide valuable clues to the quality of space and movement through space In Indian architecture. The theory review analyses the integration of pragmatic functional requirements of the building program with the metaphysical and symbolic qualities of space that are characteristic of Indian traditional architecture. Such architecture would be analysed with reference to its relevance in the context of Durban. Any cultural place ought to transcend mere functional requirements and should be rich in symbolism and metaphor. Both natural and spatial archetypes add to the symbolic quality of space and place. Critical regionalism would hence be reviewed. Urban design theory would be essential as the Centre for Indian Music in Durban would be located adjacent to a rich cultural precinct on one end and totally vacant and abandoned sites on the other. The need for urban design and intervention would propose appropriate development of the vacant sites whilst Linkages to other cultural facilities would be established within the City's rich cultural landscape. Acoustic principles would be analysed in order to design effecient rooms and spaces to facilitate music performance and production. Precedent studies of similar buildings by renowned architects would be critically analysed against their symbolic and contextual relevance. Case studies of South African musIc facilities would provide useful design and technical data. The siting of the building would be borne out of a thorough analysis of various sites against a predetermined set of site selection criteria. The resultant formulation of a brief would be the outcome of the research undertaken. / Thesis (M.Arch.)-University of KwaZulu-Natal, Durban, 2008.