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Grazyna Bacewicz: an analysis of the music for strings, trumpets and percussion and Pensieri notturniShuttleworth, Anne-Marie 20 April 2011 (has links)
MMus, Faculty of Arts, University of the Witwatersrand
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Expressive strategies and performer-listener communication in organ performanceGingras, Bruno. January 1900 (has links)
Thesis (Ph.D.). / Written for the Schulich School of Music. Title from title page of PDF (viewed 2008/12/01). Includes bibliographical references.
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Computer Recognition of Pitch for Musical ApplicationsClendinning, Jane Piper 08 1900 (has links)
No description available.
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Tonal unity and quality of motion : a Schenkerian study /Lehmann, Kennett. January 1998 (has links)
Thesis (Ph.D.)--University of Washington, 1998. / Vita. Includes bibliographic references (leaves [144]-146).
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Timespan formation in nonmetric, posttonal musicNauert, Paul Charles. January 1997 (has links)
Thesis (Ph. D.)--Columbia University, 1997. / Includes bibliographical references (leaves 276-285).
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Choral music in AlbaniaRapaj, Mario January 2016 (has links)
This thesis discusses the development of Albanian choral music from the early 20th century to the present. It provides a general history of Albanian culture and politics as context for the rapid changes that happened during the 20th century and how that has influenced the musical life of the Albanian people. The significance of this influence is then represented and analyzed through the works of three prominent Albanian choral composers from different generations, whose lives and body of work span the last century. Through these analyses, we explore the evolution of Albanian choral music and how modern composers preserve traditional folk elements, yet are influenced by the cultural and political environment of their respective time.
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A new repertoire: works for solo violin and tape.Kellogg, Virginia Katherine, January 1975 (has links)
Thesis (D.M.A.)--University of Rochester, 1975. / Reproduced from typescript. Four works analyzed: Capriccio, by Henk Badings.- Gargoyles, by Otto Luening.- Music plus one, by Ilhan Mimaroglu.- Quadrants: event/complex number three, by Larry Austin. "Glossary of terms": leaves 90-94. "Works for solo violin and tape": leaves 95-96. Vita. Bibliography: leaves 97-101. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/6294
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Incomplete Ursatzformen transferences in the vocal music of Heinrich SchenkerAyotte, Benjamin McKay. January 2008 (has links)
Thesis (Ph.D.)--Michigan State University. Music Theory, College of Music, 2008. / Title from PDF t.p. (viewed on March 30, 2009) Includes bibliographical references (p. 155-158). Also issued in print.
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Form in Paul Simon's music /Stephan-Robinson, Anna. January 2009 (has links)
Thesis (Ph. D)--University of Rochester, 2009. / Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/11554
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The sampling of bodily sound in contemporary composition : towards an embodied analysisSewell, Stacey January 2013 (has links)
The listener’s experience as an embodied subject is at the centre of this work. Embodied experience forms the basis for analyses of three contemporary compositions that sample bodily sound, in order to question how such works represent and mediate the body. The possible applications of this embodied methodology are illustrated through three case studies: Crackers by Christof Migone (2001), A Chance to Cut is a Chance to Cure by Matmos (2001) and Ground Techniques (2009) by Neil Luck. The findings of each analysis are placed within discussion of critical and theoretical concerns related to the (re)presentation, mediation and manipulation of the body both as materiality and as social construct, using, in particular, work by Hansen (2004) and Wegenstein (2006). The sampling practices of these works lead to the fragmentation of the represented bodies, in which margins between bodily interiors and exteriors are frequently crossed, bringing about a reconfiguration of the musical subject. Furthermore, the celebration of the bodily origins of these works complicates notions of recorded sound as disembodied. The analytical methodology developed in this thesis derives from a consideration of approaches in a number of fields: feminist musicology, music psychology, embodied cognition, phenomenology, music and gesture and new media theory. The sensations and affective responses of the listening body are discussed alongside an examination of how listening is shaped by processes of technological mediation. This thesis attends to both the body that is listening and the body that is listened to. I argue that it is not adequate to understand the works studied as merely representing the body, but suggest it would be more appropriate to understand the relationship between work and body as multi-faceted, conceptualising the body and recorded sound as mutually framing. This uncovers not only technology as mediation, but also the body as mediation. Finally, the case studies are used to reflect upon the limits of the embodied analysis methodology and its potential for wider application.
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