Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisor: Sherry L. Field. Vita. Includes bibliographical references.

<p>From the start the goal with this project has been to make a sounding interpretation of the act of wavesurfing from the perspective of a surfer and an exploration of the possibility to create soundprints that with music captures and recreates physical movements, experiences and moments of flow.</p><p>To do this I have collected physical data from a surfer surfing the waves at Torö Stenstrand (the most "famous" surfbreak in the Stockholm region) that I later connected to chosen musical parameters such as rhythm, pitch, tempo and texture. Because the goal was to capture the experience of surfing waves I also recorded sounds of the waves and the surroundings and mixed it together with the written out music. </p>

No description available.

Work which takes from elsewhere forms an important thread in European art music. There is a long tradition of music which variously borrows, thieves, pastiches, plagiarises, ironically ‘retakes’, hoaxes, impersonates and appropriates. The music I have written for Off the edge, while seeking to honour and add to this thread, also attempts to zoom in upon and make explicit the idea of an ultimate and irreversible composerly self-annihilation, a kind of one-way exit-gate from the world of authored musical works itself made of pieces of music, which so much of this tradition, I feel, points towards. (Of my nine pieces, it is perhaps Time to go—only, with its ‘à la suicide note’ texts and its music that seems to slide in from far beyond the frame that is ‘composer Luke Stoneham’, which manages to get closest to this.) I have chosen the title Off the edge, because all of my music tries to capture a sense of nocturnal peripheral vision: be content with catching glimpses of the composer Luke Stoneham, because as soon as you turn to look at him face-on, he disappears.

The thesis investigates the impact of western art music ('classical') upon the construction of Greek-European identity in the 19th century. Through the examination of institutions such as the Theatre of Athens that hosted the Italian opera for the better part of the 19th century, the Conservatory of Athens (1873), the Conservatory of Thessaloniki (1914), various 19th century literary societies, press content, scores, publications on music, and state regulations on education, the thesis utilizes both musical, as well as extra-musical material to construct a cultural and social history of Greece's understanding of the 'European' in relation to local Greek society through music between 1840 and 1914. At the same time, it highlights the importance of transnational institutional and interpersonal musical networks between Greece and Europe (mainly England, France, and Germany), to demonstrate how political and aesthetic preferences influenced long-term policy, cultural practice, and musical tradition. While examining the 19th century diplomatic, political, and cultural practices of the expanding 19th century Greek Kingdom, the thesis traces the development of western musical taste and practice in Balkan Greece in relation to the local modernizing society. It highlights the importance of local and European artistic agents and networks, identifies the tension between the projection of European identity and raw acoustic divergence, argues for about the contribution of music to the construction of Greek-European identity, and examines the cultural and political negotiations about the conflicting relationship between Byzantine-Hellenic-European-Modern Greek, as expressed through music and debates on music. The last part of the thesis assembles the 19th century material to explain the relationship between nationalism and musical practice at the turn of the 20th century, and as such the long-term influence of western art music upon the construction of Greek-European national identity.

In April 1994 the citizens of South Africa found themselves in the unique position of contemplating a new national culture; one that would for the first time embrace all South Africans, regardless of race, colour or religion. Official segregation, which began in 1948, ended with the first democratic election held in1994. Cross-cultural awareness in South Africa emerged in the 1980s. Within this temporal context, this investigation will trace parallel developments in the South African classical music genre and will relate these developments to the concurrent socio-political environment. Looking specifically at music written for the flute, the selected works were composed for the flute as a solo instrument, or in combination with up to four other instruments by a cross-section of South African composers who either live in South Africa or who have South African roots. The works included in this study were composed roughly ten years before and after 1994; the purpose being to document the changes that were taking place in South African Art Music leading up to the first democratic election and during the exciting times that followed. The main component of this research is the analysis of the works of nine South African composers, examining cross-cultural content in the musical form: Michael Blake (Honey-Gathering Song, Leaf Carrying Song), Robert Fokkens (Inyoka Etshanini, Cycling to Langa), Hendrik Hofmeyr (Marimba), Hans Huyssen (The Cattle have gone Astray), Bongani Ndodana-Breen (Visions I and II), Isak Roux (Sketches, Four African Scenes), Martin Scherzinger (Whistle of the Circle Movement), Becky Steltzner (Hambani Kakuhle Kwela) and Kevin Volans (Walking Song). Biographical information and compositional philosophies are also included for each composer. In addition, publisher and recording details are provided where they exist. The works contained in this document are organized by cross-cultural borrowing technique: overt cross-cultural borrowing, borrowing guided by African music-making principles, African paraphrasing, and inspirational landscape painting. A brief history of Art Music in South Africa is provided, as is an overview of African musics and instruments. The analysis of each work considers African musical influences and their incorporation, while performance suggestions will also elucidate unique African aspects of the music.

In April 1994 the citizens of South Africa found themselves in the unique position of contemplating a new national culture; one that would for the first time embrace all South Africans, regardless of race, colour or religion. Official segregation, which began in 1948, ended with the first democratic election held in1994. Cross-cultural awareness in South Africa emerged in the 1980s. Within this temporal context, this investigation will trace parallel developments in the South African classical music genre and will relate these developments to the concurrent socio-political environment. Looking specifically at music written for the flute, the selected works were composed for the flute as a solo instrument, or in combination with up to four other instruments by a cross-section of South African composers who either live in South Africa or who have South African roots. The works included in this study were composed roughly ten years before and after 1994; the purpose being to document the changes that were taking place in South African Art Music leading up to the first democratic election and during the exciting times that followed. The main component of this research is the analysis of the works of nine South African composers, examining cross-cultural content in the musical form: Michael Blake (Honey-Gathering Song, Leaf Carrying Song), Robert Fokkens (Inyoka Etshanini, Cycling to Langa), Hendrik Hofmeyr (Marimba), Hans Huyssen (The Cattle have gone Astray), Bongani Ndodana-Breen (Visions I and II), Isak Roux (Sketches, Four African Scenes), Martin Scherzinger (Whistle of the Circle Movement), Becky Steltzner (Hambani Kakuhle Kwela) and Kevin Volans (Walking Song). Biographical information and compositional philosophies are also included for each composer. In addition, publisher and recording details are provided where they exist. The works contained in this document are organized by cross-cultural borrowing technique: overt cross-cultural borrowing, borrowing guided by African music-making principles, African paraphrasing, and inspirational landscape painting. A brief history of Art Music in South Africa is provided, as is an overview of African musics and instruments. The analysis of each work considers African musical influences and their incorporation, while performance suggestions will also elucidate unique African aspects of the music.

Thesis (M.M.)--Baylor University, 2007. / Includes bibliographical references (p. 115-122).

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 200-220). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 200-220). Also available on the Internet.