This study aims to describe how the basic elements of music are synthesised and manipulated to create a composition in the musical style called Third stream music. This is done through a comprehensive description of the background of this musical style and a detailed analysis of a case study Third stream work, Invictus: Orchestral Prelude in 3 Movements, by the South African composer Noel Stockton and commissioned by the South African Music Rights rganisation. Copyright / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

The work consists of two parts: the first one is focused on the Staré Brno borough, it's historical development and reinterpretation of a water element, that was once present in the form of a millrace that no longer exists. In the second part, one of the important urban knots of the area is chosen to be the site for the public spa and library complex. The design focuses on the cultural aspect of the new intervention and addresses the complex topic of the public spa as the epicenter of the public life.

Reference to a regular pulse is one of the most common ways of measuring time in music. As the basis for tempo, meter, subdivisions, and even formal symmetry, pulse, or the sonic articulation of regular units of time, is found throughout all levels of music. In this paper, I describe how I used a structure of twelve simultaneous pulses to compose "Monolith," a recent piece for MIDI piano, Pierrot ensemble, and fixed electronics. In the first chapter, I contextualize "Monolith" by briefly examining pulse's relationship to hierarchical structure in music and the possibilities for creativity in pulse-based hierarchical structures. In the second chapter, I analyze the use of pulse in Steve Reich's "Music for 18 Musicians," György Ligeti's "Self-portrait with Reich and Riley (with Chopin in the background), and Conlon Nancarrow's "Study No. 36 for Player Piano." In the third chapter, I describe in detail the relationship between the twelve-pulse structure and the various movements that comprise "Monolith," focusing on the relationship between compositional freedom and prescribed structure throughout the work.

My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation contains three newly-composed musical works: Piano Trio from Opus 3/c, Opus 6 for Violin, and Opus 7 for Piccolo. The works' postmodern features include creative approaches to the fragmentation of musical time into separate levels, historical allusions, and the exploration of multiplicity.

This paper presents an overview of the concepts and strategies in the original composition, The Harbour of Incense, a cycle of three movements for different groups of instruments. Each movement addresses an aspect of the musical cultures of Hong Kong. The first movement Taan Go for Harp Solo explores the sound world of the folk genre saltwater song; the second movement Jat1 Wun2 Sai3 Ngau4 Naam5 Min6 for Flute and Piano highlights the musicality of Cantonese language; the third movement Daa Zaai for Oboe, Clarinet in B-flat, Bassoon, and Percussion, is inspired by the keyi music used in the Taoist funeral. The paper discusses how to bring together Southeast Asian aesthetics and contemporary Western compositional techniques, as well as how to communicate this unique cultural experience to performers and audiences from other backgrounds. It provides the transcriptions of two saltwater songs and an excerpt of keyi music, and illustrate how they inform the structures, textures, and melodic gestures of the composition. The nine tones of Cantonese language are also explored for generating melodic materials, metric plans, and articulation writing.

The aim of the thesis is to examine the power of organized composers of art music in interwar Sweden and their development of areas of interest 1919-1939. The period is chosen due to the 1918 founding of the Society of Swedish Composers (the FST). Although of significant value, most of the previous research on the subject has focused on individual composers. The thesis, instead, combines concepts of Pierre Bourdieu’s theory of cultural fields with power theories of Steven Lukes and Walter Korpi to investigate access to power resources and exercise of power within the field of music by the FST and its members 1919-1939. The results show that the FST of 1939 had greater access to economic capital, which correlated with the expansion of the FST’s exercise of power and areas of interest concerning the whole field of Swedish music, rather than exclusively the field of art music. Social networks tied to the FST, however, never ceased to be an important factor influencing the operations of the FST.

When a new type of jazz, later often referred to as free jazz, entered the Swedish jazz scene at the time when the 1950s became the 1960s, an intense debate occurred within the Swedish jazz community. A debate between those in favor of the new style, its expressions and the direction in which jazz was moving towards in general, versus those who disliked this new development, thought that it was too extreme and was not in line with the traditions of jazz. This essay will bring this debate to light and analyze different aspects of it, with a similar controversy in mind which took place at the time of the arrival of bebop, approximately fifteen years earlier. The primary aim is to integrate free jazz into the Swedish jazz narrative, something that has been neglected in earlier research. Through discourse analysis, contemporary thoughts and values are brought to the surface. In part to better understand how and why these different opinions came to be, but above all, if they were part of other contemporary discussions, strives and struggles within the Swedish jazz community. The findings point towards the fact that free jazz played an important role in both the contemporary Swedish jazz discourse and the development of jazz at large. Free jazz expanded the spectrum of expression within the genre and helped jazz in general to reach a status of high culture, a strive that had existed for a long time.

A presente tese analisa a emergência da modernidade musical brasileira entre os anos 1889 e 1914. Analisa os discursos que a historiografia panorâmica tradicional brasileira construiu sobre a música de concerto daquele período, e analisa os discursos produzidos na própria época. Verifica que as iniciativas de atualização técnica e estilística da música de concerto respondiam a uma política oficial de modernização das artes, que tinha a Europa como modelo de civilização. Verifica também que a cultura das elites republicanas utilizava a prática da música de concerto como um mecanismo de distinção social. Conclui que as interações entre as concepções elitistas sobre música, as teorias raciais, o evolucionismo, e o cosmopolitismo legitimavam práticas culturais excludentes, reafirmando hierarquias sociais. Tais interações resultaram no aprofundamento do abismo entre a música de concerto e o público, na afirmação de hierarquias entre gêneros musicais, na valorização da noção de autonomia da obra musical e na manutenção dos vínculos com a música europeia, impedindo o surgimento de movimentos de vanguarda musical contra hegemônicos no Brasil no início do século XX. / This thesis analyzes the emergence of Brazilian musical modernity between the years 1889 and 1914. It analyzes the discourses that the Brazilian traditional panoramic historiography has elaborated about art music of that period, and analyzes the discourses produced at the time. It notes that the initiatives for the technical and stylistic art music\'s updating have risen in response to an official politics of modernization of fine arts, which had Europe as a model of civilization. It also notes that the culture of the Republican elites has used the practice of art music as a mechanism of social distinction. It concludes that the interactions between elitist conceptions about music, racial theories, evolutionism, and cosmopolitanism have legitimized exclusionary cultural practices, reaffirming social hierarchies. These interactions have resulted in a deepening gap between art music and the public, in the affirmation of hierarchies between musical genres, in the valorization of autonomy\'s notion of the musical work and in the maintenance of links with European music, preventing the emergence of vanguard movements counter-hegemonic in Brazil in the early twentieth Century.

Esta pesquisa teve por objetivo investigar como a música está presente nas séries finais do ensino fundamental e no ensino médio das escolas estaduais vinculadas à 5ª Coordenadoria Regional de Educação (CRE), na região sul do estado do Rio Grande do Sul. Os objetivos específicos buscaram identificar as atividades que constituem as práticas musicais nas escolas, identificar os profissionais que trabalham com música nas escolas, bem como analisar as necessidades de formação dos profissionais que trabalham com música nas escolas. O método escolhido foi o survey de desenho interseccional, e os dados foram coletados através de questionário auto-administrado. Participaram deste trabalho 139 professores de arte/música das 104 escolas de educação básica que atendem às séries finais do ensino fundamental e ao ensino médio dos 18 municípios que fazem parte da 5ª CRE. Os resultados mostraram que a música está presente nas práticas da maioria dos professores investigados. No entanto, as atividades musicais são realizadas, principalmente, no âmbito das atividades extracurriculares e da disciplina ou componente educação artística, conferindo características polivalentes ao ensino de arte. Além disso, na sua maioria, são atividades realizadas apenas esporadicamente. Poucos são os professores que trabalham somente a modalidade música nas escolas, indicando que a música parece não estar inserida nos projetos pedagógicos das escolas vinculadas à 5ª CRE como área de conhecimento específico, mas como parte integrante da educação artística. A maioria dos professores possui formação superior na área de arte, mas são muito poucos os professores licenciados em música ou licenciados em educação artística com habilitação em música atuando nas escolas. A ausência de formação musical consistente, juntamente com a escassez de recursos materiais e financeiros e de espaço físico adequado, foi apontada como uma das principais dificuldades sentidas pelos professores para desenvolver atividades musicais nas escolas. Os dados obtidos nesta pesquisa poderão fornecer subsídios para o estabelecimento de parcerias entre a Universidade Federal de Pelotas e as escolas vinculadas à 5ª CRE, no sentido de atender às necessidades de formação de seus professores. / This research aimed at investigating the way music is present in basic education schools connected with the 5th Regional Education Coordination (CRE) in the southern region of the state of Rio Grande do Sul, Brazil. The specific objectives were to identify the activities that constitute the musical practices in the schools and identify the professional people who work with music in the schools, as well as to analyze the educational needs of such professionals. The method chosen was the cross-sectional survey, and the data was colleted through a self-administered questionnaire. The people who took part in this work were 139 art/music teachers from the 104 basic education schools that work with the final years of fundamental teaching (ages 11 to 14) and middle teaching (ages 15 to 17) in the 18 cities connected to the 5th CRE. The results showed that music is present in the practices of most of investigated teachers. However, the musical activities are mainly developed in the scope of extracurricular activities and within the subject of arts education, where only one teacher works with all the arts. Moreover, most of these activities are only occasionally developed. Few are the teachers who work only with music in schools, which indicates that music does not seem to be included in the pedagogical projects of the schools as a specific knowledge field, but as part of arts education. Most of the teachers are graduated in arts, but very few are graduated in music or in arts education with emphasis in music. The lack of a consistent music education, along with the scarcity of material and financial resources and of adequate physical space, was pointed as one of the main hindrances felt by the teachers to the development of musical activities in the schools. The data obtained with this research can provide information to base partnerships between the Federal University of Pelotas and the schools connected to the 5th CRE, in order to meet their teachers’ education needs.

Esta pesquisa teve por objetivo investigar como a música está presente nas séries finais do ensino fundamental e no ensino médio das escolas estaduais vinculadas à 5ª Coordenadoria Regional de Educação (CRE), na região sul do estado do Rio Grande do Sul. Os objetivos específicos buscaram identificar as atividades que constituem as práticas musicais nas escolas, identificar os profissionais que trabalham com música nas escolas, bem como analisar as necessidades de formação dos profissionais que trabalham com música nas escolas. O método escolhido foi o survey de desenho interseccional, e os dados foram coletados através de questionário auto-administrado. Participaram deste trabalho 139 professores de arte/música das 104 escolas de educação básica que atendem às séries finais do ensino fundamental e ao ensino médio dos 18 municípios que fazem parte da 5ª CRE. Os resultados mostraram que a música está presente nas práticas da maioria dos professores investigados. No entanto, as atividades musicais são realizadas, principalmente, no âmbito das atividades extracurriculares e da disciplina ou componente educação artística, conferindo características polivalentes ao ensino de arte. Além disso, na sua maioria, são atividades realizadas apenas esporadicamente. Poucos são os professores que trabalham somente a modalidade música nas escolas, indicando que a música parece não estar inserida nos projetos pedagógicos das escolas vinculadas à 5ª CRE como área de conhecimento específico, mas como parte integrante da educação artística. A maioria dos professores possui formação superior na área de arte, mas são muito poucos os professores licenciados em música ou licenciados em educação artística com habilitação em música atuando nas escolas. A ausência de formação musical consistente, juntamente com a escassez de recursos materiais e financeiros e de espaço físico adequado, foi apontada como uma das principais dificuldades sentidas pelos professores para desenvolver atividades musicais nas escolas. Os dados obtidos nesta pesquisa poderão fornecer subsídios para o estabelecimento de parcerias entre a Universidade Federal de Pelotas e as escolas vinculadas à 5ª CRE, no sentido de atender às necessidades de formação de seus professores. / This research aimed at investigating the way music is present in basic education schools connected with the 5th Regional Education Coordination (CRE) in the southern region of the state of Rio Grande do Sul, Brazil. The specific objectives were to identify the activities that constitute the musical practices in the schools and identify the professional people who work with music in the schools, as well as to analyze the educational needs of such professionals. The method chosen was the cross-sectional survey, and the data was colleted through a self-administered questionnaire. The people who took part in this work were 139 art/music teachers from the 104 basic education schools that work with the final years of fundamental teaching (ages 11 to 14) and middle teaching (ages 15 to 17) in the 18 cities connected to the 5th CRE. The results showed that music is present in the practices of most of investigated teachers. However, the musical activities are mainly developed in the scope of extracurricular activities and within the subject of arts education, where only one teacher works with all the arts. Moreover, most of these activities are only occasionally developed. Few are the teachers who work only with music in schools, which indicates that music does not seem to be included in the pedagogical projects of the schools as a specific knowledge field, but as part of arts education. Most of the teachers are graduated in arts, but very few are graduated in music or in arts education with emphasis in music. The lack of a consistent music education, along with the scarcity of material and financial resources and of adequate physical space, was pointed as one of the main hindrances felt by the teachers to the development of musical activities in the schools. The data obtained with this research can provide information to base partnerships between the Federal University of Pelotas and the schools connected to the 5th CRE, in order to meet their teachers’ education needs.