Thesis (Ph. D.)--Indiana University, 1984. / Typescript. Vita. Concert calendars: leaves [291]-418. Includes index of concert calendars. Bibliography: leaves [520]-538.

Thesis (Ed.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2506. Adviser: Gregory DeNardo. Includes bibliographical references (leaves 154-167). Available on microfilm from Pro Quest Information and Learning.

The doctoral composition concerned by this document is a contemporary oratorio of 95 minutes: it involves seven solo singers (two sopranos, a mezzo, two altos, a tenor and a bass), a polyphonic chamber choir (divided in three to sixteen parts) and an electroacoustic quartet of guitars and synthesisers. The title refers to the otherworldly guardians of the Jewish canon (Tanakh) and speculates on the energetic appearance of the Elohim, reflected by the timbral qualities of the electronic instruments. The narrative, built around four angelic characters (Seraphim) and a female earthling counterpart, outlines in seven movements a fictional cosmogony, and the evolution of human society overseen by astral mentors. The libretto has been written on purpose by the composer himself, mostly in Italian: some multi-linguistic fabrics blend poetry with Christian fragments in Greek and Latin.

Thesis (D. Mus.)--Hochschule für Musik und Theater, Hamburg, 2007. / Includes bibliographical references.

Thesis (Ph.D.)--University of Melbourne, Faculty of Music, 2009. / Typescript. Includes bibliographical references.

This thesis gives a comprehensive account of the vocal music performed in Edinburgh between 1750 and 1800. One of its aims is to highlight the importance of vocal music to a contemporary audience, an area which has hitherto been neglected in investigations into the musical culture of the city in the eighteenth century. It also attempts to place the Edinburgh Musical Society in the wider context of the vibrant concert and musical culture which developed through the second half of the century. The study attempts to demonstrate the importance of singing, not just within concerts, but as an integral part of many other social and cultural aspects of life, including: gentlemen’s clubs, schools, and the city’s churches. The careers of singers, as impresarios and teachers, and the influence they held over prevailing tastes and culture are examined. In addition to discussing the many foreign musicians active in the city this investigation also traces the impact of native born singers and teachers. It calls into question the assertions made by previous studies which suggested the primacy of instrumental music over vocal music and it attempts to demonstrate that the interest in, consumption of, and participation in vocal music grew over the course of the century. It also attempts to show that vocal music became a dominant influence following the demise of the Musical Society. The information contained in this account has been drawn from previously neglected newspapers and other archival sources, such as diaries, personal letters, the archives of the Musical Society preserved by Gilbert Innes, the Sederunt Books of the Musical Society, the repertoire of the Harmonical Society and published works on music, culture and history. The repertory itself has also been closely examined. By means of this work it has been possible to examine and expand the whole spectrum of musical life in the Scottish capital and thus establish the thriving vocal musical culture which existed at the time.

La crise du disque se manifeste par une baisse conséquente du revenu des artistes. C’est pourquoi, les concerts apparaissent comme une source de revenu importante. Dans ce contexte, le placement de produits durant les concerts est une pratique qui tend à se développer. Ces constats nous ont conduit à formuler la problématique de recherche suivante : quelles sont les opportunités de placement de produits dans les concerts de musique (technique où le public n’a pas forcément conscience de la tentative de persuasion) et quel est l’impact du placement de produits sur l'image de marque ?La revue de la littérature présente trois processus de persuasion expliquant l’efficacité du placement : le concept de congruence entre l’artiste et la marque (Russell, 1998), l’intéressement perçu de l’artiste (Friestad et Wright, 1994) et l’endossement de personnalité (Mac Cracken, 1989). De plus, le cadre théorique de la servuction (Eglier et Langeard, 1987) a permis de mettre en lumière l’importance des interactions entre le personnel en contact et le consommateur. Il nous a permis de proposer une typologie du placement de produits (selon le niveau de participation de l’artiste et du public).La méthodologie de la recherche se décline en trois phases. La première phase est de nature qualitative par le biais d’entretiens semi-directifs. Ces entretiens menés auprès d’artistes de renoms, d’organisateurs de concerts et de responsables d’agences de communication ont permis d’analyser les pratiques de placement de produits d’une part et d’évaluer les motivations et les freins des professionnels vis-à-vis de cette technique d’autre part. La deuxième phase est de nature quantitative. L’efficacité de quatre techniques de placement sur l’image de marque a été comparée au moyen d’une expérimentation. Quatre concerts ont été organisés dans des conditions aussi proches que possibles de la réalité. Les résultats démontrent la supériorité du placement interactif (forte participation de l’artiste et du public au placement) en termes d’image de marque. Enfin, la troisième phase a consisté en une étude quantitative ad hoc durant un concert d’un groupe à forte notoriété utilisant la technique du placement interactif. Les résultats confirment l’influence du placement produits sur l’image de marque.En synthèse, cette thèse décrit les opportunités offertes par les concerts de musiques en termes de placement de produits. Le dispositif méthodologique permet d’évaluer l’efficacité de quatre techniques de placement sur l’image de marque et démontre l’intérêt du placement interactif. Enfin, elle contribue à mettre en lumière le rôle de l’attitude vis-à-vis de l’artiste et de la congruence entre la marque et l’artiste. Les limites de ce travail et les nombreuses voies de recherches offertes par ce champ encore peu étudié sont présentées en conclusion. / Product placement is becoming an increasingly significant communication tool in cultural products. Product placement is traditionally studied in the field of films, but music concerts are also an attractive medium. Indeed, the crisis of the music industry leads the artists to find another way to other sources of financing. Our research takes into account the influence of this technique in connection with congruence, personality endorsement and how the audience copes when they recognize the persuasion attempt. Moreover, we considered the effect of product placement on brand image, because it is one of the most important goals according to the firms which want to use the technique of product placement. We aim to better understand the ins and outs of product placements in music concerts thanks to three studies. The first one is qualitative. We interviewed various artists, companies which deal with product placement, concert music producers and a legwoman. The second one is quantitative, and compares 4 types of product placements thanks to an in situ study. The last one is also quantitative and is linked with the previous study. It aims to focus on interactive product placement in which the interaction between the artist and the audience becomes the medium for new forms of product placement. We are not able to demonstrate significant results of interactive product placement on brand image but there is a trend showing that interactive product placement leads to a better brand image compared with the other kinds of placements. Subsequently, we underline the complex role of congruence. Moreover when the audience identifies the persuasion attempt, it does not influence negatively the brand image contrary to what the Persuasion Knowledge Model indicates. In return, product placement efficiency on brand image is linked with endorsement. Indeed the attitude towards the artist has a positive influence on brand image. The research concerning product placements in music concerts is still in its early stages but this kind of sponsorship offers promising opportunities for brands and artists alike.