No description available.

Thesis (Ph. D.)--New York University, 1978. / Typescript. Includes bibliographical references (leaves 458-466).

Thesis (Ph. D.)--University of California, Santa Barbara, 1984. / Physical description of original based on examination of photocopy. "8428624" on added t.p. of photocopy. Includes bibliographical references (leaves 236-251).

No description available.

Thesis (D.M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 97-99).

Thesis (doctoral)--Université de Paris X, 1971. / Includes bibliographical references (p. 727-730) and index.

Thesis (doctoral)--Université de Paris X, 1971. / Includes bibliographical references (p. 727-730) and index.

This study looks at alternative models of follow-up album success in order to determine if there is a relationship between the decrease in Metascore ratings (assigned by Metacritic.com) between the first and second album for a musician or band and the 1) music genre or 2) the number of years between the first and second album release. The results support the dominant thought, which suggests that neither belonging to a certain genre of music nor waiting more or less time to drop the second album makes an artist more susceptible to the Sophomore Slump. This finding is important because it forces us to identify other potential causes for the observed disappointing performance of a generally favorable musician’s second album.

Muzio Clementi's symphonies were first performed in London between 1786 and 1796. After an extended hiatus from 1796 to 1813, his symphonic works appeared on programs again from 1813 to 1824. Clementi's career as a symphonist corresponds closely with trends in London's concert life. The reception of Clementi's symphonies during his lifetime has frequently been misinterpreted by scholars who oversimplify the use of "science" in musical discourse of the day and fail to consider the positive connotations of this adjective, so frequently applied to Clementi. Musical discourse at the time addressed the science and art of music emphasizing a composition, or its composer's, science, harmony, effects, genius, and the audience's response. Though an unstated ideal, reviews evince a preference for balancing scientific and artistic display. Reviews of Clementi's symphonies suggest he initially struggled to balance the technical and artistic qualities of his compositions but succeeded, according to reviews, in finally doing so in 1796. After his early efforts, Clementi was consistently praised as worthy to stand among the current and most prestigious composers of the continent: Haydn and Mozart initially, and Beethoven and Rossini later.

Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished