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This dissertation analyses the role of popular music in contemporary Spanish culture. The eighties were a fascinating period of Spanish history, as the country was making its transition from dictatorship to democracy, and there were high national and international expectations connected to this change. The popular music of this period amply reflects the changes that the new country was undergoing. This study is theoretically grounded in new trends in Cultural Studies which open up and expand what we understand by “Culture” today. In this new theoretical reconfiguration, popular music today plays a predominant function in the conception of the social and cultural space of Spain. Through the study of these songs, we are able to understand this particular historical moment better, and also see how this culture has shaped us today. In the present “age of mechanical reproduction” (using Walter Benjamin's terminology) we are key contributors to Culture, yet we are also shaped by it. Because of this, all processes of cultural production deserve to be examined. The analysis responds to the recent parameters in contemporary Spanish Cultural and Literary Studies, an area which needs more scholarly attention, reflecting as it does current changes in our world. This work seeks to develop and legitimate a previously neglected and ignored area of study, using an interdisciplinary approach, by integrating different disciplines such as Music, Literature, or History.

Thesis (Ph. D. in English)--Vanderbilt University, Dec. 2008. / Title from title screen. Includes bibliographical references.

(česky) Tato diplomová práce se zabývá otázku, jakou roli hraje hudba ve třech vybraných skandinávských hudebních románech Ztracení muzikanti Wiliama Heinesena, Cesty hada na skále Torgnyho Lindgrena a Vánoční oratorium Görana Tunströma. Analýza komplexních intermediálních vztahů mezi jednotlivými literárními díly a hudbou postupuje v souladu se zásadami Feyerabendova metodologického anarchismu induktivně a heuristicky. U všech tří románů nachází strukturální i obsahové literárně-hudební souvislosti, které vykazují různou míru komplexity a vzájemné provázanosti. Struktura Heinesenova románu úzce kopíruje sonátovou formu, struktura Tunströmova románu o něco volněji následuje strukturu Bachova Vánočního oratoria a struktura Lindgrenova románu vytváří prostřednictvím délky kapitol rychlé a pravidelné tempo, které ovšem v klíčovém bodě příběhu kolabuje. Romány obsahují také řadu tematických souvislostí, kdy hudba figuruje jako zdroj radosti nebo naopak předehra ponížení, atribut života nebo naopak prostředek úniku do fantazie, genderová charakteristika spojená buď s mužskými nebo s ženskými postavami, nebo jako základ dalších, složitějších dichotomií. Abstract (in English): The thesis poses a question about the role of music in three selected Scandinavian music novels: Wiliam Heinesen's Lost Musicans,...

An important and unending responsibility of the music teacher is the competent evaluation of available basic text-series. It seems obvious that before any text-series, or any single book, is adopted for use in the public school music classes, a process of assessing the available series or single volumes should precede the final decision and purchase. Since a thorough search in music education literature has failed to reveal any set of formal rules of analysis, the writer has thought it possible to use those general principles recommended by two authoritative sources, The Psychology of School Music Teaching by Mursell and Glenn, and Music in the Grade Schools by Gehrkens in collaboration with personal ideas obtained from professional study of music teaching and experience as a music teacher.

The lecture was presented April 7, 1987. This presentation centered on the flute music literature used for the Concours of the Conservatoire de Paris from 1828 through 1893. The historical parameter began with Jean-Louis Tulou's tenure as flute professor at the Conservatoire and ended with Joseph-Henri Altes'tenure in the same capacity. The Concours is an annual performance competition to determine which students on each instrument will graduate from the Conservatoire. The majority of Concours pieces for flute during the tenures of professors from Tulou through Altes were composed by those two men. Short biographies of Tulou and Altes were presented. Discussion of interim professors Victor Coche and Vincent-Joseph Dorus was included, with focus on the role of these two men in bringing acceptance of the Boehm system flute to the Conservatoire. Tulou's fifteen Grands Solos were compared in form, key center and tonal progression. His themes and passagework are constructed to best display the conical-bore, old system-flute with small toneholes. His Solos continued to be used for the Concours, in alternation with Altes', throughout the tenures of both Vincent-Joseph Dorus and Altes. Tulou's Cinquieme Grand Solo was used for more detailed analysis and performance. Altes wrote his Solos de Concours for the Boehm system flute. Idiomatic treatment in composition of themes and passagework, as well as tonal progression in his Solos, was considered. Altes' Methode de flute reveals his views on variety in articulation, use of alternate fingerings, and musical interpretation. Those ideas are reflected in the construction of his Cinquieme Solo de ronrnwr. the example used for more detailed analysis and performance. The discussion was concluded by a comparison of the Solos of Tulou and Altes with regard to form, tonal progression, and idiomatic construction of themes and passagework.