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Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 159-166).

This thesis focuses on the flourishing music-publishing industry in England in the second half of the seventeenth century, and examines its relationship to and influence on the activities of professional musicians. Music publishing as a commercial entity developed in England during this period, particularly, but not exclusively, through the endeavours of the Playford family. By placing the printed music books within the social and cultural contexts in which they were produced, this thesis explores the consequences of printing on the musical text, understanding the purposes for which the printed book was created and how different functions of print affected the musical texts that they contained. A detailed examination of the printed music sources sheds light on how publication (including posthumous publication) related to the image and status of the composer, and draws attention to the interaction between public music-making, compositional activity and music publishing during this period. Through an investigation of the contemporary printed outputs of five case-study composers - William Lawes, Henry Lawes, Matthew Locke, Henry Purcell and John Blow - this thesis explores the individual nature of the composers' relationships with the printed music book trade and how their contemporary printed outputs relate to their overall compositional output. This is followed by a detailed analytical study of specific compositions by the five case-study composers, examining both contemporary manuscript and printed sources, in order to determine to what extent the commercial print market influenced professional musical creativity. Different versions of compositions of certain genres, particularly secular vocal works, were disseminated via print as opposed to manuscript, and these alternative versions appear to have been instigated by both composers and stationers. This approach to examination of contemporary sources calls for the contextual consideration of sources and the musical texts within them.

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Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This diploma thesis Interaction of media and marketing discourse on the media image of musician Tomáš Klus examines the influence of the corporate agenda through the marketing and PR department of a record label Sony Music Entertainment Czech Republic s.r.o. on the agenda of the media, which represent the work of three full-scale Czech newspaper MF Dnes, Právo a Blesk. The theoretical approach is being built on the basic theses of media construction of reality and construction of media image, the concept of agenda setting and issue of the music industry. Thus, areas involved and influence the marketing and media world and form the basic framework of the theoretical structure of media reality. The empirical part is devoted to a particular process of agenda setting on an example of the media image of a Czech musician Tomáš Klus over three years through marketing and PR department of a record label Sony Music Entertainment Czech Republic s.r.o. sampled for analysis of print media - newspapers MF Dnes, Law and Flash. The goal is to trace how and to what extent the marketing discourse influences the media discourse and how does this interaction influence the musician's final media image.

This dissertation investigates the process of translating contemporary African choir music for non-African choirs, as performed by African choirs themselves, in the Gauteng area, and mostly as part of the ‘traditional’ section of their repertoires, through the process of negotiation. The aim of this research is to contextualize relevant material and problematize the issues that arise when the music from an African choir culture is translated for non- African choirs in order for these choirs to perform this music as part of their repertoires. Issues that develop from the contextualization of the main problem of the research, namely translation as negotiation, are problematized and notions of hegemony, identity and cultural relationships are addressed and the compatibility of cultural systems within a performance context is explored. The methodology focuses on fieldwork, processing and publishing of the Choral Music from South Africa Series, a multimedia package of contemporary African choir music, for performance by non-African choirs as published by the researcher. The research is located within the theoretical framework of postcolonial studies, and concepts flowing from the study will be discussed, based on the works by prominent scholars in the field: firstly, the notion of difference, experienced as ‘otherness’, will refer to the world acclaimed work, Orientalism, by Edward Said (1978). Secondly, the notion of change, as expressed by Jean Comaroff (1985), in Body of Power Spirit of Resistance: Culture, Consciousness, and Structural Transformation, as well as thirdly, the negotiational aspect of dialogue between cultures as expressed by Bakhtin (1981) in The Dialogic Imagination: Four Essays by M.M. Bakhtin, will be addressed. Fourthly, boundaries and cultural hybridity viewed by Homi Bhabha (1994) as a concept of ‘third space’ in his work The Location of Culture and lastly the impact of commerce and technology on African music with reference to Walter Benjamin (1973), in The Work of Art in the Age of Mechanical Reproduction, as well as its significance in/for publication will be explored. The researcher argues that the translation of contemporary African music for choirs can only be brought about by means of cultural dialogue, within cultures and between cultures. / Dissertation (MMus (Music Education))--University of Pretoria, 2008. / Music / unrestricted

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La thèse traite la réception de l’air italien à Paris 1687 et 1715. Elle est structurée en deux parties : la première est consacrée à l’analyse des recueils d’airs italiens, manuscrits et imprimés, produits et circulant à Paris entre les deux siècles la seconde, à la pratique des airs dans le contexte du théâtre parisien (Comédie Italienne, Comédie Française et Opéra) entre la mort de LuIIy (1687) et celle de Louis XIV (1715). En complément du travail de réflexion, on présente le catalogue du corpus étudié. Le corpus choisi place l’air italien du dernier quart du siècle au cœur du phénomène de la réception et de son impact sur le monde théâtral parisien. Le travail d'identification des sources, pour la plupart anonymes, montre qu’il s’agit d’extraits d’opéras. Quant au périmètre géographique des sources, l’axe Versailles-Paris a paru comme le plus logique pour suivre la circulation d’un répertoire apanage dans un premier temps des élites et ensuite, en conséquence de la décentralisation artistique qui investit la cour à la fin du règne de Louis XIV, touchant davantage la ville. L’analyse des œuvres représentées aux deux Comédies ci à l’Opéra à la fin de règne en illustre les modalités d’appropriation par les interprètes, les poètes et les compositeurs, renfermant ainsi le cercle idéal du parcours de l’air d’opéra italien de sa scène d’origine à celle d’accueil. La continuité dans la pratique des airs italiens sur la scène parisienne en ces décennies témoigne de l’intérêt grandissant du public pour ce répertoire, anticipant les Goûts réunis et l’inclinaison pour la musique italienne de la Régence / The study concerns the reception of Italian airs in Paris between 1687 and 1715. It consists of two parts: the first one is devoted to the analysis of French volumes containing Italian airs, manuscript and printed, circulating in Paris among the two centuries; the second one concerns the performance of the repertoire of Italian airs in Parisian theatres (Comédie Italienne, Comédie Française and Opera) between the death of Lully (1687) and the death of Louis XIV (1715). As a complementary part of this work, a catalogue of the sources has also been constituted. The documentary corpus consists of Italian airs of the last quarter of the l7th century as the core of the reception of the Italian repertoire and of its impact on the Parisian theatrical world. The identification of the sources, mainly anonymous at the beginning, shows that the airs are Italian opera excerpts. As far as the geographical area concerned. the axis Versailles-Paris appeared as the most appropriate for following the circulation of this repertoire: firstly known by the élite (aristocracy. collectors), it subsequently reached Paris as the consequence of the artistic decentralization from the court to the city at the end of the reign of Louis XIV. The analysis of the Italian airs sung at the Comédie Italienne, the Comédie Française and the Opera show how performers, poets and composers seized this repertoire, closing the ideal cercle of the path of the Italian opera excerpt from its originary stage to the French stage. The continuity of this practice in Parisian theatres during several decades shows the growing interest of the public for this repertoire, anticipating the Goûts réunis and the inclination towards Italian music of the Regency