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Retro-Respect: a musical tribute to ten of this generation's greatest artistsUnknown Date (has links)
The popular culture of the past three decades owes a great deal to the creativity and musical impact of the artists featured in Retro-Respect. The project's objective was to carefully select ten of this generation's most influential recording artists and, as a musical tribute, produce and record unique arrangements of songs by each of them for an audio CD. Each featured artist has at least a 30 year history of influence and recognition as being among the industry's best, and all remain musically active today. Included are Aerosmith, Chaka Khan, Stevie Wonder, Steely Dan, Bonnie Raitt, Sting, The Eagles, Eric Clapton, Elton John and David Bowie. Retro-Respect was produced and arranged by Kam Falk. Each of the eight vocal and two instrumental songs features a different ensemble with Falk performing on six-string bass, fretless four-string bass, keyboards, vocals and drum/ percussion programming. / by Kam Allen Falk. / Vita. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.
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Songwriting in adolescence : an ethnographic study in the Western CapeVan Rensburg, Adriana Janse 12 1900 (has links)
Thesis (D. Phil.)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of
adolescent songwriting phenomenologically to ascertain the implications for
music education. Secondary aims and research questions include ascertaining if
and to what extent songwriting in adolescence serves as medium for emotional
expression, self-therapy, socio-cultural cohesion and informal learning. Other
secondary research aims are establishing the quality of the creative product and
determining the implications for music education curricula in keeping with
current curriculum development strategies.
Adolescents’ engagement in music is considered as a socio-cultural
phenomenon. Individuals’ interaction with music is thus considered on Doise’s
(1986:10-16) four levels of social explanation: the intra-personal, the interpersonal,
the positional level and the ideological level. On the intra-personal level
music is viewed as a technology of the self (DeNora, 2000), a medium for selftherapy
and mood control and technology of the body. On the inter-personal
level music is discussed as a form of self-expression serving as communicative
form. On the positional level music’s role in bonding between individuals,
namely social cohesion, is expounded. Lastly, on the ideological level, music is
considered as part of youth, youth culture and cultural identity.
The compositional (songwriting) process is analyzed. Compositional modes,
individual and collaborative, are identified and described and the creative process
namely composing, is delineated according to creativity, creativity as social
formation, creativity as process and the role and nature of informal learning.
Adolescents use the process of songwriting to establish and enhance social
cohesion, to further communication and expression with peers and to exert
creative and intellectual activity in an informal learning environment. The creative product, adolescents’ songs, is analyzed and described. General
perspectives and theories about musical analysis are addressed to include a
broader, socio-cultural view of analysis to analyze adolescent music. The musical
and lyrical features are analyzed within the context of their socio-cultural setting.
The SOLO Taxonomy (DeTurk, 1988) is adapted and applied to propose an
evaluation procedure for the lyrics. Dunbar-Hall’s (1999) five methods of
popular music analysis are applied in combination with Goodwin’s (1992) soundimage
model, synaestesia, to expand on the socio-cultural context of popular
music analysis. The implications of musicology namely “formal music
education” versus popular music styles and the effects of formal and informal
learning strategies on songwriting are considered. A new understanding of
musical analysis namely “musical poetics” (Krims, 2000) is adopted and the role
that locality plays in this analysis is expounded. The role of notation and playing
by ear is set out to validate the adolescents’ creative product.
The research methodology employed in this research include group discussion,
observation, experience sampling method (adapted from Larson &
Csikszentmihalyi, 1983) and individual interviews and are described according to
methodology, results and analysis of the results.
General perspectives on music education curricula are considered in light of the
possible contribution songwriting, as an informal learning activity, could bring to
music education as composition is currently a high priority in international music
education discourse and features prominently in current curricula.
Recommendations and conclusions are made. / AFRIKAANSE OPSOMMING: Die hoofdoelstelling van hierdie studie is om die aard en funksie van liedjieskryf
in adolessensie fenomenologies te beskryf om sodoende die implikasies vir
musiekopvoedkunde te bepaal. Sekondêre doelstellings en navorsingsvrae sluit in
die vasstelling van of en hoe liedjieskryf in adolessensie dien as medium vir
emosionele ekspressie, self-terapie, sosio-kulturele binding en informele leer.
Ander sekondêre navorsingsvrae sluit in die bepaling van die kwaliteit van die
kreatiewe produk en die implikasies vir musiekopvoedkunde kurrikula met
inagneming van huidige kurrikulumontwikkeling strategieë.
Adolessente se interaksie met musiek word beskryf as ‘n sosio-kulturele
fenomeen. Individue se interaksie met musiek word dus ontleed volgens Doise
(1986:10-16) se vier vlakke van sosiale verduideliking: die intra-persoonlike, die
inter-persoonlike, die posisionele en die ideologiese vlak. Op die intrapersoonlike
vlak word musiek beskou as ‘n tegnologie van die self (DeNora,
2000), d.w.s as ‘n medium vir self-terapie en stemmingsbeheer asook as ‘n
tegnologie van die liggaam. Op die inter-persoonlike vlak word musiek
bespreek as ‘n vorm van self-ekspressie wat dien as kommunikatiewe vorm.
Op die posisionele vlak word musiek se rol in die binding tussen individue, d.w.s.
sosiale binding, beskryf. Laastens, op die ideologiese vlak, word musiek oorweeg
as deel van jeug, jeugkultuur en kulturele identiteit.
Die komposisionele (liedjieskryf) proses word geanalisser. Komposisionele
metodes, individueel en gemeenskaplik, word geïdentifiseer en beskryf en die
kreatiewe proses, naamlik komposisie, word gedelinieer volgens kreatiwiteit,
kreatiwiteit as sosiale formasie, kreatiwiteit as proses en die rol en aard van
informele leer. Adolessente gebruik die proses van liedjieskryf om sosiale
binding te vestig en te bevorder, om kommunikasie en ekspressie met die portuurgroep te bevorder en om kreatiewe en intellektuele aktiwitiet in ‘n
informele leeromgewing uit te oefen.
Die kreatiewe produk, adolessente liedjies, word geanaliseer en beskryf.
Algemene musiekanalitiese perspektiewe en teorieë word aangespreek om ‘n
breër, sosio-kulturele uitkyk op analise in te sluit. Die musikale en liriese
eienskappe word geanaliseer binne ‘n sosio-kulturele konteks. Die SOLO
Taksonomie (DeTurk, 1988) word aangepas en toegepas om ‘n evaluasie
prosedure vir die lirieke voor te stel. Dunbar-Hall (1999) se vyf metodes van
populêre musiekanalise word toegepas in kombinasie met Goodwin (1992) se
klankbeeld model, synaestesia, om uit te brei op die sosio-kulturele konteks van
populêre musiekanalise. Die implikasies van musikologie, “formele
musiekopvoedkunde” versus populêre musiek en die effek van formele en
informele leerstrategieë op liedjieskryf word oorweeg. ‘n Nuwe begrip van
musikale analise, naamlik “musikale poëtika” (Krims, 2000) word aangeneem en
die rol van lokaliteit in analise word verduidelik. Die rol van notasie en op
gehoor speel word aangespreek om adolessente se kreatiewe produk te regverdig.
Die navorsingsmetodologie toegepas in hierdie navorsing sluit in
groepsbespreking, observasie, ondervinding-steekproef metode (aangepas van
Larson & Csikszentmihalyi, 1983) en individuele onderhoude en word beskryf
volgens metodologie, resultate en die analise van die resultate.
Aangesien komposisie tans hoë prioriteit in internasionale debat geniet en
prominent geplaas is in huidige musiekopvoedkunde kurrikula word algemene
perspektiewe op musiekopvoedkunde kurrikula oorweeg in die lig van die
moontlike bydrae wat liedjieskryf as informele leeraktiwiteit aan
musiekopvoedkunde kan bring.
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The Sonata of Band ManagementUnknown Date (has links)
The Music Industry we knew 20 years ago has evolved into a completely different business. Major labels are scrambling to adapt to a new market created by digital streaming and the heavily dominated mobile environment. The purpose of this study is to explore the choice of remaining independent as a musician, and develop a systematic process that any aspiring artist or band manager can confidently follow to ensure their project has the best chance of success. Most of the published writings on this subject are either too broad, or too business-minded for the typical musician. This thesis provides a creative approach with the organization of the information. I present the process of band management in five chapters named after the five movements of traditional sonata form: The Introduction (Chapter 1) presents the various themes that are covered throughout the study, and describes the reasoning for using sonata form for organization and also elaborates on the author’s background. The Exposition (Chapter 2) describes the beginning stages of creating a band and establishing a creative project in the local music scene. This includes the initial formation of the band and its members, the process of networking within the local music scene, and an in depth explanation of how to effectively utilize all the “Essential Websites.” The Development (Chapter 3) describes the process of developing a band into a consistently gigging1 project. The main topics covered are booking shows, performing shows, recording and releasing an album, and what to focus on after it is released. The Recapitulation (Chapter 4) condenses the main topics of the thesis into a more palatable checklist of essential steps that musicians can easily reference throughout the process of managing their project. The Coda (Chapter 5) looks towards the future of the music industry, and serves as a prediction of how the previously effective methods apply to new technologies and website. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection
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Music in Indie video games: a composer's perspective on musical approaches and practicesHarbour, Tim January 2016 (has links)
A thesis submitted to the Faculty of Humanities, University of Witwatersrand, Johannesburg, in
fulfilment of the requirements for the Degree of Master of Music
Johannesburg, 2016 / In this part-written, part-composed creative research project I consider the music of ‘indie’
video games, specifically exploring some of the myriad dynamic compositional approaches
in this particular category of game development. In my written work I analyse three indie
video games – Braid (2008), Fez (2012) and Journey (2012) – each of which use unique
methods to apply music dynamically. I use interviews with the games’ creators, as well as
close analysis and transcription of significant sections of each video game, in order to reveal
how music is used to provide the player with a more immersive, satisfying, and involving
gaming experience. I also consider the use of ambient music in indie video games, a
common feature of a large number of contemporary games, weighing up its merits and
limitations. Musical concepts and compositional approaches raised in my written work have
informed the portfolio of compositions submitted for this degree, and, similarly, my creative
work has informed my analytical research. My creative work explores, amongst other
aspects, indeterminate form, ambient music, and ways of ‘looping’ material in the creation
of unrepeatable structures. This thesis also considers music which functions narratively in
games – a function that might necessitate a greater degree of musical linearity — and how
this musical role might be incompatible with the demands of interactivity.
After briefly introducing the concepts dealt with across this thesis in Chapter 1, Chapters 2
to 4 take the form of case studies of the indie games mentioned above, with each chapter
tackling unique challenges that game composers face when writing music for non-linear
games, by which I mean games structured so that not all players will experience the content
in the same order due to player agency. More specifically, Chapter 2 deals with the game
Braid and its use of pre-composed, licensed music and how the game’s developer applies
this music dynamically to the game. Chapter 3 deals with Fez and its mainly adaptive musical
approach, its built-in software music engine, ‘Fezzer’, which allows for a composer to input
and manipulate musical loops in the game, and nostalgia in indie video game aesthetics.
Chapter 4 centres on the video game Journey and on how autonomous, ‘narrative’ music in
video games might be seen to exist in opposition to music’s ability to be truly dynamic.
Finally, Chapter 5 reflects on my own creative work for this thesis; how concepts from the
case studies have informed my creative work and vice versa. / MT2017
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Risk FactorsSantiago, Mia B. 04 October 2021 (has links)
No description available.
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粵語流行曲歌詞語言特點研究 = Study on the linguistic characteristics of Canton Pop lyrics / Study on the linguistic characteristics of Canton Pop lyrics宋琨 January 2010 (has links)
University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese
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Playing, learning, and using music in early Middle IndianaPeterson, Erik C. January 2013 (has links)
Indiana University-Purdue University Indianapolis (IUPUI) / This thesis is a study of how people in the nine counties of central Indiana learned, appreciated, and performed music from 1800 to 1840. A concluding proposal for a public history application of this research is included.
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