Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2718. Adviser: Michael Ewald. Includes a finding aid for Claude Gordon's Personal Papers and Music Instrument Collection at the Sousa Archives and Center for American Music (leaves 127-201). Includes bibliographical references (leaves 91-94) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph.D.)--Hong Kong University of Science and Technology, 2005. / Includes bibliographical references (leaves 91-95). Also available in electronic version.

Treatise (D.M.A.)--University of Texas-- Austin, 2004. / Vita. Includes bibliographical references (leaves 163-166).

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on September 12, 2006). PDF text of dissertation: xi, 76 p. : ill. (some col.) ; 46.33Mb. UMI publication number: AAT 3208110. Includes bibliographical references. Also available in microfilm, microfiche and paper format.

Thesis (D.Mus.)-University of Pretoria, 2005. / Abstract in Afrikaans and English. Includes bibliographical references. Available on the Internet via the World Wide Web.

Se a música brasileira em muitas de suas manifestações é reconhecida pela sua excelência, o mesmo não se pode dizer dos instrumentos musicais produzidos em território nacional. Em relação aos instrumentos eletrônicos que começaram a surgir na década de 1960, isso leva a crer que não houve nenhuma iniciativa dentro do Brasil que pudesse mudar esse quadro. No entanto, isto está longe de ser verdade, como esta pesquisa pretende mostrar. Mesmo assim, até hoje a confecção de instrumentos eletrônicos é dominada pela indústria estrangeira, sugerindo uma maior investigação e reflexão dos fatores que levaram a esta situação. Como será visto, isto não tem a ver somente com a qualidade (ou falta dela) dos projetos descritos ao longo desta pesquisa, mas com outros fatores que vão para além de problemas meramente tecnológicos ou musicais. / If Brazilian music in its various manifestations is recognized as excellent, it cant be said the same about the musical instruments made in the country. Regarding the electronic musical instruments that began to be made about the 1960s onwards, this lead to the believing that nothing was made inside the country to change that scene. But it is far from true, and that is the point of this text. Otherwise, the making of electronic musical instruments is dominated by a foreign industry, suggesting a broader investigation and reflection about the facts that led to this situation. As it will be seen, this has nothing to do with the quality (or the lackof it) of the projects described along this text, but with other reasons going beyond questions simply put as technological or musical.

This master’s thesis deals with the design of a digital piano. This increasingly popular musical instrument offers possibilities not available in an acoustic piano (outputting sound into headphones, utilizing sample libraries, recording, use of sheet music in digital form and more). From technical standpoint, it attempts to closely mimic the qualities of traditional instruments, both in its tactile feedback and sound quality. The aim of this work was to design a solution which would starkly differentiate from the very conservative classical design without being overly extravagant. The main focus is therefore on aspects of visual appearance, with emphasis on ergonomics, and an outline of the technical solution.

This thesis is concerned with a problem in the interpretation of non-western art: the iconography of the raven rattle, a carved ritual object of widespread distribution on the Northwest Coast of North America. Iconographic analysis (after Panofsky) involves identifying cultural themes and concepts associated with artistic motifs. Because of the relative scarcity of recorded primary sources of interpretation, the method adopted in this analysis has been to infer meanings from relevant cultural contexts and data. Relevant data have been judged to be museum notes, ethnographies, and myths and relevant contexts, the ceremonies in which the rattle was used. The problem has been to identify the individual motifs appearing on the rattle with associated themes and concepts, and, because the rattle is a complex image, to interpret their interrelationship within the context in which the rattle was used: initiation ceremonies presided over by chiefs. For the dominant motifs on the rattle I have argued the following interpretations: 1. The "reclining figure motif" on the back of the rattle represents the guardian spirit quest, in which the reclining figure is the novice, the protruding tongue stands for the passage of power, and the animal at the other end of the tongue identifies the source of power. 2. The "raven" at the head of the rattle refers to the origin of daylight, an event of key significance in Northwest Coast cosmology. 3. The creature on the belly of the rattle represents a trapped, wealth-bringing, supernatural, sea monster. These interpretations subsume the more specific identifications that have been made by ethnographers and informants of the objects on the rattle. Within the context in which the raven rattle was used, I have suggested that the interpretations relate to each other as follows: the origin of daylight marks the beginning of the social and natural order, of the guardian spirit quest, and of reciprocity. The sea monster on the belly is a symbol of controlled supernatural power and wealth — or the fruits of the successful quest. The relationship of these associations to the chiefs who used the rattle, is that the chief was both wealth-bringer to his tribe and had access to the "controlled use of supernatural power. This he exerted on behalf of the social order in initiation ceremonies. These conclusions indicate that the raven rattle was a significantly general symbol whose thematic referents were assumptions basic to Northwest Coast culture. In reaching these conclusions, the utility of the iconographic approach, as adapted and applied to an analysis of images in Northwest Coast art, has been demonstrated. / Arts, Faculty of / Anthropology, Department of / Graduate

The lecture recital was given April 16, 1971. An Excellent Meane, six settings of Gloria Tibi Trinitas, Eterne rerum conditor, and Te Deum laudamus by William Blitheman, In Nomine by John Taverner, and Ecce tempus idonem by Thomas Tallis were performed, together with a choir of four men's voices, following a lecture on various aspects of organ music in early Tudor England. In addition to the lecture recital, three other public recitals, all solo programs, were performed. The first solo recital, including works of Dietrich Buxtehude, Johann Sebastian Bach, Paul Hindemith, and Max Reger, was performed on March 14, 1971. On October 23, 1972, the second solo recital was performed. The program included compositions by Olivier Messiaen, Johann Sebastian Bach, Cesar Franck, and Charles-Marie Widor. On October 17, 1977, the third solo recital, including works by Johann Sebastian Bach, Girolamo Frescobaldi, Johann Jacob Froberger, Dietrich Buxtehude, James Hathaway Tallis, and Maurice Durufle, was performed. The four programs were recorded on magnetic tape and are filed with the written version of the lecture as a part of the dissertation.

This master’s thesis deals with the design of a digital piano. This increasingly popular musical instrument offers possibilities not available in an acoustic piano (outputting sound into headphones, utilizing sample libraries, recording, use of sheet music in digital form and more). From technical standpoint, it attempts to closely mimic the qualities of traditional instruments, both in its tactile feedback and sound quality. The aim of this work was to design a solution which would starkly differentiate from the very conservative classical design without being overly extravagant. The main focus is therefore on aspects of visual appearance, with emphasis on ergonomics, and an outline of the technical solution.