This dissertation explores the changing apprenticeship environment within the Dāphā Khalaḥ from Kirtipur Newar communities. The Dāphā music tradition comes from Nepal and is one of the oldest music traditions in South Asia.  This tradition has been practiced for centuries by the Newars, the indigenous people of Kathmandu. The purpose of this study is to assess how the Dāphā music tradition presumably is changing through apprenticeships, which are increasingly separated from their traditional contexts in various ways or degrees, a process that I characterize as a shift from apprenticeship to performance. In addition, the study explores the relationship between traditional apprenticeship and modern styles that incorporate the Newar music tradition. Reviewing socio-political influences and motivations behind musical changes, I argue that the Dāphā music tradition presumably is changing due to changed apprenticeships. Through the statistical analysis, a survey in Kirtipur revealed that Dāphā music was significantly affected by modernization and globalization. Furthermore, the study contributes to the ethnographic literature on musical tradition and change with a particular focus on modernity, as well as to discourses on ethnic and indigenous identity. This study was conducted in TDK (Tahnani Dāphā Khalaḥ, Kirtipur), where the Dāphā group adapted to new types of apprenticeship in order to preserve their culture, thereby fostering a revival of their once endangered music tradition. Today interested member of the community is allowed to participate in Dāphā music apprenticeship regardless of caste or gender.

Many commentators experience difficulties describing and analyzing Morton Feldman's String Quartet no. 2 (1983), implying that the quartet eludes stable ascriptions of meaning. Feldman's own philosophy frames these difficulties as symptoms of an antagonism between direct experience and post-hoc understanding of music, a dichotomy tacitly supported in much related discourse. I critique this proposed rift between understanding and experience by analyzing how String Quartet no. 2 prompts listeners to repeatedly reconsider their own experiences. Obfuscated instrumentation, transformations of repeated phrases, and disorienting formal returns challenge one's perception, pattern recognition, and musical memory, leading audiences to return to linguistic interpretation in an effort to comprehend what they hear. Drawing on writing by Lawrence Kramer, I show that the compulsion to voice these uncertainties is not a result of a separation of understanding and experience, but of the blurring of these categories. Vacillation between close listening and interpretation also typifies experiences of the music of Helge Sten, produced under the pseudonym Deathprod. For the album Imaginary Songs from Tristan da Cunha (1996), Sten transfers recorded violin improvisations to wax phonograph cylinders, clouding attributions of the music's manner of production. Incorporating Brian Kane's theory of acousmatic sound, I demonstrate that the resultant spacing of sound and source provokes listeners to oscillate between attending to the music's material properties and struggling to identify its meaning and cause. Work by Jonathan Sterne indicates that historical techniques of hearing associated with the antiquated medium of the phonograph cylinder prolong and complicate this mode of listening. As with Feldman's quartet, auditors of Imaginary Songs endlessly fluctuate between attempting to understand and striving to listen closely to the music. / Graduate

The predominant purpose of the study was to investigate whether or not there is a relationship between singing intonation and string playing intonation among college level and professional string players in Northern California. For the purpose of this study a convenient sampling method was used to recruit participants according to their availability. Thirty college-level and professional string players from the Bay Area participated in this study (n=30). For the purpose of this study, only violin, viola and cello players have been included. The investigative variables for the study are singing intonation and string playing intonation. Intonation has been assessed. through participants' singing and playing. A computer program, called Melodyne, was used to analyze the recorded performances of the participants and determine the magnitude and direction of deviation for both played and sung pitches. The study included a 15 minute individual task after which subjects' intonation has been assessed in two dimensions: string performance intonation and singing performance intonation~ The participants were assigned an eight-measure singing excerpt adapted from the National Anthem of the United States of America, as well as another eight-measure excerpt designed specifically to assess string performance intonation. The subjects were individually audio-recorded and the audio files were analyzed using Melodyne to determine whether or not there is a relationship between singing intonation and string playing intonation. Pearson product-moment correlation coefficient has been calculated to determine the degree of relationship between singing intonation and string playing intonation of the participants.

General problems in common with all of Latvian musicology and specific problems peculiar to this particular theme

This paper will trace the development of musicology in Estonia, focusing especially upon some research problems and methods used for investigating folk music in the 1970s and 1980s.

En uppsats av två kantorstudenter 2012 samt egna upplevelser tas till utgångspunkt för attstudera förnyelse i Svenska kyrkans musikutbud på 2000-talet. Ett tiotal kyrkliga företrädare,huvudsakligen kyrkomusiker har våren 2022 djupintervjuats för besvarande av frågor omförnyelse av kyrkomusik, mest på 2000-talet när Svenska kyrkan skilts från staten.Frågeställning 1 är hur förnyelsen tas emot. Förnyelsen med ökat inslag av icke sakral musikoch populärmusik uppskattas av kyrkomusiker och andra kyrkliga aktörer.Frågeställning 2 är vad som driver kyrkomusiker att göra merarbetet som krävs.Kyrkomusiker gör gärna det merarbete som krävs om de kan leverera en värdig upplevelse. Detror att diversifieringen av kyrkomusik kommer fortsätta.Slutsatserna bygger huvudsakligen på intervjumaterialet där deras individuella svar redovisasanonymiserat, ett mångfasetterat material. Efter redovisningens olika avsnitt följer en analys avhur forskningsfrågorna besvaras och sedan en diskussion om den kyrkomusikaliska förnyelsensutbredning i tid och rum samt geografiskt. Vidare ett resonemang om möjligheter med ochgränser för förnyelsen av kyrkomusiken.Förnyelsen drivs av publikens ökade musikkunskap och önskemål till kyrkomusikern.Kyrkomusikerns respons är att göra sitt bästa för att ge en fin musikupplevelse och om möjligtöka antalet betalande medlemmar.

One thing that has inspired me about film music is that it has always managed to easily pull me into a different reality. In this essay I have gone deeper into different methods of convey- ing storytelling through music. I have composed nine songs to four different filmmakers materials. This was performed at KMH the 6th of April. I did some thorough research before composing, which affected my way of approaching the music. The methods I used was proven helpful for me, not only in a compositional stage, but useful also in my vocal interpretation, when conveying the material to a band and when thinking about how the concert was going to be executed. I will use these methods further in my work as a singer and composer.

Studien undersökte huruvida naturljud och lugnande musik i new age-genren kunde reducera matematikångest hos universitetsstudenter genom ett digitalt medium. Syftet med undersökningen var också att jämföra dessa med varandra. Inspiration kom från tidigare studier som visat att klassisk musik har underlättat den här typen av ångest, samt att naturljud kan åstadkomma en lugnande effekt hos människor. Två kompositioner skapades: ett musikstycke och en ljudkomposition. Dessa fick deltagarna lyssna på samtidigt som de genomförde uträkningar från en matematik[1]hemsida, för att efteråt svara på tio intervjufrågor. Hälften av deltagarna upplevde någon grad av matematikångest. Kompositionerna upplevdes som lugnande, förutom vissa enskilda ljud som kändes distraherande för några av testpersonerna. Ungefär 50 % av deltagarna föredrog musikstycket, medan resterande tyckte bättre om ljudkompositionen. Framtida arbete diskuterades, där förslag på hur undersökningen skulle kunna anpassas under en längre tid lades fram.

This thesis examines the cultural context of opera in Boston between the years 1620 to 2010. Specifically, I look at how the Boston Opera Company was founded, its existence, and its ultimate demise. The rise of opera in colonial Boston is also explored and especially how the immigration in the late nineteenth and early twentieth centuries influenced the city. Around this time of changing demographics Eben D. Jordan, Jr., of Jordan Marsh Co. decided to build an opera house for the city of Boston. The effects that Puritanism had on music and the culture of Boston during its early years are also explored. Then Boston musical independence is catalogued about how it relates to the unique form of music that did form during this time, starting with the First New England School. During the mid to late nineteenth century massive immigration took place that changed this country, especially Boston. The modern United States was formed during this time, including its music. Boston, starting in the 1830’s had numerous societies and schools disseminating music to the populace. This in turn led to the creation of the Boston Opera Company in 1908. The Boston Opera Company was founded by Eben D. Jordan of Jordan Marsh Co. He decided that the city of Boston needed a proper opera company, so he paid for the construction of the house and operation. Unfortunately, the populace soon lost interest and the company made in ill-fated trip to Paris in 1914. This trip, coupled with the start of WWI, forced the company to declare bankruptcy in 1915. There are definite cultural considerations as to why the opera company was unable to make itself part of the fabric of the city, like the Metropolitan Opera in New York. The Boston Symphony Orchestra is very much a part of the city and there is no reason why opera should not be with that part either. Boston has a very large metropolitan area and with the proper guidance and determination, opera could be supported here year round. A new house would have to be built, since the original opera house was torn down in 1958. With the proper determination, however, it could be done for permanent opera in the city.

This thesis proposes a methodology for understanding the form of a Baroque prelude, particularly the preludes to the Six Suites for Unaccompanied Violoncello written by Johann Sebastian Bach. Four musical dimensions, tonal structure, motive, texture, and the potential implications of a piece’s genre, parse the preludes in different ways. As the features of these musical dimensions undergo either an evolution or a dramatic change over the course of each prelude, they each suggest a different form. Points of change in each dimension delineate segments in the music. When aligned, these changes create significant formal junctures and suggest an overall form for the movement. Analysis of the interplay among the musical dimensions clarifies the form of each piece and suggests formal norms for the prelude as a genre.