No description available.

Thesis (doctoral)--Cologne, 1980. / Includes bibliographical references (p. 258-272) and index.

Thesis (Ph. D.)--University of Chicago, Department of Music, August 2002. / Includes bibliographical references. Also available on the Internet.

Punk- historien bakom den rebelliska musikgenren. En närmare undersökning kring punkens ursprung och uppkomst försöker ta reda på om hur punkmusiken skapades och om hur genrens musik är uppbyggd. Tillvägagångssättet för att kunna besvara dessa frågeställningar har blivit genom en litteraturstudie där all material samt stoff har inhämtats från både litteratur samt elektroniska källor. Uppsatsen visar att det var främst två anledningar till varför punken kom till. Det var rock ´n´ rollens förlorade ideologi och samhällets ordning mot arbetarklassen. Punken bildades på var sin sida om Atlanten både i New York och i London. Skillnaden var att i Storbritannien blev den mest populär för deras uttalanden mot de ungas missnöje mot samhället. En annan stor ideal som också fanns inom punken var DIY (do it yourself). Där gick det ut på att "det är bättre att göra det själv" med att skapa samt spela musik. Detta skapade möjligheter för många punkband att släppa egna album och turnéera världen över.  Musiken i punken har en avskalad instrumentering bestående av trummor, bas, gitarr samt sång. De har ett enkelt låtformat på vers-refräng-vers-refräng. Låttexterna handlar oftast om förbjudna ämnen och spelas vanligen i ett snabbt tempo som saknar både tajming och rytm.

This thesis is about the interaction between composition, notation and interpretation and what occurs between the fields with an extended notation. The purpose of my thesis is to examine the possibilities to thoroughly describe and map the sounding samples through composition prototypes. The thesis has a qualitative approach, and the empirical material consists of different documents about notation and from interviews with musicians and students about the instruments used in the thesis. It also consists of 17 compositions recorded at Örebro University School of Music as an appendix. The analysis shows that the context in which the symbols are found, play an important role in performing them. It also shows that the performers are rooted in a traditional way of performing.

No description available.

The music periodical literature of the 19th century has largely remained unavailable to musical scholarship due to a lack of adequate indexing. While several indexing efforts have been attempted in the past century, that proposed by the recently established Répertoire international de la presse musicale du dix-neuviéme siécle (RIPMxix) sets itself apart by its comprehensiveness and its use of computer technology. This thesis tests the new system by preparing a prototype RIPMxix Series A catalogue of a major 19th-century French music journal, La Chronique Musicale (1873-1876). The prototype is in five parts: 1) a Title Catalogue, or chronological checklist of the titles, authors and pagination of all sections in the journal; 2) an Iconography Appendix, listing the captions, dimensions and pagination of all iconography in the journal; 3) a List of Variants, giving alternate pagination references in copies of the journal held by selected major institutions; 4) a Keyword Index of important words contained in article titling; and 5) an Author Index. The indexing of La Chronique Musicale was carried out according to the regulations established in the RIPMxix Series A Guidelines, incorporating minor improvements in presentation, and adjudicating certain indexing situations not addressed in them. A data entry system was developed and the typescript catalogue was entered into computer file space. Detailed formatting based on the general design presented in the RIPMxix Series A Guidelines was specified for the Title Catalogue, Iconography Appendix and List of Variants. To produce the remaining portions of the prototype (viz., the Keyword and Author Indexes), design options were studied, specific designs adopted and detailed formatting established. Production of the prototype involved the development of three computer programmes: a single programme for the Title Catalogue, Iconography Appendix and List of Variants; a separate programme for the Keyword Index; and a third programme for the Author Index. It is concluded that the title-derivative approach taken by the RIPMxix system is a valid one, and suggestions are made for further research. / Arts, Faculty of / Music, School of / Graduate

Fingering has been among the most controversial aspects of keyboard instruction, as it is one of the hardest to approach and systematize due to the individuality of the human hand and the multiple fingering combinations that could apply to each musical passage. Keyboard instruction books, since their first appearance in the sixteenth century, have made a continuous and systematic attempt to provide students and teachers with advice and methodologies on fingering. A historical overview of keyboard fingering instruction material of the last five centuries reveals a remarkable diversity, due not only to the various degrees of systematization of the instructional material, but also to the fundamentally different pedagogical methodologies. These differences are associated with the keyboard repertoire, performance practices, and historical and sociological contexts of different eras. Pre-Baroque and Baroque paired keyboard fingering was based on articulation demands of the keyboard repertoire of the time, which was meant to be performed predominantly on organ and harpsichord. The period of Enlightenment initiated a fundamental change in both the level of organization of the keyboard teaching material and the specific fingering instructions. Treatises of that time reflect a transition from the Baroque to the Classical style, instruments and technique. The advantage of giving a pivoting role to the thumb, that became a standard performance practice, changed the philosophy of teaching fingering. Teachers from the first half of the nineteenth century aspired to provide piano students with a technical system that would ensure the utmost finger dexterity. The output of "finger gymnastic" material has trained generations of pianists; however, soon after its conception this material was heavily criticized for its mechanical and anti-artistic character. As a result, the Romantic philosophy of teaching fingering revolved around tone production and special timbral effects. Scientific achievements in the fields of anatomy and physiology were the basis for the bulk of twentieth-century keyboard instruction books. Instead of prescribing fingering formulas and rules, the contemporary pedagogical norm is an awareness of the complexity of the playing apparatus that enables the pianist to make fingering decisions based on individual muscular abilities, tension and relaxation issues, and desired tone colors. / A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester, 2004. / October 29, 2004. / Piano Fingering, Piano Instruction, Keyboard History Instruction, Keyboard Instruction, Keyboard Fingering, Fingering, Harpsichord, Harpsichord Fingering / Includes bibliographical references. / Carolyn Ann Bridger, Professor Directing Treatise; Lubomir Georgiev, Outside Committee Member; Thomas Wright, Committee Member; Karyl Louwenaar, Committee Member.

Cadences are call and response marching songs sung by military personnel during drill and ceremony. This music originated in the United States in 1943 and has spread to militaries across the world. It is typically heard at basic training installations where it is used to help resocialize trainees into soldiers and during unit physical training. The lyrics of cadences often engage with facts of military culture: exploring the reality of combat and military life, instilling motivation, and developing unit cohesion. Scholarship in this field displays significant gaps when it comes to the development of the military cadence, which my thesis intends to address. Army historians, who have written extensively about cadences, discuss drill and ceremony practices from the Revolution and Civil War, but then they immediately jump to the Duckworth Chant (the modern origins of cadence in 1943). Any discussion of African American musical idioms, which I argue provide the foundation of the cadence, is curiously absent. The purpose of this thesis is introduce the historical context of the origins of cadence, understand the musical parameters of its performance, and attempt to understand its impact on military culture.

The Discrete Fourier Transform, which was initially mentioned in the music theory domain by David Lewin, is an analytical tool developed by Ian Quinn, and later expanded by theorists such as Jason Yust, William Sethares, and Andrew Milne. Though it was originally designed for pitch-class spaces, Emmanuel Amiot has explored the DFT’s implementation into the rhythmic domain, and has recently used it to unravel mathematical problems in music. An explanation of the DFT model will be made available here to a reader requiring only fundamental arithmetic. Throughout this thesis, I intend to explore the DFT in the music of various composers to demonstrate applicability, and will argue for a metric conception of form.