Thesis (S.T.M.)--Yale Divinity School, 1993. / Includes bibliographical references.

Thesis (S.T.M.)--Yale Divinity School, 1993. / Includes bibliographical references.

Thesis (S.T.M.)--Yale Divinity School, 1993. / Includes bibliographical references.

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Title from PDF t.p.(viewed May 27, 2009). Advisor: Welborn Young; submitted to the School of Music. Includes bibliographical references (p. 59-63).

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

No description available.

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: Jeffrery Kite-Powell, Florida State University, College of Music. Includes biographical sketch. Includes bibliographical references.

This is an interpretive study of the life of the Prophet Muhammad as it is artistically depicted in the repertoire (especially the narrative ballads) of fifty-one contemporary Egyptian maddahin (singers of eulogies in honour of the Prophet Muhammad, sing. maddah). The elements of this repertoire, as diverse as narrative ballads, classical odes, Qur'an chanting, and the melodies of the secular songs of well-known Egyptian singers, do not exist as discrete units but rather as a lively tawlifa (blend)--to use a common term in Colloquial Egyptian Arabic (CEA). This study is about blends where discrete units lose their borderlines and leak into one another, about phenomena which are "betwixt and between" the perceived scholarly categories which confidently delineate boundaries between elite and popular Islam, the historical and the legendary Muhammad, the sacred and the profane, orality and writing, standard and colloquial Arabic. / In order to understand the process which marks the making of the people's Muhammad, the study deals with the sources and the contents of the repertoire of the Egyptian maddahin. The performance of these singers as well as their interaction with the audience are also considered. The "legendary" material in this repertoire is attested as historical by many authoritative and well-recognized "orthodox" authors of the past. Classical Arabic, classical poetic forms, philosophical notions, long believed to be the exclusive possessions of the learned, are freely utilized in the ballads and popular songs under study. The people's Muhammad appears as both a commanding figure, empowered by the supernatural, and a touchingly vulnerable human being; God's ascetic messenger and a man who savours life's lawful pleasures; an eloquent speaker who utters Qur'an-like terse Arabic and a lovingly familiar figure who also uses local patois. Bipolarity, beloved of many scholars, is seriously challenged by the art of the Egyptian maddahin. A renewed effort has to be made to discover more valid categories which will take into account the intermediary combinations (Mischbildungen) characteristic of that art.

Modern scholars have suggested various approaches to the analysis of the pretonal repertory. However, if we consider the question of how the individual voice parts interact in a Renaissance polyphonic composition to create coherence for the movement as a whole, we find that there are no tools available to undertake such a task. We may be able to speak generally of the arrival of certain moments as relatively accented or unaccented; we may even be able to dissect a complete melodic line with some segmentation process to highlight motivic structure, phrase development or contour-articulated pitch events. But there are no analytic strategies available yet which are capable of disclosing the structures of independent voice parts and their interaction as timepoint-accenting elements capable of creating formal, rhythmic and pitch-class patterns. This study outlines a methodology that has been developed to deal with these specific issues. The analytic strategy is based on the perception of accents in individual voices of polyphonic works. The types of accents germane to Renaissance polyphony include durational, leap, contour, cadential and beginning-accents. The study proposes a simple, bipartite classification of accentual strength—strong or weak. Each voice part in a work is then analyzed, with every pitch attack represented as strongly or weakly accented through special notation developed for the analysis. The methodology affords a picture of the most strongly- accented timepoints in the individual melodies of three- and four-voice cantus firmus masses of the mid- to late fifteenth century. The relative strengths of these accents, along with their synchronization in the multi-voice aggregate, are disclosed through the notation. After renotating scores with this special notational symbology, we extract points of coincident strong accents in three or more voices to create accent profiles for each section of a movement. We then compare profiles of same-texted works by different composers in order to disclose normative formal and pitch-class procedures in some Renaissance compositions.