Global ETD Search

1	Modeling as Compositional Tool in the Piano Works of Francis Poulenc van der Westhuizen, Petrus J. 27 June 2007 (has links) No description available. Music Poulenc Piano Modeling Compositional Tool Stylistic Allusion Paraphrase
2	Third-Person Present Tense as Stylistic Allusion to Theatre : A Study of Maggie O'Farrell's Hamnet Hermansson, Kajsa January 2023 (has links) In this essay, I illustrate how the third-person present tense narrative perspective can be used as stylistic allusion to theatre, by studying Maggie O’Farrell 2020 historical fiction novel Hamnet. Previous studies conclude that present-tense narration has the effect of blurring the lines between narration and experience. However, while a first-person perspective lets the reader enter the consciousness of an experiencing “I”, the third-person perspective, although inhabiting the same spatiotemporal level as the characters, maintains an outside perspective, observing the events as they unfold. Conclusively, as the study will show, third-person present tense narration has the potential to function as stylistic allusion to theatre as it seemingly challenges reader perception, letting the reader into the experiencing level of the story, assuming the role of the observer, thus mimicking the experience of watching a stage performance at a theatre. Hamnet Maggie O’Farrell Third-Person Present Tense Stylistic Allusion Shakespeare Historical Fiction Stylistics Narratology General Literature Studies Litteraturvetenskap
3	The Emergence of the Subconscious in Erik Satie's "Parade": The Search for Surrealism in Sound Rajatanavin, Tanaporn 08 1900 (has links) This thesis investigates possible connections between the music of Erik Satie (1866-1925) and the later surrealist movement, turning to Parade (1917) in a case study that seeks to understand surrealism in music through the idea of self-exploration, a well-established interpretive approach in studies of surrealism in the visual arts. This thesis seeks to redefine surrealism in music not as a set of concrete musical characteristics, but as a collection of techniques meant to evoke subconscious turbulence by blurring the boundary between the "outside" and "inside," between conscious and subconscious, leading to a new discovery of higher or deeper truth. Satie's music aligns with the psychoanalytic elements of the discourse on surrealism. Psychoanalysis, pioneered by Sigmund Freud (1856-1939) and his followers in the 1890s in Vienna, permeated France around the time of the creation of the work. It inspired early surrealist techniques like automatism, illusory formal structures, collage, and stylistic allusion. This thesis demonstrates that such techniques can be discerned throughout Parade, not only in Satie's music, but also in its scenario, staging, costumes, and choreography. As such, Parade was a foundational work for the surrealist movement, with Satie's music contributing with the other media equally to the emotional and psychological impact of the ballet. Satie surrealism Massine Cocteau Picasso Dalí Freud Apollinaire Diaghilev Parade Ballets Russes collaboration multimedia music ballet avant-garde surrealism in music subconscious conscious blurred boundary self-exploration acoustic illusion automatism collage stylistic allusion psychoanalysis psychology in music Satie, Erik, 1866-1925. Parade. Surrealism in music. Psychoanalysis and music. Academic theses

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