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Thesis (D.M.A.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed July 7, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 104-105.

Originally presented as the author's thesis (doctoral--Technische Universität, Berlin). / Includes bibliographical references (p. 235-327).

Timbre and orchestration are neglected parameters in analytical writing, partly because analysis traditionally privileges pitch organisation as the primary structural parameter in music, but also because timbre appears more resistant than pitch to theoretical abstraction and systematisation. Yet, in the music of early twentieth-century Viennese composers such as Schreker, Zemlinsky and Schoenberg, timbre often assumes a pre-eminent place in musical design and formal architecture. In such works, timbre often moves from what Robert Hopkins (1990) describes as a 'secondary parameter' to the forefront of a listener's consciousness. Conventional analytical approaches - including Schenkerian, Neo-Riemannian or pitch-class set theories - arguably have little to offer at such moments. This thesis begins by examining the 'crisis of response' to timbre in fin-de-siècle Austro-Germanic circles and, in particular, to the increasingly complex timbral constructions of many Viennese composers, such as Franz Schreker and Arnold Schoenberg. The crisis of response appeared to stem from an inherited nineteenth-century view of orchestration as ornamental in function, as well as the lack of an appropriate analytical framework and meta-language with which to critique the growing importance of timbre as a musical parameter. This thesis contributes to the discussion as to the how the area of timbral analysis might develop: firstly, by treating timbre as an 'emergent' property rather than an absolute analytical category (i.e., that timbre often results from a complex interaction of multiple musical parameters); secondly, by considering the effect of timbre's spatial properties within the auditory scene on subject-position through examination of contemporary and more recent theories on the convergence of the visual and auditory arts; and thirdly, through timbre's ability to function as an agent of immanent musical critique through disjunctive juxtapositions, or by historically-contextualized responses to codified orchestral tropes as found in Alexander Zemlinsky's 'Der Zwerg'. Timbre certainly was not always the secondary parameter some fin-de-siècle critics suggested it was, or wanted it to be. The joint purpose of this thesis is to offer historically-engaged analytical readings of neglected works from twentieth-century Vienna (alongside a few better-known works whose timbral construction had been left unanalyzed), and to reflect on the benefits of applying recent research to contemporary theories of timbre. These two aims are set in productive counterpoint rather than a straightforward synthesis, with the adoption of recent cognitive research and theories of subject-position feeding into analyses of historical work in order to try to mediate the gap between theory, text, and musical practice.

abstract: The overarching goal of this dissertation was to contribute to the field’s understanding of young children’s development of ethnic-racial identification. In particular, Study 1 presented the adaptation of three measures that are developmentally appropriate for assessing young children’s ethnic-racial attitudes, ethnic-racial centrality, and ethnic-racial knowledge, and tested the psychometric properties of each measure. Findings from Study 1 provided limited initial support for the construct validity and reliability of the measures; importantly, there were many differences in the descriptives and measurement properties based on the language in which children completed the measures. In addition to measurement of ethnic-racial identification, Study 2 used the measures developed in Study 1 and tested whether Mexican-origin mothers’ adaptive cultural characteristics (i.e., ERI affirmation, ethnic-racial centrality, and involvement in Mexican culture) when children were 3 years of age predicted greater cultural socialization efforts with children at 4 years of age and, in turn, children’s ethnic-racial identification (i.e., children’s ethnic-racial attitudes, ethnic-racial centrality, ethnic-racial knowledge, and identification as Mexican) at 5 years of age. Furthermore, children’s characteristics (i.e., gender and skin tone) were tested as moderators of these processes. Findings supported expected processes from mothers’ adaptive cultural characteristics to children’s ethnic-racial identification via mothers’ cultural socialization across boys and girls, however, relations varied by children’s skin tone. Findings highlight the important role of children’s individual characteristics in cultural socialization and young children’s developing ethnic-racial identification over time. Overall, given the paucity of studies that have examined ethnic-racial identification among young children, the results from Study 1 and Study 2 have the potential to stimulate growth of knowledge in this area. / Dissertation/Thesis / Doctoral Dissertation Family and Human Development 2016

The purpose of this study is to investigate the theoretical causes of the stylistic results of both compositions and spontaneous improvisations of jazz pianist and composer Thelonious Monk. The specific topics chosen for analysis include Klangfarben (sound colors), rhythmic displacement (the relocation or complete removal of expected rhythmic events), and economy of means (the judicious use of silence, simplicity, and economy). All of the above topics are addressed with regard to the composer's original works, his selected renditions of works by other composers, and his improvisations. The musical examples appear in transcription form, as some of them are unpublished. The topics are introduced in the first chapter, and individually addressed in subsequent chapters.

No description available.

I föreliggande studie är syftet att studera några högskolelärares upptattningar angående-, innebörden av och arbete med en sopranklang på en högskolenivå. Tidigare litteratur och forskning visar på olika svar om hur begreppet kan användas, innebörden av begreppet samt nyanseringen av begreppen klang, timbre och klangfärg. Arbetet är kvalitativt och utgår från det teoretiska perspektivet designteori och socialsemiotik. Metoden som används är stimulated recall-intervjuer som i föreliggande fall innebär en videoobservation av en sånglektion och ett intervjutillfälle där läraren i en semistrukturerad intervju berättar om uppfattningar och arbete med en vacker klang, med videon som underlag för intervjun. Resultatet delas in teman om uppfattningar om och arbetet med klang. Gällande uppfattningar angående klang framkommer att klang ses som en medfödd, utvecklingsbar och kommunikativ förmåga samt som ett ej användbart begrepp. Resultatet visar att Arbetet med klangen utgår ifrån verbala, sångliga, fysiska och känslomässiga representationer. I diskussionen diskuteras aspekten om en vacker klang kan tyckas vara medfödd eller utvecklingsbar. Även vikten av multimodalitet i arbetet med klang diskuteras. I diskussionen lyfts även aspekter av arbetet med klang som direkt eller indirekt eller som ett fysiskt fenomen kontra ett abstrakt fenomen. / This study is about the soprano timbre, how university teachers defines the term and how the work with it in teaching. Previous research presented different answers about the meaning of the term timbre. It’s a qualitative study and based on the theoretical perspective design theory and social semiotic. The method used is stimulated recall interviews, which in the present case is both a video observation of a singing lesson and an interview occasion where the teachers are interviewed one by one. The interview is semi-structured and the teachers got to tell about their opinion about a beautiful sound, and the work with timbre. The video is used as a basis for the interview. The result is divided into the categories "The opinion of" and "the work with" timbre.The opinion of timbre is also divided into the headings: sound as innate, developable and communicative ability and also the term timbre being not useful. The work with the timbre is based on verbal, singable, physical and emotional representations. In the discussion, the aspect is further discussed if a beautiful sound can seem to be innate or developable, as well as the multimodality and its resources. The discussion also discusses aspects of the work with the sound as direct or indirect or as a physical phenomenon versus an abstract phenomenon. In addition, the beautiful timbre of the multimodality is discussed.

Thesis (Ph.D.)--University of Wollongong, 2007. / Typescript. Includes 2 sound discs and 1 DVD-ROM in back pocket. CD 1: The animation of lists; CD 2: And the archytan transpositions. DVD-ROM contains Part Three - Appendix. Includes bibliographical references: leaf 291-301.

The early stage of piano students' training is one of the most important, because it is then that they establish their habits for life. Those who teach beginners need clear principles for developing a solid technical foundation and for preventing bad technical habits. One of the most difficult principles to inculcate in young students is that of tone production and quality. The primary purpose of this study is to provide a pedagogical guide to help piano teachers teach tone production to elementary-level students. To accomplish this purpose, the strategies of the twentieth-century pedagogues Josef Lhévinne, Josef Hofmann, and Heinrich Neuhaus are examined, and applied to the elementary-level piano literature. This study offers practical training suggestions to teachers of elementary piano students as well as musical examples from high-quality piano literature to accompany these suggestions.