Music, Ovid and the triumph of sound in Shakespearean drama (William Shakespeare)

Ortiz, Joseph M Princeton University 2003 해외박사(DDOD)

소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

The history of music's meaning in the Renaissance does not admit a simple narrative of progression or development. Ideas about music as a mode of signification periodically clash with demonstrations of music as a fundamentally acoustic event that promiscuously accommodates any number of verbal meanings. Subsequently, much writing on music in the period reflects a desire to ward off music's discursive promiscuity rather than come to terms with its actual effects. At the heart of this debate is a deeply-rooted concern over language's ability to contextualize sensuous experience and render it meaningful. Ovid's <italic> Metamorphoses</italic>, arguably more than any other classical text, engages a similar conflict between language, text, and embodied phenomena. The idea that music and Ovidian poetry similarly illustrate the limitations of contextualization suggestively explains their frequent conjunction in Shakespeare, an aspect of the works which criticism has rarely identified, much less theorized. <italic>Music, Ovid and the Triumph of Sound</italic> argues that Shakespeare repeatedly refers to music and Ovid to thematize the gap between language and sensuous experience. Through close readings of <italic>Titus Andronicus, Hamlet, The Rape of Lucrece, The Merchant of Venice, The Winter's Tale, The Tempest</italic>, and Milton's <italic>Comus</italic>, this study interprets passages in early modern literature where music collides with words and where (often simultaneously) Ovidian allusion contaminates the dramatic plot. Rather than conforming to a “consent” model of art in which dramatic wholeness is the <italic>terminus ad quem</italic>, Shakespeare's plays and poems often evoke contradictory interpretations of music and mythology that undercut a grand, unified aesthetics. Specifically, Shakespeare's foregrounding of music's acoustic nature and his allusions to Ovid's tales of speechlessness challenge the universalizing, text-based representations of music in conventional Renaissance music theory. Likewise, by exploiting the polysemousness of Ovidian allusion, Shakespeare reflects critically on the textual, allegorical tradition of the <italic>Metamorphoses</italic> itself. In this respect, Shakespeare's use of music and Ovid signals his participation in a larger cultural and ideological debate in early modern England, which might be described as an ongoing tension between textual and sensuous authorities.

The Undocumented: A Musical Analysis of Three Saxophone Solos of the "Light Music" Era

Puccio, Daniel Scott Arizona State University 2012 해외박사(DDOD)

소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

The solo repertoire from the Light Music Era serves as an important link between the Classical and Jazz soloist traditions. These characteristics are best highlighted through an analysis of three solo transcriptions: Felix Arndt's Nola as performed by Al Gallodoro, Rudy Wiedoeft's Valse Vanite, as performed by Freddy Gardener, and Jimmy Dorsey's Oodles of Noodles, as performed by Al Gallodoro. The transcriptions, done by the author, are taken from primary source recordings, and the ensuing analysis serves to show the saxophone soloists of the Light Music Era as an amalgamation of classical and jazz saxophone. Many of the works performed during the Light Music Era are extant only in recorded form. Even so, these performances possess great historical significance within the context of the state of the saxophone as an important solo instrument in the wider musical landscape. The saxophone solos from the Light Music Era distinguish themselves through the use of formal development and embellishment of standard "song forms" (such as ABA, and AABA), and the use of improvisational techniques that are common to early Jazz; however, the analysis shows that the improvisational techniques were distinctly different than a Jazz solo improvisation in nature. Although it has many characteristics in common with both "Classical Music" (this is used as a generic term to refer to the music of the Western European common practice period that is not Pop music or Jazz) and Jazz, the original research shows that the saxophone solo music from the Light Music Era is a distinctly original genre due to the amalgamation of seemingly disparate elements.

Tudor Musical Theater: Staging Religious Difference from "Wisdom" to "The Winter's Tale"

Brokaw, Katherine Steele University of Michigan 2011 해외박사(DDOD)

소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

"Tudor Musical Theater" argues that music in early English plays significantly affects how plays create social meanings. From fifteenth-century Lollardy to early seventeenth-century Puritanism, music continued to be a contested matter in religious reform movements; and theatrical representations of liturgical music, ballads, and dances often forged social compromises for diverse audiences. Although music is typically detached from inquiries about the social and religious meanings of early drama, this study argues that dramatic music is precisely the locus of urgent negotiations of competing ideologies. In its historical range, this project also emphasizes the crucial continuities between the arbitrarily divided fields of medieval and early modern drama. The first chapter explores the range of historical audience expectations for the heterogeneous population of fifteenth-century East Anglian drama. In Wisdom, the re-performance of Catholic musical ritual, the reformist sermon, and the profane songs of the vices collectively project the compatibility of the sacred and profane, and of orthodox and heterodox practice. The Digby Mary Magdalene's parodied Catholic ritual, drinking songs, and Te Deum offer a similar reconciliation, but the play sets this local, hybridized faith system against religious alterities of the Orient. The plays and writings of John Bale (chapter 2) evidence both sides of early Protestant controversies regarding music. Like many sixteenth-century English people, the reformer Bale was torn between nostalgia for Catholic music and a desire for ceremonial reform. Christopher Marlowe's theologically indeterminate Doctor Faustus (chapter 3) is ambiguous about the question of sonic efficacy. It stages a hermeneutic crisis that leaves audiences to consider the powers church rites and bawdy music have on their souls. The Winter's Tale (chapter 4) ends with contemporary ballads and dances that interrupt the aural stoicism of the tragic first three acts, suggesting music's redemptive power. In the play's final scene, instrumental music accompanying Hermione's re-animation suggests the divinity of man-made art, including both religious and secular musical creation.

Movement in the middle school choral rehearsal

Manganello, Rosemarie B Boston University 2011 해외박사(DDOD)

소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

The purpose of this study was to observe two middle school choruses at a single-site location and to investigate how movement, modeled by the teacher and imitated by the students, affected expressivity. Criteria for choosing the teacher and site were that (a) the teacher consistently employed strategies of movement in rehearsal, and (b) students imitated movements in rehearsal. Primary participants included choral students and choral director. Secondary participants included school administrators and ancillary staff. Ethnographic techniques of observing, interviewing, and artifact collecting was used in gathering data during one semester. Building on classic kinesthetic music studies of Dalcroze, Kodaly, and Orff, cognitive and social development studies, nonverbal gesture studies, the mind-body philosophy, and contemporary gesture research, in this study I describe how middle school choral students experienced movement and its affect on expressivity in this particular context. The following questions guided this study: (1) How do middle school choral students describe their experience using movement in a choral rehearsal?, (2) How does the movement contribute to the students' ability to convey the expressive elements of the music?, (3) Why does the choral teacher use movement in rehearsal?, and (4) What are the specific movements being used and for what musical purposes are they employed?. The research design chosen for this study was a participant-observation case study of a middle school music director who used movement in choral rehearsals. This research is a single, within-site case study of a music teacher who used movement in choral rehearsals at a public middle school. Twice per week, the researcher observed, with permission, two choruses---Gr. 6 and Grade 7--8 mixed choruses---using digital audio recording and videotaping, field notes, and memo reporting. Primary and secondary participants were interviewed and recorded upon permission. Implications of the study suggested, first and foremost, that movement in the middle school choral rehearsal did benefit singers' musical expression. Rehearsals opened with a brief time of aerobic movement with musical accompaniment and a vocal exercise session. This kinesthetic and vocal routine coupled with the teacher's personal gestures focused the choral students, developed social camaraderie, and brought deeper musical understanding in the rehearsal. The director then integrated creative personal movements to fit the expressive needs of the music. In turn, the movements/gestures were imitated by the students as they rehearsed the music. These expressive movements represented qualities of dynamics, phrasing, breathing, articulation, and interpretation. Observations of movement in rehearsal also showed that movement aided students in the recollection of expression and interpretation when performing the music. Implications of the study also suggested that it would be advantageous for preservice music teachers to enroll in several courses of dance or aerobic movement in order to feel comfortable in their creative movement expressions. Accordingly, the integration of movement courses in the undergraduate music education curriculum is most important and needed. Additional themes that emerged from this case study were: developing independent musical thinking, listening and evaluating, student assistance and mentoring, improving piano skills, and teacher-mentoring.

Biagio Marini and the meanings of violin music in the early seicento

Cypess, Rebecca Schaefer Yale University 2008 해외공개박사

This dissertation explores ways in which instrumental music of early seventeenth-century Italy gained coherence and meaning through reference to vocal genres. The violin, which had existed in some form since the early sixteenth century, was just gaining acceptance as a "high-class" instrument, in part because of its capacity to imitate the human voice and the new vocal idiom in vogue during the first decades of the seicento . In an environment that esteemed texted music above all, violin music made its way by alluding to vocal genres. Biagio Marini was a violinist and composer whose surviving oeuvre , published between 1617 and 1655, encompasses a wide variety of genres and styles. His instrumental music offers a picture of compositional practice and the construction of meaning in untexted music. In this dissertation, I analyze five of his books containing instrumental music from different perspectives; by placing these books and compositions in the context of contemporaneous vocal music, I suggest connections between vocal and instrumental genres, and I offer interpretations of meaning in music. Part I describes two cases in which Marini seems to challenge the conventions of vocal music. In his Affetti musicali (1617) he suggests that instrumental music may convey emotional content as well as vocal music, and that the violin may now stand alongside the human voice as suitable for use by gentlemen-amateurs. The Madrigali et symfonie (1618) appears to present a means of organizing cyclic instrumental books in a manner uniquely suited to untexted music. Part II presents cases in which Marini seems to adopt conventions of vocal music, and transform them to suit the violin. His Romanesca for solo violin (1620) draws upon vocal settings of the romanesca progression in its adoption of a narrative framework. In his Sonate (1626) Marini translates the vocal stile rappresentativo into an instrumental idiom, both in musical syntax and in staging and role-play. His final extant publication, the Sonate da chiesa e da camera (1655) makes use of vocal topoi to define sacred and secular styles.

JAZZ 音樂을 活用한 中學校 音樂授業模型 方案

이현수 경상대학교 교육대학원 2008 국내석사

Music education in Korea is heavily lopsided towards Western classical music. However, thanks to post-modernism, modern society is embracing pluralism and multiculturalism, and thus the status and influence of popular music is increasingly being boosted. This phenomenon is generating a demand that popular music should be included in music education. Therefore, in an attempt to meet such demand, this study sought a way to apply Jazz, a common denominator between popular music and Western classical music, to music education. To begin with, this study examined the definition and history of Jazz in order to find out how Jazz's major characteristics had been developed. In addition, it looked into Jazz's major characteristics and expression methods that had been established through the processes of change and fusion. Improvisation, the most representative concept concerning Jazz, is characterized by the solist who plays melody above rhythm part, play based on themes with consistent forms, and the participation of all players of a band. As for Jazz rhythm, rhythms of many countries are mixedly used. Two most fundamental characteristics of Jazz rhythm were swing feel and the frequent use of syncopation rhythm. The harmony of Jazz follows traditional harmony on which classical music based, but tension chord is also used to create rich and strong features and to increase the tension of a musical piece. Jazz's blue scale where both major and minor modes coexist was initially established due to blue note that changes from major to minor. The use of blue scale generated practice that a musical piece often drifts away from its initial harmony using melodies in various modes, and provided an opportunity to make improvisation played more freely. The study sought a way to utilize these major musical characteristics of Jazz in the 7th national music curriculum's understanding area including rhythm, melody, harmony, form, and tone color, and activity area including singing, appreciation, composition, and playing musical instruments. In order to utilize Jazz in music class, the study presented a teaching guide that applies Jazz to the activity area of the 7th national curriculum. It would be nice if I myself were able to apply the guide to the education field, but unfortunately I can not, because currently I am not teaching students. It is hoped that this study helps teachers to understand Jazz and students to acquire musical and aesthetic experiences through various classes utilizing Jazz.

The Boundaries of Meter and the Subjective Experience of Time in Post-Tonal, Unmetered Music

Knowles, Kristina Leigh Northwestern University ProQuest Dissertations & T 2016 해외박사(DDOD)

소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

Rhythm and meter are vital and perceptually visceral components of twentieth-century music, yet scholarship that addresses the use and perception of these elements within this repertoire is limited. This dissertation explores questions of rhythm, meter, and perception in predominantly unmetered post-tonal music, with an emphasis on the works of George Crumb and Morton Feldman. Using an interdisciplinary lens spanning music theory, music cognition, psychology, and philosophy, this research aims to expand conceptions of meter by highlighting the rhythmic and metric complexities present within unmetered, post-tonal compositions. These concepts are then connected to the psychological literature on time perception to uncover the way time is perceived and enacted within these musical works. Absent the regularity provided by a consistent meter and expectations generated by tonal syntax, localized fluctuations in musical structures can create shifts in the way listeners attend to the music, as potential for periodicity prompts attempts at entrainment. By combining views of meter as processive and as a habit of listening, it becomes possible to address a variety of musical structures ranging from quasi-metrical gestures to the emergence and subsequent dissolution of fully formed metrical moments within a predominantly unmetered environment. The changes in attending sparked by such structures can, in turn, affect the subjective experience of time. Four modes of attending to meter are proposed, which describe changes in a listener's processive and "in-time" experience of the music as it unfolds. These four modes of attending are then connected to the psychological literature on time perception to describe how fluctuations in rhythmic and metric structures can create variance in the experience of temporality within a composition. An in-depth examination of the perception and rhythmic role of silences within music, along with an empirical study investigating the effect of silences on the perception of time in unmetered, post-tonal compositions, allows for further nuance in describing and analyzing this repertoire. A concluding set of analyses tests the theoretical framework and demonstrates how exploring the subjective experience of time in conjunction with an examination of rhythm and meter within non-metered twentieth-century compositions allows for a richer understanding of the "in-time" experience of this music.

Social Identity in Adolescent Peer Groups: A Collective Case Study of Adolescents’ Use of Music as an Identity Resource

Zanardelli, Brandon John ProQuest Dissertations & Theses Boston University 2021 해외박사(DDOD)

소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

Small groups of friends—or peer groups—are a central feature of adolescence that contribute to the development of social identity and feelings of self-worth for group members. Additionally, adolescents value music highly and view it as a vital part of their lives. The purpose of this study was to examine and clarify the extent to which adolescents use music as an identity resource in small peer groups. Using Tajfel and Turner’s Social Identity Theory as a framework, I conducted a collective case study to understand (a) the ways in which adolescents use music to form and maintain a peer group, (b) the extent to which peer groups use music for the social categorization and stereotyping of other groups of adolescents, (c) the ways by which adolescents use music associated with their peer group to maintain a positive self-concept, and (d) how the peer group influences members’ enjoyment of music and music participation. I conducted group interviews with three adolescent peer groups that contained 5–8 seventh- and eighth-grade students. The peer group members shared experiences of bonding and socializing as a part of a peer group, and described time spent in their music classes. During the discussions, group members explained the role that music plays in their lives. The group members explained their peer group in the context of the school, describing instances of social categorization and stereotyping, in-group and out-group distinction, and self-concept maintenance made from comparisons to the out-groups. The participants discussed their views on school music courses, advocating for the implementation of new classes that included non-traditional instruments and the inclusion of more popular styles of music.

Activism and Music in Poland, 1978--1989

Bohlman, Andrea Florence Harvard University 2012 해외박사(DDOD)

소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

This dissertation presents a historical study of intersections between music and activism in Poland from the election of Cardinal Karol Wojtyla as Pope John Paul II in 1978 to Poland's first democratic elections in 1989. Musical action in three cultural spheres shapes the project: (1) the political activism of musicians, (2) activists who turn to music as a political instrument, and (3) the musical ambitions of the communist authorities, the Polish United Workers' Party. I critique the repercussions of politics in music as well as music's significance for policy makers and dissidents, and I assume that neither course of influence is intrinsic or inevitable under state socialism. In doing so, I highlight the complex relationship between activist culture and music at the end of the Cold War. Throughout the decade, religious hymns, patriotic anthems, experimental music, and popular songs shared spaces in Polish society, projected analogous ambitions, reflected communal responses, and partook in debates about culture's capacity to effect political action. The plurality of musical genres and music histories during the Cold War reflects the political tensions in the Polish opposition to state socialism. The diverse materials I investigate in this dissertation respond both to the tumultuous politics of the 1980s and to the ethnographic, historical, and analytical methods I employ to write music history. My thesis that political activism offered politicians, activists, and musicians the opportunity for constructive creative action provides a model for rethinking Cold War music history. I begin with an explanation of the Communist Party's program for music and the practical means by which it carried out this vision through the decade. Two chapters examine specific historical moments: I critique the ways in which music has come to be associated with the August 1980 strikes that brought about the formation of Solidarity, the first independent trade union in the Eastern bloc, and map the sites of music making in the weeks after martial law's imposition in December 1981. I explore the resonance of popular sacred hymns and plainchant for musicologists, composers, and members of the opposition through the final decade of the Cold War. The dissertation concludes by analyzing the unofficial musical discourse on independence, drawing out the concept's resonance for artists invested in their own musical autonomy.

중학교 자유학년제 국악합주 프로그램 개발 연구 : 소금, 해금, 장구 합주를 중심으로

김지혜 추계예술대학교 교육대학원 2020 국내석사

본 논문은 자유학년제 국악프로그램을 통해 학생들의 다양한 선택권을 보장하고 다양한 음악 교과의 핵심역량을 길러 국악의 가치를 인식하며 생활 속에서 활용할 수 있도록 소금, 해금, 장구를 중심으로 중학교 자유 학년제 국악합주 프로그램을 개발 연구하고자 하는 논문이다. 자유학년제는 2013년에 도입된 자유학기제가 확대되어 2018년부터 중학 교 1학년 학생들을 대상으로 희망학교에서 1년 동안 운영되었으며 2020년 부터는 전국의 중학교에서 시행된다. 현재 학교에서 운영되는 자유학기 음악프로그램은 대부분이 서양음악 위주이고 국악교육 프로그램은 초등에 서 다루었던 단소와 사물놀이, 북놀음 등이다. 이는 넓은 국악교육 프로그 램 중에서 매우 일부 영역에서만의 제한된 교육활동이며 이에 더해 시간 수조차도 매우 미흡한 실정이다. 따라서 본 연구에서는 소금, 해금, 장구 를 활용한 국악합주 프로그램을 개발하여 자유학기 예술·체육활동의 국악 프로그램 활성화를 기대한다. 또한 학생들이 다양한 국악 프로그램 중에 서 자신의 적성과 흥미에 맞는 프로그램을 선택하여 음악 교과 역량을 기 르고 생활 속에서 국악을 지속적으로 접할 수 있도록 하고자 한다. 국악 프로그램의 활성화를 위하여 본 연구는 첫째, 자유학기제 확대 추 진 배경과 자유학년제 운영 및 편성에 대해 살펴보았다. 둘째, 2015 개정 음악과 교육과정의 음악 교과 역량의 의미를 살펴보고 국악합주 활동과의 관계에 대해 연구하였다. 셋째, 국악합주교육의 필요성 및 교육효과에 대 해 살펴보았다. 넷째, 중학생을 대상으로 한 국악합주에서 활용할 악기를 선택하고 각 악기 교육의 의의 및 효과, 특징, 연주방법을 확인하였으며 학생들의 수준에 맞는 악곡을 선정하였다. 다섯째, 자유학년제 자유학기활 동 중 예술·체육활동의 17차시 국악합주 프로그램을 개발하고 본 연구자 가 직접 구안하여 교수·학습 방안을 제시하였다. 여섯째, 17차시 교수·학 습을 마친 후 본 프로그램의 교육적 효과에 대해 알아보았다. 본 연구를 통해 자유학기 국악합주 프로그램을 경험하는 학생들이 합주 하는 과정을 통해 다양한 음악 교과 역량을 기르고 국악에 대한 관심과 흥미를 높여 생활 속에서도 지속적으로 즐길 수 있기를 바란다. 앞으로 국악합주프로그램이 활발하게 운영되고 국악과 관련된 프로그램 이 지속적으로 개발되어 학생들이 우리 문화의 정체성과 가치를 인식하고 바른 인성을 함양하여 국악을 생활화 할 수 있기를 기대한다. This thesis is for developing and researching the Korean Traditional Music Ensemble of the Free Year System of middle school, focusing on Sogeum, Haegeum, and Janggu. This paper guarantees students various choices through the Korean traditional music program of the Free Year System and students can develop core competencies in various music subjects so that the value of Korean traditional music can be recognized and utilized in daily lives. The Free Year System was an extension of the Free Semester System, introduced in 2013, and has been in operation in the desired middle schools for the first years since 2018 which will be extended to all middle schools in the country in 2020. Currently, the music programs of the Free Semester System in schools is mostly focused on Western music, and Korean traditional music education programs are Danso, Samulnori, drum play, and etc. which were already educated in Elementary schools. Among the various Korean traditional music education programs, this is a limited educational activity that is carried out in only a few areas with only a little time given for each class. Therefore, this research is to develop the Korean Traditional Music Ensemble program using Sogeum, Haegeum, and Janggu to expect Korean traditional music programs in art and physical activity of the Free Semester System to vitalize. In addition, students can develop music competencies by allowing them to choose what suits their aptitude and interest from a variety of Korean traditional music programs and allow them to access Korean traditional music continuously in their everyday lives. In order to revitalize the Korean traditional music program, this study first examined the background of the expansion of the Free Semester System and the operation and organization of the Free Year System. Second, we examined the capacity of music as a subject in the 2015 revised music education and curriculum and studied the relationship with Korean Traditional Music Ensemble activities. Third, the necessity and educational effects of Korean Traditional Music Ensemble education were examined. Fourth, the middle school students' instruments and music to be used at Korean Traditional Music Ensembles according to their level were selected and the characteristics of each instrument, performing technique, and the effect of the education were evaluated. Fifth, the Korean Traditional Music Ensemble program was added to the 17th session of the Free Year System Free Semester activity in the Arts and Physical Education category. The researcher further devised a teaching method and a learning plan for it. Sixth, the educational effect of this program was examined after finishing teaching and learning the 17th session. Through this study, I hope that students can develop various musical competencies based on their experiences in the Korean Traditional Music Ensemble program of the Free Semester and increase their attention and interest in Korean traditional music so that they can enjoy it continuously in their lives. I hope that the active operation of Korean Traditional Music Ensemble programs and Korean traditional music-related programs will be developed continuously so that students can recognize the Korean culture's identity and values and develop a proper personality to bring Korean traditional music to life.