| Home | << 1 2 3 4 5 6 7 8 9 10 >> [11–20] |
|
| Records | |||||
|---|---|---|---|---|---|
| Author | Hudson, Stephen S. | ||||
| Title | Feeling Beats and Experiencing Motion: A Construction-based Theory of Meter | Type | Book Whole | ||
| Year | 2019 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 334 | ||
| Keywords | Cognitive science; Embodiment; Meter; Motion; Music theory; Performance studies; Rhythm | ||||
| Abstract | Musical meter is often described as an objective grid-like system of time-points that is created by musical sounds. I define meter instead as any pattern of felt beats an individual listener chooses to hear, a physical and cognitive interpretation of the music that is (re-) created in the moment of listening. We construe meter through embodied metering practices: dance gestures, patterns of counting, or epistemologies of rhythmic motion. Many metering practices have conventional metering constructions, specific associations between sounding features, patterns of felt beats, and paths of motion through these beats. Drawing on concepts from cognitive science and performance studies, I explore how this embodied knowledge is constituted and applied in both planning of musical phrases by a performer, and in-time perception and cognition of musical rhythms by any listener or participant. Metering constructions and practices are often performed by and associated with certain communities and identities. I take a culturally-situated approach to meter and felt motion, studying traditions of embodied movement and bodily discipline including headbanging in heavy metal (Chapter 1), characteristic dance rhythm topics in non-dance concert music of the eighteenth century (Chapter 2), motivic manipulation and developing variation in late Romantic chamber music (Chapters 3 and 4), and prosody and speech gestures in operatic recitative (Chapter 5). Contrary to many existing theories of meter, I argue that our feelings of beat are not necessarily organized in cyclical grids, but are improvised on the spot by stitching together familiar motions. I also explore how movements often embody and perform aesthetic ideologies and cultural meanings, with these hermeneutic frameworks often shaping listeners’ choice of movements, their proprioception of their own movements, and their perception of the qualities of rhythm and motion in the music they are listening to. |
||||
| Address | |||||
| Corporate Author | Thesis  |
Ph.D. thesis | |||
| Publisher | Northwestern University | Place of Publication | Editor | ||
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 9781085600613 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2202 | ||
| Permanent link to this record | |||||
| Author | Pack, Christian | ||||
| Title | Hellbound in El Salvador: Heavy Metal as a Philosophy of Life in Central America | Type | Book Whole | ||
| Year | 2018 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 233 | ||
| Keywords | Communication and the arts; Culture; El Salvador; Heavy metal; Humor; International law; Language, Latin America; Literature and linguistics; Obscenities; Philosophy; Politics; Social sciences; Spanish | ||||
| Abstract | Heavy Metal in El Salvador has been a driving force of the underground culture since the Civil War in the 1980s. Over time, it has grown into a large movement that encompasses musicians, producers, promoters, media outlets and the international exchange of music, ideas and live shows. As a music based around discontent with society at large, Heavy Metal attempts to question the status quo through an intellectual exploration of taboo subjects and the presentation of controversial live shows. As an international discourse, Heavy Metal speaks to ideas of both socio-political and individual power based around a Philosophy of Life that exalts personal freedoms and personal responsibility to oneself and their society. As a community, it represents a ‘rage’ group, as defined by Peter Sloterdijk, that questions Western epistemologies and the doctrines of Christian Philosophy. This is done in different ways, by different genres, but at the heart is the changing of macro- (international) discourses into micro- (local) discourses that focus on those issues important to the geographic specificity of the region. In the case of Black Metal, born in Norway, it is interpreted in El Salvador through the similarities between the doctrines of Hitler and those of the most famous dictator in the country’s history – General Maximiliano Hernandez – and then applied, ironically, to the local phenomena of the Salvadoran Street Gangs (MS-13 and 18s) and their desired extermination. It is also done through the re-interpreting of folk metal in the local phenomenon of tribal metal that reinterprets the indigenous through the lens of modern society and heavy metal’s ideas of power. Finally, the Salvadoran metalhead adapts the genre’s vulgarity and dark humor to fuel their own systems of dealing with harsh repression and existing within a society that seems to have no place for them. At the bottom though, much more than a community, Heavy Metal in El Salvador is a source of fraternalismo that utilizes the Philosophy of Life to bind its members together and to provide them a means by which to express their personal freedoms within a society that would happily see them limited. |
||||
| Address | |||||
| Corporate Author | Thesis |
Ph.D. thesis | |||
| Publisher | Johns Hopkins University | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-392-06770-3 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2204 | ||
| Permanent link to this record | |||||
| Author | Sikes, Laura | ||||
| Title | In the Groove: American Rock Criticism, 1966-1978 | Type | Book Whole | ||
| Year | 2017 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 390 | ||
| Keywords | American literature; Communication and the arts; Counterculture; Group identity; Journalism; Literature and linguistics; Music criticism; Music history; Nineteen sixties; Political discourse; Rock journalism; Rock music; Rolling Stone (magazine); United States history | ||||
| Abstract | Rock and roll music was a national youth obsession for more than ten years before the first rock critics began writing seriously about the form. Rock was dismissed by adult cultural authorities as empty, degraded, and even dangerous. However, to its fans, rock was an important form of personal expression, a source of group identity, and a mode of political discourse. Rock critics understood its cultural and political power. In their work, they explained its importance to the American public. In 1966, the first rock critic, Richard Goldstein, began writing about rock and roll in a weekly column in the Village Voice called “Pop Eye.” In it, he asserted that rock and roll was an art that deserved the same recognition and protections afforded to other art forms. By 1967, The New Yorker hired Ellen Willis to write about rock in a regular column called “Rock, Etc.” She brought an intellectual sophistication to the genre that would resound long after her career as a rock critic ended. Later in 1967, Rolling Stone debuted; it would become the most visible and influential source of rock criticism for the next fifty years. Editor Jann Wenner’s tastes and approach would affect the way rock was perceived in his own time and for decades after. Finally, in 1968, Lester Bangs debuted onto the scene, writing artful reviews for publications like Creem and Rolling Stone, explaining the changes that were taking place as rock music splintered into subgenres like punk and heavy metal. The quality of these rock critics’ thought and the influence of their writing makes rock criticism an important and under-studied branch of Sixties literature. Each of the rock critics addressed in this dissertation explained to the public what rock music meant and why it mattered. By placing rock in its social, political, and cultural context, they demonstrated that it was far from the empty form cultural authorities thought it was. Their work permanently changed perceptions of popular music, proving that it was substantial enough to stand up to the same kind of critical treatment as other art forms. |
||||
| Address | |||||
| Corporate Author | Thesis |
Ph.D. thesis | |||
| Publisher | University of Rochester | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-0-355-39567-9 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2208 | ||
| Permanent link to this record | |||||
| Author | Wang, Chi-Chung. | ||||
| Title | Subcultural Distinction in East Asian Education : the Case of High School Rock in Taiwan | Type | Book Whole | ||
| Year | 2017 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Cover songs; Education; Heavy metal; Music; Secondary schools; Subcultures; Taiwan | ||||
| Abstract | What kind of rock culture would grow out of an exam-oriented educational system? In the western rock world, self-learning has been characterized as most popular musicians’ principal learning pattern, closely intertwined with the “DIY” ethos and the counter school culture. This research aims to present a different case, that of the “schooled” rock music in Taiwan. Over the last three decades, rock music in Taiwan has grown in popularity, while Taipei has gradually earned the reputation of being the “Mandarin pop/indie capital.” In its developmental process, a few characteristics are worthy of the attention of both the Sociology of Education and youth cultural studies. Firstly, learning rock instruments in regular high school is the main route for teenagers to gain access to rock culture. Secondly, where elite students tend to devote more time to rock music activities than other students, their musical repertoire is characterized by producing covers of heavy metal tunes instead of song-writing. This thesis will probe the rationale behind this phenomenon by answering the following questions: What can best explain the appeal of heavy rock to Taiwanese elite high school students? Why do they not write their own songs? Drawing upon data collected through a school ethnography, it is revealed that the ways Taiwanese elite high school students participate in musical activities can be best understood to be part of a subcultural milieu marked by the collective pursuit of “dual excellence in both study and play”. In this symbolic space, the demanding technical requirements for acquiring several playing techniques allow rock to become a rankable sphere of activity in which elite students struggle for subcultural superiority according to measurable musical standards. The emphasis on instrumental virtuosity conforms to students’ competitive disposition manufactured through academic exams. With these features, rock music becomes a particular form of subcultural activity which allows elite students to not only resist educational control, but also exert symbolic violence over peers of lower-ranked high schools by showing technical superiority. This thesis extends the CCCS’s subcultural solution to the analysis of “subcultural distinction”. In distinction to the “internal perspective” of Sarah Thornton’s conception of subcultural capital (1995), a more holistic framework is developed to explore the relationship between the wider patterns of social division, young people’s subcultural participation, and the shaping of the value hierarchy both within and outside the subcultural sphere. Further, the thesis explores the educational system’s active role in shaping youth subcultures. I demonstrate how education in Taiwan is institutionally mediated by the exam regime to be a powerful logic of social differentiation, and the ways young people’s subcultural choices are constrained by their educational career advance from high school to university. The study also has important implications for the educational policy making in Taiwan. By looking at how students “play,” I propose a new exploratory route to illuminate the widespread impact of the exam-oriented educational system on students’ creativity and identity formation. |
||||
| Address | |||||
| Corporate Author | Thesis |
Ph.D. thesis | |||
| Publisher | University of Edinburgh (United Kingdom) | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | Medium | |||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2210 | ||
| Permanent link to this record | |||||
| Author | Jameson, Benjamin Thomas | ||||
| Title | Negotiating the cross-cultural implications of the electric guitar in contemporary concert music | Type | Book Whole | ||
| Year | 2017 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Classical music; Electric guitar; Heavy metal; Electric instruments; Musical composition; Musical performance; Musical theory; Popular music | ||||
| Abstract | Despite its ubiquity in rock and popular music, use of the electric guitar has only become commonplace within ‘classical’ concert music in recent decades. This increased prominence is partly due to the expanded sonic possibilities that the instrument offers, but also reflects composers’ greater willingness to engage with popular music practices. Use of the electric guitar in concert music often involves some form of encounter between contemporary compositional approaches and popular forms of cultural expression, presenting creative possibilities and challenges to composers, performers, listeners and scholars alike. This research project investigates the cross-cultural implications of employing the electric guitar in concert music through theory, analysis and composition. Case studies of electric guitar works by Tristan Murail and Laurence Crane provide an opportunity to consider how popular music scholarship relating to the electric guitar might figure in analysis of concert music featuring the instrument. These analyses informed the composition of four new works within the included portfolio (provided as scores with accompanying audio/video documentation) that feature the electric guitar or draw upon its related musical idioms, with a specific focus on rock and heavy metal styles. | ||||
| Address | |||||
| Corporate Author | Thesis |
Ph.D. thesis | |||
| Publisher | University of Southampton (United Kingdom) | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | Medium | |||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2212 | ||
| Permanent link to this record | |||||
| Author | Cardwell, Thomas | ||||
| Title | Still life and death metal: painting the battle jacket | Type | Book Whole | ||
| Year | 2017 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Art history; Battle jackets; Death metal; Fashion; Semiotics; Still lifes; Subcultures | ||||
| Abstract | This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments. Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated within the genre of contemporary still life and appropriative painting. The paintings presented with the written thesis document a series of jackets and creatively explore the jacket form and related imagery. The study uses a number of interrelated critical perspectives to explore the meaning and significance of the jackets. Intertextual approaches explore the relationship of the jackets to other cultural forms. David Muggleton’s ‘distinctive individuality’ and Sarah Thornton’s ‘subcultural capital’ are used to emphasise the importance of jacket making practices for expressions of personal and corporate subcultural identity. Italo Calvino’s use of postmodern semiotic structures gives a tool for placing battle jacket practice within a shifting network of meanings, whilst Richard Sennett’s‘material consciousness’ helps to understand the importance of DIY making practices used by fans. The project refers extensively to a series of interviews conducted with battle jacket makers between 2014 and 2016. Recent art historical studies of still life painting have used a materialist critique of historic works to demonstrate the uniqueness of painting as a method of analysis. The context for my practice involves historical references such as seventeenth century Dutch still life painting. The work of contemporary artists who are exploring the themes and imagery of extreme metal music is also reviewed. |
||||
| Address | |||||
| Corporate Author | Thesis |
Ph.D. thesis | |||
| Publisher | University of the Arts London (United Kingdom) | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | Medium | |||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2213 | ||
| Permanent link to this record | |||||
| Author | Miller, Diana | ||||
| Title | Creative Producers and Gender Relations: A Field Analysis of Two Grassroots Music Scenes | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 205 | ||
| Keywords | Cultural and symbolic capital; Cultural valuation; Gender and creative careers; Gender and habitus; Gender and organizations; Gender studies; Fields of cultural production; Heavy metal; Sociology | ||||
| Abstract | This dissertation uses a comparative case study of two grassroots music scenes—the folk music and heavy metal scenes in Toronto—to examine gender relations among cultural producers. I collect data using semi-structured interviews with 63 field actors, 70 instances of participant-observation, and discourse analysis of key public texts. Building on Bourdieu’s field theory, I argue that gender organizes fields of cultural production, including (1) the field’s economy of symbolic capital (2) the connection between field and habitus and (3) the spaces where musicians develop the embodied cultural capital required for music careers. The first paper shows that field organization impacts the extent to which field members’ gendered dispositions produce symbolic capital, or reputation. Two features of cultural fields shape whether symbolic capital is gendered: the degree to which symbolic capital is institutionalized, and the level of symbolic boundary-drawing in the field. The metal field’s low institutionalization of symbolic capital and high boundaries foreground gender as a basis of symbolic capital, while the folk field’s high institutionalization of symbolic capital and low boundary-drawing reduce the extent to which gender matters. The second paper situates gender as central to relationship between field and habitus. Participants in the metal field develop a metalhead habitus that privileges gendered practices centered on individual dominance and status competition, while the folkie habitus encourages gendered practices centered on caring, emotionality, and community-building. These gendered habitus support different working conventions: volunteer-based non-profit organizations in folk, and individual entrepreneurship in metal. The gendered habitus also supports different stylistic conventions: guitar virtuosity in the metal field, and participatory music-making in folk. The third paper finds gendered access to the learning spaces where musicians develop performance capital, a form of embodied cultural capital denoting the instrumental and interpersonal skills required to perform music. Folk’s learning spaces are largely public and do not require social networks for access, while heavy metal’s learning spaces are private and centered on male-dominated friendship networks from which women are often excluded. These different learning spaces creates gendered patterns of access to the embodied cultural capital required to develop a music career. |
||||
| Address | |||||
| Corporate Author | Thesis |
Ph.D. thesis | |||
| Publisher | University of Toronto (Canada) | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-67340-1 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2215 | ||
| Permanent link to this record | |||||
| Author | Watts, Chelsea Anne | ||||
| Title | Nothin' But a Good Time: Hair Metal, Conservatism and the End of the Cold War in the 1980s | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | 232 | ||
| Keywords | Communication and the arts; Free market capitalism; Gender studies; Glam metal; Masculinity; Popular culture; Reagan era; Rock and roll; United States history | ||||
| Abstract | This dissertation offers a cultural history of the 1980s through an examination of one of the decade’s most memorable cultural forms—hair metal. The notion that hair metal musicians, and subsequently their fans, wanted “nothin’ but a good time,” shaped popular perceptions of the genre as shallow, hedonistic, and apolitical. Set against the backdrop of Reagan’s election and the rise of conservatism throughout the decade, hair metal’s transgressive nature embodied in the performers’ apparent obsession with partying and their absolute refusal to adopt the traditional values and trappings of “yuppies” or middle-class Americans, certainly appeared to be a strong reaction against conservatism; however, a closer examination of hair metal as a cultural form reveals a conservative subtext looming beneath the genre’s transgressive façade. In its embrace of traditional gender roles, free market capitalism, and American exceptionalism, hair metal upheld and worked to re-inscribe the key tenants of conservative ideology. Historians have only recently turned an analytical eye toward the 1980s and by and large their analyses have focused on the political and economic changes wrought by the Reagan Revolution that competed America’s conservative turn over the course of the decade. This study adds to historical understandings of the decade’s political history by telling us how non-political actors—musicians, producers, critics, and fans—shaped and were shaped by the currents of formal politics. Though heavy metal music and the rise of conservatism seem to share little common ground, by putting these two seemingly disparate historiographies into conversation with one another, we gain a clearer picture of the breadth and depth of conservatism’s reach in the 1980s. |
||||
| Address | |||||
| Corporate Author | Thesis |
Ph.D. thesis | |||
| Publisher | University of South Florida | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | 978-1-369-42831-5 | Medium | ||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2218 | ||
| Permanent link to this record | |||||
| Author | Carter, Molly | ||||
| Title | Perchten and krampusse: living mask traditions in austria and bavaria | Type | Book Whole | ||
| Year | 2016 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Austria; Authenticity; Bavaria; Cultural heritage; Folklore; Heavy metal; Krampus; Masks; Perchten; Traditions | ||||
| Abstract | Two centuries-old mask traditions native to Austria and Bavaria enjoy ongoing popularity due to a creative mingling of old and new elements (heavy metal music and fireworks alongside hand-carved wooden masks and birch rod switches). The Krampus is the menacing companion of St. Nikolaus, who visits children on December 5 and 6, although nowadays groups of Krampusse may appear alone. The Perchten, who are associated with the magical female folk-figure Perchta, appear on January 5 and the week before. While the Perchten and Krampusse represent distinct traditions, their history has intersected at various points, and their contemporary manifestations share many elements, including a movement towards a “modern” aesthetic and the employment of such resources as tourist publicity and the internet to promote their appearances, educate the public, and network with each other. While the house visit was formerly the primary setting for these masked figures (or mummers), today it is the public parade. These parades, while rooted in and resembling conventional display-custom performances marked by a static division between performer and spectator, actually consist of a kind of fluid, interactive ritual theater in which the partially improvised, partially scripted performances of masked figures and the responses of spectators shape one another. Contemporary manifestations of Perchten and Krampus traditions will be explored in light of the ongoing cultural dialogue between performers and non-performers who seek to define and interpret the tradition, and the interplay of academic and popular discourses surrounding invented tradition, Folklorismus (folklorism) and Rücklauf (feedback), and the nature of authenticity. Questions of cultural heritage “ownership” surface in the debates over form and meaning, while in the hands of the Perchten and Krampusse themselves, tradition emerges as an active process and collaborative artwork rather than a fixed commodity with boundaries which can be defined and navigated by outside observers. |
||||
| Address | |||||
| Corporate Author | Thesis |
Ph.D. thesis | |||
| Publisher | University of Sheffield (United Kingdom) | Place of Publication | Editor | ||
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | Medium | |||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2223 | ||
| Permanent link to this record | |||||
| Author | Faingold, Noam. | ||||
| Title | Portfolio of compositions and technical commentary | Type | Book Whole | ||
| Year | 2015 | Publication | Abbreviated Journal | ||
| Volume | Issue | Pages | |||
| Keywords | Bass instruments; Cultural heritage; Heavy metal; Middle Eastern music; Musical composition; Musical narratives | ||||
| Abstract | The six pieces in this portfolio explore contemporary musical narratives as if approached from a traditional outlook. In these pieces many harmonic and rhythmic processes (modal, serial,‘post-serial’ and minimalist) that emerged in Post-War music, as well as their resulting forms or modes of continuity interact with a traditionally grounded, intuitive approach to 'thematicism'. Another important topic in this music is an engagement with certain formal elements and mannerisms of contemporary popular, rock and dance music, and the ethnic musical traditions of my cultural heritage. Writing for string instruments informed by the composer’s personal experience as a double bass performer is a central concern of the thesis. Knife in the Water (for violin and cello) explores elements of heavy metal rhythms, Middle Eastern incantations, and free and strict meter. Bonaparte Born to Party (for mixed quintet) builds on the jagged heavy metal and dance elements found in Knife in the Water, subjecting some of the harmonic structures of the latter to a fairly strict process of transformation while relying to a much greater extent!on repetition. A Poem is a Burning City (for ten players) explores the possibility of creating a sort of'modality' by means of timbre as well as the 'transformation of sonority' itself as a means for delineating a binary form. While its harmonic language shares many aspects with the earlier pieces, here they are no longer the main concern of the music, which relies primarily on ‘colour', 'sonority' and extensive 'repetition' for the unfolding of a slowly evolving texture. In the string quintet Everything is Amazing and Nobody is Happy, the Suite for solo violin and the Lullaby for double bass and orchestra, the type of explorations of colour and! sonority incipient in A Poem is a Burning City are extended and combined with the developmental processes and clear thematic and! melodic/harmonic!materials that characterise the earlier pieces. |
||||
| Address | |||||
| Corporate Author | Thesis |
Ph.D. thesis | |||
| Publisher | University of London, King's College (United Kingdom) | Place of Publication | Ann Arbor | Editor | |
| Language | Summary Language | Original Title | |||
| Series Editor | Series Title | Abbreviated Series Title | |||
| Series Volume | Series Issue | Edition | |||
| ISSN | ISBN | Medium | |||
| Area | Expedition | Conference | |||
| Notes | Approved | no | |||
| Call Number | INTech @ brianhickam2019 @ | Serial | 2227 | ||
| Permanent link to this record | |||||