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Conversations with chaos
Title
Conversations with chaos.
Creator
Campbell, Adam Brent., Florida Atlantic University, Glazer, Stuart
Abstract/Description
The piece Conversations with Chaos by Adam Campbell is discussed from several different aspects. The work is analyzed in terms of non-musical sources, descriptive analysis, compositional techniques and formal and stylistic characteristics. Also included is a discussion on computer notation software, and musical influences of the composer.
Date Issued
2005
PURL
http://purl.flvc.org/fcla/dt/13228
Subject Headings
Harmony, Music theory, Composition (Music), Musical analysis, Wind ensembles
Format
Document (PDF)
A Programmed Text in Basic Concepts and Notational Skills for Music Theory Students
Title
A Programmed Text in Basic Concepts and Notational Skills for Music Theory Students.
Creator
Barr, W. Alan, Robinson, Kenneth H., Florida Atlantic University
Abstract/Description
This study was undertaken in order to provide an efficient means of presenting those activities farthest removed from music itself such as fundamental concepts and mechanical skills which are a necessary background to further musical growth. Such a presentation, it was reasoned, would enable the student to gain successfully and thoroughly a background necessary for the further study of music theory. This would also provide an opportunity for the instructor to devote classroom time to more...
Show moreThis study was undertaken in order to provide an efficient means of presenting those activities farthest removed from music itself such as fundamental concepts and mechanical skills which are a necessary background to further musical growth. Such a presentation, it was reasoned, would enable the student to gain successfully and thoroughly a background necessary for the further study of music theory. This would also provide an opportunity for the instructor to devote classroom time to more musical activities. In view of the past successes of others in the employment of programmed instruction as a means of teaching music, it was decided that a programmed presentation of the material to be included would best serve the stated purposes of the present study. Research into the area of the past employment of programmed instruction in music indicated that a need exists for additional work to be conducted in the field. A comparison of music theory textbooks was made to determine a consensus of opinion regarding the most logical order in the presentation of material. A study of programming techniques was made. A program of instruction in the basic tools of music theory was developed. The author combined information from various music theory textbooks with his knowledge of the subject matter to construct the program presented in chapters two, three, four, and five. The first section of the program is concerned with music notation, a subject often neglected in theory textbooks. The remainder of the program deals with basic music theory material of a more conventional nature. However, it was thought that this material might be more quickly and easily assimilated through the medium of programmed instruction, A section on the nature of musical sound provides necessary information for the music theory student. The same information presented in a classroom teaching situation, however, might prove less effective. Similarly, sections on the construction of major and minor scales, numbering of intervals, and notation of key signatures provide a means for the instructor of theory to avoid unnecessary use of class time in these less musicallysatisfying areas.
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Date Issued
1968
PURL
http://purl.flvc.org/fau/fd/FA00000626
Subject Headings
Music theory--Elementary works--Programmed instruction, Music theory--Programmed instruction
Format
Document (PDF)
The discourse of the divine: radical traditions of black feminism, musicking, and myth within the black public sphere (civil rights to the present)
Title
The discourse of the divine: radical traditions of black feminism, musicking, and myth within the black public sphere (civil rights to the present).
Creator
Carter, Issac Martel, White, Derrick, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of History
Abstract/Description
The Discourse of the Divine: Radical Traditions of Black Feminism, Musicking,and Myth within the Black Public Sphere (Civil Rights to the Present) is an exploration of the historical precursors and the contemporary developments of Black feminism in America, via Black female musical production and West and Central African cosmology. Historical continuity and consciousness of African spirituality within the development of Black feminism are analyzed alongside the musical practices of two Black...
Show moreThe Discourse of the Divine: Radical Traditions of Black Feminism, Musicking,and Myth within the Black Public Sphere (Civil Rights to the Present) is an exploration of the historical precursors and the contemporary developments of Black feminism in America, via Black female musical production and West and Central African cosmology. Historical continuity and consciousness of African spirituality within the development of Black feminism are analyzed alongside the musical practices of two Black female musicians, Nina Simone and Me’shell Ndegéocello. Simone and Ndegéocello, The High Priestess of Soul and the Mother of Neo-Soul, respectively, distend the commodified confines of Black music and identity by challenging the established norms of music and knowledge production. These artists’ lyrics, politics, and representations substantiate the “Signifyin(g)” elements of West and Central African feminist mythologies and music- making traditions.
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Date Issued
2015
PURL
http://purl.flvc.org/fau/fd/FA00004434, http://purl.flvc.org/fau/fd/FA00004434
Subject Headings
African American women -- Social conditions, African American women -- Spirituality, African American women in popular culture, Feminist theory, NdegéOcello, Me'Shell -- 1969- -- Music -- Influence, Simone, Nina -- 1933-2003 -- Music -- Influence, Womanist theology
Format
Document (PDF)
Music, rhetoric and the creation of feminist consciousness in the Marian songs of Hildegard of Bingen (1098--1179)
Title
Music, rhetoric and the creation of feminist consciousness in the Marian songs of Hildegard of Bingen (1098--1179).
Creator
Lomer, Beverly R., Florida Atlantic University, Caputi, Jane, Keaton, Kenneth
Abstract/Description
This dissertation examines the sixteen songs to Mary in the Symphonia armonie celestium revelationum of twelfth century nun composer, Hildegard of Bingen (1098-1179). The analysis demonstrates that the idiosyncratic musical style of the Symphonia cycle represents an innovative application of the rhetorical procedures of the medieval ars praedicandi and the ars dictamen to music centuries in advance of an articulated concept of musical rhetoric, and that one goal of the Marian repertory was to...
Show moreThis dissertation examines the sixteen songs to Mary in the Symphonia armonie celestium revelationum of twelfth century nun composer, Hildegard of Bingen (1098-1179). The analysis demonstrates that the idiosyncratic musical style of the Symphonia cycle represents an innovative application of the rhetorical procedures of the medieval ars praedicandi and the ars dictamen to music centuries in advance of an articulated concept of musical rhetoric, and that one goal of the Marian repertory was to affect the self-consciousness of the all-female audience in a positive direction. The effect is achieved through the strategically constructed and inextricable relationship between text and melody. The study reveals that Hildegard's deployment of repeated melody, and the predominance of such factors as wide pitch ranges, high ranges, elaborate melismas, the use of key modal tones as demarcating devices, and the predominance of uncharacteristically large leaps, serve as musical-rhetorical substructures by which the import of the text is enhanced, and additional levels of meaning are created. In accordance with the feminist agenda, the optimistic images that are presented in the songs are designed to challenge the contemporary devaluation of women and to restore the feminine to its formerly sacred place in the divine plan. The attribution of aspects of divinity to Mary, which closely resonate with the precepts of the ancient goddess thealogies, and which present her as an essential partner of the Godhead in the Redemption and as an and active, independent Salvatrix, offer the female monastic audience an alternative to the solely-masculine concept of the divine.
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Date Issued
2006
PURL
http://purl.flvc.org/fcla/dt/12192
Subject Headings
Hildegard,--Saint,--1098-1179--Criticism and interpretation, Music theory--History--500-1400, Hildegard,--Saint,--1098-1179--Musical settings, Women composers--Germany, Sacred songs, Women--History--Middle Ages, 500-1500
Format
Document (PDF)