Between Dec 19, 2024 and Jan 2, 2025, datasets can be submitted to DRUM but will not be processed until after the break. Staff will not be available to answer email during this period, and will not be able to provide DOIs until after Jan 2. If you are in need of a DOI during this period, consider Dryad or OpenICPSR. Submission responses to the UDC may also be delayed during this time.

Browsing by Subject "Music"

Now showing 1 - 20 of 37
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    Analysis of the work of The South Wind and Flowers
    (2021-12) Zhang, Manjing
    The writing of this thesis is based on my experience of music researchand creation in recent years. The object discussed in the thesis is my own music creation. This thesis selects one of my mixed ensemble works named The South Wind and Flowers, analyzed it from the perspective of polyphony, the structure, characteristics of melody, rhythm, meter, harmony, imitation and so on. By analyzing my doctoral work at the University of Minnesota, I hope that I can further understand my own composing methods and make continuous progress in my future composing.
  • Thumbnail Image
    Item
    "Appropriate Musics for that time": Oratorio in the exchange of power at the Portuguese Court (1707-1807)
    (2014-05) Kuntz, Danielle M.
    Serving largely to replace operatic performances during religious seasons such as Lent, the oratorio arose as an important component of court musical life across early modern Europe. By the eighteenth century, the Portuguese court likewise employed the oratorio as edifying Lenten entertainment in its royal palaces and theaters. Nonetheless, the scholarly literature has largely neglected the oratorio as a distinct focus of study in the Portuguese context. In part, this is due to the genre's existence in a sort of conceptual "twilight zone" between secular entertainment and sacred devotion. Portuguese musicological scholarship has thus treated the oratorio as a minor annex to more narrowly defined secular and sacred genres--an inconsequential extension of both operatic and liturgical repertories. Yet scholars of European oratorio more broadly have demonstrated that the genre frequently served the representational interests of court patrons through precisely the complex and conspicuous blend of earthly entertainment and religious expression uniquely exemplified in the genre. This study centers on that liminal musico-dramatic space at the Portuguese court and demonstrates that royal patrons in Portugal both recognized and specifically exploited the potential for meaning and power embodied in the genre's existence at the edges of politics, religion, and drama.In applying critical pressure to the marginalization of oratorio in Portuguese musicological scholarship, this dissertation draws together a large body of archival and library documentation--including manuscript musical scores, printed libretti, royal financial documents, correspondence, and contemporary printed descriptions of court life--to provide a comprehensive analysis of oratorio sponsorship by Portuguese court patrons across 100 years. Identifying four distinct phases of production, I argue that the oratorio facilitated deeply politicized artistic expressions of courtly power in profoundly religious terms as each patron redefined the representational interests of the court. Indeed, I contend that those terms became especially important as the court's claims to absolute power were challenged at various turns across the eighteenth century by shifting cultural interests, the devastation of the 1755 Lisbon earthquake, and the increasing political discontent leading to the French Invasions and flight of the court to Brazil in 1807.
  • Thumbnail Image
    Item
    Camouflage and Confrontation: The Trajectories of Musicians Cairokee and Ramy Essam in post-Tahrir Square Egypt
    (2021-06) Opatz, Joshua
    This study examines the music videos of two prominent musicians of the 2011 Egyptian Revolution, Cairokee and Ramy Essam. Furthermore, it charts the career trajectories of these two musicians and the changes in their artistic output as they go through the aftermath of that revolution up until the present day. Through a long term, multi-modal, close reading analysis, this study asserts that the two artists have slowly diverged from their common start at the beginning of the protests and Tahrir Square, Cairokee moving in a more commercial direction as a sort of camouflage for their political views and activism and Ramy Essam continuing to directly confront the Egyptian state in his music after his exile from Egypt. Furthermore, this study asserts that these divergent results were in part the result of the different class backgrounds the subject artists came from.
  • Thumbnail Image
    Item
    Centering the Sonic: Sound Mediation in Holocaust Memory, Memorials, and Museums
    (2021-06) Huether, Kathryn
    While a great deal of scholarship has critically assessed Holocaust texts, films, and photographs for decades, scholars have largely overlooked music and sound. Musicologists and historians have made substantial contributions to understanding music during the Holocaust and how it functioned within the social makeup of the camps, yet on the role of sound and music within Holocaust memorial forms remains underexamined. In this dissertation, I examine the processes by which sound, music, and vocal affect are employed and ascribed to modes of Holocaust memory and how these applications in turn shape how that memory is received. A connecting thread throughout all my case studies is that these sonic elements are not necessarily considered the primary mode of mediation—at least by their curators—and that the sonic component is secondary to the overarching mode of memory. Overall, my findings demonstrate that despite largely being overlooked in scholarly discussions regarding Holocaust memorial representation, sound mediation is very present and drastically shapes a visitor’s engagement with each experience.
  • Thumbnail Image
    Item
    Comprehensive musicianship through performance in the high school band: a case study
    (2013-08) Stewart, John Robert
    The purpose of this study was to explore how teaching practices in the high school band setting are informed by Comprehensive Musicianship through Performance (CMP) and to examine external factors that may impact the planning process for high school band directors. The CMP Model provides a framework for teachers to develop "a program of instruction that emphasizes the interdependence of musical knowledge and musical performance," while seeking to engage students in "a variety of roles including performing, improvising, composing, transcribing, arranging, conducting, rehearsing, and analyzing (visually and aurally)" (WMEA, 1977, p. 1). The CMP Model consists of music selection, analysis, outcomes, strategies, and assessment. Participants in this collective case study included four self-selected high school band directors and eight high school band students (two students from each participating school) in Minnesota. Data collection techniques included semi-structured interviews with teachers and students at various points throughout the study, classroom observations, artifacts, field notes, and email correspondence. Cross-case analysis of teacher data revealed five emergent themes: (1) teacher planning; (2) an alignment and misalignment of teacher beliefs regarding the CMP Model and implementation of learning outcomes; (3) the teachers' perception and attitude toward external factors; (4) the teachers' implementation of student-centered instruction to deepen the students' musical experience; and (5) the unique ways teachers describe CMP. Cross-case analysis of student data revealed three themes: (1) students' value of student-centered instruction in music; (2) students' expressed interest and desire to engage in composition; and (3) the ways that teacher implementation of CMP impacts student learning. Although data indicated that points of the CMP Model are present in their teaching practice, several external factors impacted the teachers' ability to consistently implement points of the CMP Model. External factors included performance-based pay, the need to support school goals for reading and math, and diminished instructional and planning time due to state mandated testing. Participating teachers indicated that these external factors combined with the pressures of performance expectations by administrators, parents, and community detracted from their ability to consistently teach for musical understanding in the high school band.
  • Thumbnail Image
    Item
    Developing a self-rated instrument of work-related well-being for music therapy professionals
    (2008-09) Chang, Nai-Wen
    The purpose of this study was to design an assessment instrument of work-related well-being for music therapy professionals. An interview method was applied to construct a conceptual theory based on the data collected from seven music therapy professionals with diverse backgrounds. An on-line survey of work-related well-being, which contained 54 five points Likert-type items, was derived through analyzing the contents of the interviews. Four hundred ninety-three music therapy professionals in the US were randomly selected to participate in the survey, and 157 responded (respond rate 32 %). Among them, 117 samples were determined to be valid for use in the factor analysis. Factor analysis revealed five factors of work-related well-being for music therapy professionals, including work satisfaction, stressors, self-awareness, work demands, and self-care skills. Statistical techniques, namely Pearson correlation, independent t-test and one-way ANOVA, were used to determine the impact of work years, education levels, and salaries on perception of work-related well-being. The results showed that music therapy professionals reported satisfaction both in their overall feeling of work-related well-being and combined factor scores. Also, the combined factor scores positively correlated to overall scale of work-related well-being. The experienced music therapy professionals have significantly higher combined factor scores of work-related well-being than do novice music therapy professionals. In addition, education levels do not show statistically significant differences on the combined factor scores of work-related well-being. Finally, salary levels do not exhibit statistically significant impact on factor scores of work-related well-being, though the p-value is much smaller (p = .105). Analysis of seven interviews and psychometric methods were applied to verify the validity and reliability of the resultant assessment instrument. Suggestions for future use of the instrument are also provided.
  • Thumbnail Image
    Item
    The Discrimination of Pitch and Its Relation to Training
    (1910-05) Norton, William Wellington
  • Thumbnail Image
    Item
    The Effects of Tempo and Tonality on Emotion: A Musicological Approach to Mass Communication Research on Music Effects
    (2020-07) Guanchez, Ines
    The present study’s goal was to test the effects of the tempo and tonality of a video’s music score on emotions. Emotions were selected from three theoretical frameworks: Posner’s two-dimensional model, Balkwill and Thompson’s music-oriented basic emotion model, and Zentner et al.’s Geneva Emotion Music Scale (GEMS). By designing this study based on musicology research, this study can speak to music-related research in the mass communication field. It was hypothesized that tempo would have effects on arousal, tonality on valence, and that there would be clearer effects on GEMS than on basic emotions. A 2 (tonality: minor, major) x 2 (tempo: slow, fast) between-subjects experimental design was used, with 470 participants randomly assigned to one of the four conditions. A film music score was transposed for piano and four versions were recorded: Fast in minor key, fast in major key, slow in minor key, and slow in major key. Participants watched a neutrally-valenced video superimposed with the music from their respective condition, followed by a questionnaire addressing their emotions and possible confounding variables. Results indicated that tempo had an effect on arousal and the GEMS emotion of peace, while tonality had an effect on valence, the basic emotion of happiness, and the GEMS emotions of joy, transcendence, nostalgia, and peace, thereby supporting the hypotheses. Finally, individuals with musical proficiency experienced stronger levels of induced emotions, however, music proficiency did not affect tempo and tonality effects. Implications for the mass communication field are discussed further.
  • Thumbnail Image
    Item
    Emergent Scenery, Narrative, and Music from Experimental Soundtrack Production for Film
    (2018-08) Hartman, Franklin W
    A method of sound design has been developed in order to craft the soundtrack for a film meant to express the student experience in the School of Architecture. Fragments from interview and environmental recordings serve as the basis for the compositional elements, creating a holistic representation which is more immersive than objective.
  • Thumbnail Image
    Item
    Examination of the impact of the Contemporary Music Project on wind band repertoire and performance in Oregon.
    (2009-10) Robblee, Timothy John
    Wind band conductors have long considered the identification, selection, and creation of quality repertoire as fundamental issues in teaching music in the context of an instrumental ensemble. The Contemporary Music Project (CMP), through the placement of 90 composers in public schools from 1959 to 1973, created a substantial body of repertoire for high school wind band. While researchers have articulated the historical importance of the CMP in encouraging composers to write for the wind band, the direct impact of the compositions has not been explored sufficiently. The purpose of the present study was to study the impact of CMP compositions by examining the music composed by three Oregon-based CMP composers (OBCC) and the impact of these compositions upon repertoire practices in the state of Oregon. Such a study was needed to identify factors that hindered the impact of CMP band repertoire and to inform similar repertoire commissioning efforts in the future. Following a detailed examination of CMP history and an exhaustive literature review, diverse types of data were collected to answer a set of research questions. Evidence of the lasting impact of compositions by the OBCC was sought through examination of published repertoire resources, state repertoire lists, state and regional conference programs, and a survey of Oregon high school band directors. Analysis of these data revealed that CMP compositions from Oregon had only minimal impact upon the repertoire practices of state high school band directors. To more fully understand the factors that influenced this lack of impact, a representative work by each of the three composers (Karl Kroeger, James Kurtz, and Lawrence Widdoes) was selected for expert evaluation. Additionally, data were collected through open-ended evaluator survey responses and composer interviews. Data analysis revealed two primary factors that limited the impact of works composed by the OBCC. First, though considered of good quality by evaluators, compositions of the OBCC did not distinguish themselves from previously composed works and were viewed as somewhat traditional in style. Second, CMP infrastructure in regards to publishing and promotion of works was found to be ineffective in reaching the target audience of high school band directors. The present document concludes with a detailed discussion of these results and recommendations for future research.
  • Thumbnail Image
    Item
    Facing the Music: The (Im)Possibility of Sublimation in the Works of Samuel Beckett and Marguerite Duras
    (2016-12) Vozel, François-Nicolas
    This study focuses on the persistence of the tragic in capitalist modernity. The works of Samuel Beckett (1906-1989) and Marguerite Duras (1914-1996) point to the paradoxical endurance of tragic themes in a consumer-centered universe where pleasure and happiness constitute the horizon of existence. The specific works under consideration are Beckett’s Endgame (1957) and Krapp’s Last Tape (1958) as well as Duras’ Moderato Cantabile (1958) and The Ravishing of Lol V. Stein (1964). The timespan that encompasses these publications is the locus of a turning point in French society. After the deprivations of a long war and occupation and during the decade in which France tried to recapture its pre-war prestige, the nation was entering the frantic world of consumerism and mass media. I advance that the reassertion of the tragic in Beckett and Duras has to be read against what Adorno diagnosed as the formulaic character of the products of the culture industry, the commodification of culture, and the narcissistic tendencies in capitalist societies. More specifically, this thesis shows how Beckett and Duras devise a specifically modern revival of the tragic, which is indissolubly bound up with the exploration of the modern psychoanalytic subject of desire. I argue that Beckett’s and Duras’ stylistic experimentations need to be read in relation to Lacan’s turn to ethics in his 1959-1960 seminar The Ethics of Psychoanalysis, which opens a decade of cultural criticism that culminated with the 1969-1970 seminar, The Other Side of Psychanalysis, where Lacan conceptualizes the “discourse of capitalism” as a refined, more insidious, and more efficient version of the discourse of the master.
  • Thumbnail Image
    Item
    Für Sie Ist Der Krieg Aus
    (2014-08) Skidmore, Tiffany Maureen
    Für Sie Ist Der Krieg Aus is a work of musique concrète--a multi-layered mass--about my grandfather, Herman Littman, his experiences as a prisoner of war during World War II in Szubin, Poland, and his personal philosophies about Judaism and Catholicism.
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    Halftime is our Time
    (2015) Gilman, Shane
  • Thumbnail Image
    Item
    Hmong youth arts culture: Music teaching and learning in community settings
    (2013-05) Vu, Kinh Tien
    Pre-service music educators are dedicated to learning the art of classroom and ensemble teaching, but they may be unaware of their ability to affect students’ thinking and music making around critical issues outside school music settings. Although numerous studies have identified a need to enhance music educators’ emphases in teacher education or music teaching in general to be inclusive of critical and democratic practices that forward students’ voices, little attention has been paid to how teachers help youth express their ideas about societal issues outside the music classroom. The purpose of this dissertation is to explore the musical art forms and activities in Hmong communities that will inform democratic education in teacher preparation programs. Focusing on rap, spoken word poetry, and lyrical songs of ten Hmong youth artists, three guiding questions will be explored: (a) In what kinds of musical activities do youths participate? (b) For what purposes do Hmong youths create their arts? and (c) How might what Hmong do in their community inform music teacher preparation? Music educators who bring together various teaching and learning opportunities, critical pedagogy, and democratic action will forward students’ voices and help them become change agents for themselves, their schools, and communities. In this ethnographic study, I found that given opportunities to create raps, spoken word poems, and songs, Hmong youth become proactive citizens who advance the tenets of a free and democratic society in their communities when they express their ideas centered on personal, group, social, and political issues that affect them. The results of this study demonstrate that music teacher preparers will serve their pre-service music educators by forging a new, critical, and democratic practice that might be learned from community musicians.
  • Thumbnail Image
    Item
    I AM Meditation: An Opera in Seven Tableaus
    (2013-09) Yarison, Ishaya Jatau
    I AM Meditation is a musical drama in seven tableaus, which, to borrow John Milton's language, represents the loss of paradise and its reattainment. The meditation revolves around a central fulcrum (Tableau IV), where the story of origin, rebellion, the fall, and the plan for restoration is stated. While Tableaus I, II & III are about loss and misery, Tableau V, VI & VII are about restoration and glorification. The three fundamental ideas of metaphysics (God, in terms of whether or not he was responsible for the singularity that gave birth to being; the Soul, in regard to its resurrection and immortality; and the Cosmos vis-à-vis teleology) are examined in Tableaus IV & V. Here still, theodicy, soteriology, and eschatology are examined through accompanied monologues, interspersed with choral interjections. Misery is represented through the loss of the mythic paradise, the first murder and the misery of the multitudes while hope and restoration are articulated in the I AM sayings from the Gospel of John, the resurrection of the I AM, the proclamation of the good news of this resurrection, and the recovery of paradise. In sum, this is a meditation on hope. But in one sense, I AM Meditation is a communal ritual of reenactment: the reenactment of a loss and a signification of how this loss is mitigated and restoration achieved.
  • Thumbnail Image
    Item
    The Influence of Music and Anxiety on Weaning from Mechanical Ventilation
    (2015-08) Hetland, Breanna
    Objectives: Weaning from mechanical ventilation (MV) requires increased respiratory effort which heightens anxiety and prolongs MV. The purpose of this paper was to examine the relationship among music, anxiety, and ventilator weaning to better understand factors that facilitate successful weaning. Design: A descriptive, correlational design was used to address the primary aims for this secondary data analysis project. Methods: Music intervention was defined as self-initiated, patient directed-music via headphones. Anxiety was measured daily using a self-report visual analogue scale. Analyses consisted of descriptive statistics, graphing, survival analysis, Cox proportional hazards regression, and linear regression. Results: Subjects (N=307) were 52% female, 86% white. Mean age was 59.3 � 14.4 years; APACHE III scores were 62.9 � 21.6. Length of ventilation was 8 days (range, 1-52). Length of ICU stay was 18 days (range, 2-71). Subjects with higher illness severity had shorter times to first weaning trial after study enrollment. For each day from study admission, weaning trials increased in duration. If a subject had a tracheostomy on the day of the weaning trial, weaning trials increased in duration for that day. Conclusions: Music intervention and self-reported anxiety were not found to influence time to first weaning trial or duration of weaning trials, but clinical practice factors of illness severity, days of weaning trials, and tracheostomy placement influenced weaning patterns in this sample of ventilated subjects. Further examination of music intervention and other psychophysiological factors during weaning from MV with prospective primary studies is recommended to better understand factors that facilitate successful weaning.
  • Thumbnail Image
    Item
    Investigating vocal hygiene habits in professionally managed classical singers.
    (2010-06) Nichols, Laura L.
    The purpose of this study was to discover the impact of overall health to the perceived performance effectiveness of professionally managed classical singers and to document some of the actual vocal health practices of these singers. To accomplish this, the researcher examined related literature in several vocal hygiene categories, including hydration, diet, the effect of acid reflux on the voice, the effect of alcohol consumption on the voice and exercise; she found little empirical evidence utilizing the elite vocal athletes of singing, professionally managed classical singers, as participants.The researcher constructed an online survey, which contained 30 questions querying singer vocal hygiene behavior. The survey was sent to 227 randomly selected professionally managed classical singers. Forty-nine singers completed the survey (response rate 21.6%). Descriptive statistics, Chi Square tests, and tests of correlation were used to answer two research questions addressing the importance of overall health in singers' performance and in factors related to hydration, diet, alcohol consumption, and exercise. Over 81.5% of the singers surveyed rated overall health as important or very important to their singing effectiveness. There was no significant difference in vocal health impact ratings when compared by performance experience, health or gender. The median number of 8 oz. glasses of water that singers drank daily was 8 and the mean was 7.8. When questioned about specific dietary and exercise practices, singers responded with a variety of health regimes. There was no correlation between singers' length of professional experience and their corresponding amount of weekly exercise. The author concluded when there was no consensus regarding vocal hygiene practices, singers followed a variety of vocal hygiene regimes to maintain vocal and overall health. In conducting the literature review, the researcher discovered numerous studies about health management utilizing athletes as participants but relatively few utilizing vocal athletes. While empirical studies measuring athletic performance and hydration, diet, alcohol consumption and exercise are somewhat transferable, athletic studies do not address the impact of hydration, diet, alcohol consumption and exercise on the vocal apparatus. More empirical research is necessary to guide the vocal hygiene and health practices of this population of artists.
  • Thumbnail Image
    Item
    Irish Fair of Minnesota: Profile of Attendees 2011
    (University of Minnesota Tourism Center, 2011) Oftedal, Andrew; Schneider, Ingrid E.