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You searched for subject:(DeNora). Showing records 1 – 2 of 2 total matches.

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Universiteit Utrecht

1. Verveda, C. Popmuziek in televisiereclames: de rol van de kijker als actieve luisteraar.

Degree: 2015, Universiteit Utrecht

In de tweede helft van de twintigste eeuw heeft de televisie een opmars gemaakt in het dagelijks leven van de mens. Hiermee is ook een grote verandering teweeggebracht in de reclamewereld: de opkomst van de televisiereclames. Er wordt tegenwoordig veel gebruik gemaakt van popmuziek in deze reclames. Aan de hand van literatuuronderzoek wordt in dit deels etnografische onderzoek gezocht naar een manier om de betekenis van popmuziek in televisiereclames te onderzoeken. Er wordt gesteld dat deze betekenis moet worden gezocht in een sociale context in plaats van in, zoals vaak gebeurd in de klassieke muziektheorie, de muziek zelf. Er wordt echter zelden ingegaan op de betekenis van popmuziek voor het individu. Aan de hand van een tiental interviews met televisiekijkers wordt de betekenis van popmuziek voor de individuele luisteraar omschreven. Op welke manier heeft muziek, of een onderdeel van muziek, betrekking op buitenmuzikale aspecten als persoonlijke associaties en situaties? En op welke manier wordt muziek in televisiereclames gebruikt door de luisteraar om deze connecties te maken en een identiteit te creëren? Deze deelvragen resulteren in een hoofdvraag: hoe gaan luisteraars actief om met popmuziek in televisiereclames? Advisors/Committee Members: Kamp, Dr. M..

Subjects/Keywords: popmuziek; televisiereclames; reclames; reclamemuziek; agent; identiteit; Cook; Bode; DeNora

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Verveda, C. (2015). Popmuziek in televisiereclames: de rol van de kijker als actieve luisteraar. (Masters Thesis). Universiteit Utrecht. Retrieved from http://dspace.library.uu.nl:8080/handle/1874/319423

Chicago Manual of Style (16th Edition):

Verveda, C. “Popmuziek in televisiereclames: de rol van de kijker als actieve luisteraar.” 2015. Masters Thesis, Universiteit Utrecht. Accessed February 17, 2020. http://dspace.library.uu.nl:8080/handle/1874/319423.

MLA Handbook (7th Edition):

Verveda, C. “Popmuziek in televisiereclames: de rol van de kijker als actieve luisteraar.” 2015. Web. 17 Feb 2020.

Vancouver:

Verveda C. Popmuziek in televisiereclames: de rol van de kijker als actieve luisteraar. [Internet] [Masters thesis]. Universiteit Utrecht; 2015. [cited 2020 Feb 17]. Available from: http://dspace.library.uu.nl:8080/handle/1874/319423.

Council of Science Editors:

Verveda C. Popmuziek in televisiereclames: de rol van de kijker als actieve luisteraar. [Masters Thesis]. Universiteit Utrecht; 2015. Available from: http://dspace.library.uu.nl:8080/handle/1874/319423

2. Dupuis-Desormeaux, Nathalie. TUTTI! - Music Composition as Dialogue.

Degree: PhD, Music, 2018, York University

As an engineer, when I could not comprehend a physical phenomenon, I turned to mathematics. As a mathematician, when I could not link sciences to humanity, I turned to music. As a music composer, I no longer see things, I see others. The novel method of music composition presented herein is a first comprehensive framework, system and architectonic template relying on the ideologies of Mikhail Bakhtin's dialogism as well as on research in auditory perception and cognition to create music dialogue as a means of including and engaging participants in musical communication. Beyond immediate artistic intent, I strive to compose music that fosters inclusiveness and collaboration as a relational social gesture in hope that it might incite people and society to embrace their differences and collaborate with the 'others' around them. After probing aesthetics, communication studies and sociology, I argue that dialogism reveals itself well-suited to the aims of the current research. With dialogism as a guiding philosophy, the chapters then look at the relationship between music and language, perception as authorship, intertextuality, the interplay of imagination and understanding, means of arousal in music, mimesis, motion in music and rhythmic entrainment. Employing findings from Gestalt psychology, psychoacoustics, auditory scene analysis, cognition and psychology of expectation, the remaining chapters propose a cognitively informed polyphonic music composition method capable of reproducing the different constituents of dialogic communication by creating and organizing melodic, harmonic, rhythmic and structural elements. Music theory and principles of orchestration then move to music composition as examples demonstrate how dialogue scored between voice-parts provides opportunities for performers to interact with each other and, consequently, engage listeners experiencing the collaboration. As dialogue can be identified in various works, I postulate that the presented Dialogical Music Composition Method can also serve as a method of music analysis. This personal method of composition also supplies tools that other musicians can opt to employ when endeavouring to build balanced dialogue in music. If visibility is key to identity, then composing music that potentially enters into dialogue which each and every voice promotes 'humanity' through inclusivity, yielding a united Tutti ! Advisors/Committee Members: Coghlan, Michael (advisor).

Subjects/Keywords: Cognitive psychology; Music composition; Polyphonic music composition; Cognitively informed polyphonic music composition; Dialogical Music Composition Method; Dialogic music composition method; Music theory; Dialogic contrapuntal harmony; Orchestration; Melody; Harmony; Polyphony; Counterpoint; Rhythm; Form; Growth; Music architecture; Music analysis; Dialogue; Music dialogue; Dialog; Music dialog; Dialogism; Bakhtin; Reception theory; Gadamer; Kant; Hegel; Adorno; Schoenberg; Stravinsky; Hindemith; Toch; Huron; Bregman; Francès; Dialogic communication; Music communication; Musical communication; Compelling music; Inclusion; Inclusivity; Inclusiveness; Participation; Participatory music; Music as society; Music as community; Music sociology; Engaging music; Engagement; Collaboration; Balanced dialogue in music; Biophony; Niche discrimination; Krause; Communication studies; Language; Music aesthetics; Aesthetics; Philosophy of music; Musicology; Cognitive psychology; Auditory perception; Music cognition; Cognition; Psychology of perception; Reception; Music reception; Auditory streaming; Auditory scene analysis; Gestalt psychology; Authorship; Imagination; Intertextuality; Mimesis; Appropriation; Appropriative authorship; Authoring; Re-authoring; Imagination as creation; Psychoacoustics; Expectation theory; Theory of expectation; Expectation; Psychology of expectation; Tutti; Music arousal; Intellectual arousal; Emotional arousal; Sensory arousal; Entrainment; Physicality; Stability; Variety; Closure; Uniqueness; Sequential dialogue; Collaborative dialogue; Disjoint dialogue; Surprise; Drama; Dramatic structure; Structure of drama; Dramatic work; Freitag; Representation; Memory; Repetition; Experience; Anticipation; Pointing; Anchoring; Anchor; Tonality; Tonal anchor; Close neighbors; Individuality; Collectivity; Formalism; Functionalism; Subjectivity; Structuralism; Cohen; Marburg; Auditory learning; Style; Conventions; Acculturation; Semiotics; Dynamic expectation; Schematic expectation; Veridical expectation; Symmetry; Motivic repetition; Thematic repetition; Style analysis; Modulation; Modulation tools; Memory as experience; Familiarity; Redundancy; Compositional acculturation; Rimsky-Korsakov; Gevaert; Rameau; Bimodality; Bi-modality; Diatonic; Overtones; Perceptual motion; Pitch proximities; Harmonic motion; Polytonality; Polyrhythm; Contemporary music; Art-music; Western art music; Neoclassicism; Modernism; Inclusive dialogue; What makes music compelling?; Selection and Structuring of Music Parameters to Create Inclusive; Engaging and Participatory Dialogue in Music Composition; Performance; Performativity; Small; Musicking; DeNora; Include; Engage; Listener; Audience; Interpretation; Play; Interaction; Interactive; Performer; Conductor; Orchestra; Orchestral music; Instrumental music; Absolute music; Tone painting; Word painting; Singing; Empathy; Mirror neuron; Music meaning; Music expression; Hanslick; Meyer; Langer

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Dupuis-Desormeaux, N. (2018). TUTTI! - Music Composition as Dialogue. (Doctoral Dissertation). York University. Retrieved from http://hdl.handle.net/10315/34488

Chicago Manual of Style (16th Edition):

Dupuis-Desormeaux, Nathalie. “TUTTI! - Music Composition as Dialogue.” 2018. Doctoral Dissertation, York University. Accessed February 17, 2020. http://hdl.handle.net/10315/34488.

MLA Handbook (7th Edition):

Dupuis-Desormeaux, Nathalie. “TUTTI! - Music Composition as Dialogue.” 2018. Web. 17 Feb 2020.

Vancouver:

Dupuis-Desormeaux N. TUTTI! - Music Composition as Dialogue. [Internet] [Doctoral dissertation]. York University; 2018. [cited 2020 Feb 17]. Available from: http://hdl.handle.net/10315/34488.

Council of Science Editors:

Dupuis-Desormeaux N. TUTTI! - Music Composition as Dialogue. [Doctoral Dissertation]. York University; 2018. Available from: http://hdl.handle.net/10315/34488

.