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University of South Carolina

1. Gross, C. Nicole. The Wind Chamber Works of Ernst toch: A History and Comparative Analysis.

Degree: DMA, School of Music, 2013, University of South Carolina

Ernst Toch (1887-1964) is one of the forgotten composers of the twentieth century. Paul Hindemith, Arnold Schoenberg, and Kurt Weill were contemporaries, while Wilhelm Furtwängler, and Erich Kleiber championed his early works. Toch lamented his lack of notoriety to Nicolas Slonimsky two years prior to his death. Forgotten or underappreciated were his numerous compositions of art music written in the decades prior to his immigration to the United States and in the final years of his career; remembered only were his lighter works and American film music. Toch composed one work for military band: Spiel für Blasorchester, Op. 39 (1926), which has been the subject of previous scholarship. This document provides a history and analysis of his remaining works for winds: Miniatur-Ouvertüre, Five Pieces for Wind Instruments and Percussion, Op. 83, and Sinfonietta for Wind Instruments and Percussion, Op. 97. Since these works encompass more than thirty-years of his career, some compositional style development is found; however, Toch's broad treatment of melody, harmony, orchestration, and form are strikingly consistent. Each work is melodically driven and doesn't conform fully to traditional forms. The harmonic flavor of each work is determined by melodic content. Found often are areas of full chromaticism, non-functional triads, and other ambiguous harmonies. It is hoped that this study will increase the interest in Ernst Toch and his compositions for winds. Advisors/Committee Members: Scott A Weiss.

Subjects/Keywords: Arts and Humanities; Music; Music Performance; analysis; history; Toch

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APA (6th Edition):

Gross, C. N. (2013). The Wind Chamber Works of Ernst toch: A History and Comparative Analysis. (Doctoral Dissertation). University of South Carolina. Retrieved from https://scholarcommons.sc.edu/etd/2309

Chicago Manual of Style (16th Edition):

Gross, C Nicole. “The Wind Chamber Works of Ernst toch: A History and Comparative Analysis.” 2013. Doctoral Dissertation, University of South Carolina. Accessed February 22, 2020. https://scholarcommons.sc.edu/etd/2309.

MLA Handbook (7th Edition):

Gross, C Nicole. “The Wind Chamber Works of Ernst toch: A History and Comparative Analysis.” 2013. Web. 22 Feb 2020.

Vancouver:

Gross CN. The Wind Chamber Works of Ernst toch: A History and Comparative Analysis. [Internet] [Doctoral dissertation]. University of South Carolina; 2013. [cited 2020 Feb 22]. Available from: https://scholarcommons.sc.edu/etd/2309.

Council of Science Editors:

Gross CN. The Wind Chamber Works of Ernst toch: A History and Comparative Analysis. [Doctoral Dissertation]. University of South Carolina; 2013. Available from: https://scholarcommons.sc.edu/etd/2309


Universiteit Utrecht

2. Arendsen, T.A. Der Erwerb von Modalpartikeln im Niederländischen durch Lerner mit Deutsch als Muttersprache: Ein Vergleich zwischen Fremd- und Zweitsprachlernern des Niederländischen.

Degree: 2016, Universiteit Utrecht

In der niederländischen und deutschen Sprache gibt es Modalpartikeln, die in den beiden Sprachen häufig verwendet werden. Es gibt Modalpartikeln, die in den beiden Sprachen eine ähnliche Form und eine ähnliche Verwendung haben, (wie ook-auch), Modalpartikeln, die eine ähnliche Form, aber eine unterschiedliche Verwendung haben, (wie wel-wohl) und Modalpartikeln, die eine unterschiedliche Form, aber eine ähnliche Verwendung haben, (wie gewoon -halt/eben/einfach). In dieser Arbeit werden die Kenntnisse der Modalpartikeln deutscher Zweit- und Fremdsprachlerner des Niederländischen anhand eines Fragebogens untersucht. Die Versuchspersonen klassifizieren Sätze in einer gegebenen Situation, in der sie angeben, ob die Modalpartikel in den Satz passt oder nicht. Die Ergebnisse der Zweitsprachlerner und Fremdsprachlerner werden mit den Klassifikationen der niederländischen Muttersprachler und miteinander verglichen. Die Hypothese, dass Zweitsprachlerner, die die niederländische Sprache ungesteuert innerhalb des niederländischen Sprachraums gelernt haben, Modalpartikeln besser beherrschen als Fremdsprachlerner, die die Sprache durch gesteuerten Unterricht außerhalb des niederländischen Sprachraums gelernt haben, kann bestätigt werden. Die Hypothese, dass es in der Gruppe mit den Modalpartikelpaaren (wel-wohl, eens-mal und even-eben) Interferenz aus dem Deutschen gibt, muss zurückgewiesen werden. Auch zwischen den sieben getesteten Modalpartikeln gibt es keine signifikanten Unterschiede. Sätze, in die die Modalpartikel aufgrund des Satztyps nicht passt, werden signifikant häufiger richtig klassifiziert, als Sätze, in die die Modalpartikel aus pragmatischem Grund nicht passt. Ferner spielen bei dem Erwerb der MPn das Sprachniveau des Niederländischen und die Länge des Aufenthalts in den Niederlanden eine Rolle. Je besser das Niveau der Versuchspersonen und je länger das Aufenthalt in den Niederlanden, desto besser klassifizieren sie die Sätze. Advisors/Committee Members: Sudhoff, S., Vredendaal, J. van.

Subjects/Keywords: Modalpartikeln; ook; toch; eens; even; wel; nou; gewoon; Niederländisch als Fremdsprache; Niederländisch als Zweitsprache; Grammatikalisierung; Transfertheorie; Interferenz

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

APA (6th Edition):

Arendsen, T. A. (2016). Der Erwerb von Modalpartikeln im Niederländischen durch Lerner mit Deutsch als Muttersprache: Ein Vergleich zwischen Fremd- und Zweitsprachlernern des Niederländischen. (Masters Thesis). Universiteit Utrecht. Retrieved from http://dspace.library.uu.nl:8080/handle/1874/335907

Chicago Manual of Style (16th Edition):

Arendsen, T A. “Der Erwerb von Modalpartikeln im Niederländischen durch Lerner mit Deutsch als Muttersprache: Ein Vergleich zwischen Fremd- und Zweitsprachlernern des Niederländischen.” 2016. Masters Thesis, Universiteit Utrecht. Accessed February 22, 2020. http://dspace.library.uu.nl:8080/handle/1874/335907.

MLA Handbook (7th Edition):

Arendsen, T A. “Der Erwerb von Modalpartikeln im Niederländischen durch Lerner mit Deutsch als Muttersprache: Ein Vergleich zwischen Fremd- und Zweitsprachlernern des Niederländischen.” 2016. Web. 22 Feb 2020.

Vancouver:

Arendsen TA. Der Erwerb von Modalpartikeln im Niederländischen durch Lerner mit Deutsch als Muttersprache: Ein Vergleich zwischen Fremd- und Zweitsprachlernern des Niederländischen. [Internet] [Masters thesis]. Universiteit Utrecht; 2016. [cited 2020 Feb 22]. Available from: http://dspace.library.uu.nl:8080/handle/1874/335907.

Council of Science Editors:

Arendsen TA. Der Erwerb von Modalpartikeln im Niederländischen durch Lerner mit Deutsch als Muttersprache: Ein Vergleich zwischen Fremd- und Zweitsprachlernern des Niederländischen. [Masters Thesis]. Universiteit Utrecht; 2016. Available from: http://dspace.library.uu.nl:8080/handle/1874/335907

3. 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

Record DetailsSimilar RecordsGoogle PlusoneFacebookTwitterCiteULikeMendeleyreddit

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 22, 2020. http://hdl.handle.net/10315/34488.

MLA Handbook (7th Edition):

Dupuis-Desormeaux, Nathalie. “TUTTI! - Music Composition as Dialogue.” 2018. Web. 22 Feb 2020.

Vancouver:

Dupuis-Desormeaux N. TUTTI! - Music Composition as Dialogue. [Internet] [Doctoral dissertation]. York University; 2018. [cited 2020 Feb 22]. 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

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