Items where Subject is "M Music and Books on Music > M Music"

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Agger, Savannah Johannah Auror (2019). A portfolio of compositions. University of Birmingham. Ph.D.

Aguirre, Antony (2023). Reimagining the performance of song in light of pedagogical developments at the Nordic school of visa: a songpoetics. University of Birmingham. M.A.

Alexaki, Evangelia (2021). Storytelling with sound and vocal improvisation: a portfolio of electroacoustic compositions. University of Birmingham. M.A.

Allman, Spencer Richard (2020). The soft option: the legacy of Morton Feldman’s music in the context of the experimental music tradition in the UK and North America since the 1960s. University of Birmingham. M.A.

Andrikopoulos, Dimitrios (2013). A portfolio of compositions. University of Birmingham. Ph.D.

Arthur, Peter (2014). The textuality of contemporary hiplife lyrics. University of Birmingham. Ph.D.

Atkinson, Peter John (2017). Regeneration and re-enchantment: British music and Wagnerism, 1880–1920. University of Birmingham. Ph.D.

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Baker, Adrian Michael (2022). Mimicry, manipulation and mutation: a portfolio of eclectic compositions. University of Birmingham. Ph.D.

Baracskai, Zlatko (2011). Composition portfolio. University of Birmingham. Ph.D.

Barnes, Christopher (2022). Music and the experience of worship: continuity and change in Reformation Bristol and Gloucestershire, 1530-1642. University of Birmingham. Ph.D.

Beat, Janet Eveline (1968). The development of the orchestra and orchestration in Italian opera : c.1600-c.1750. University of Birmingham. M.A.

Berg, Mie Othelie (2022). 'A moral weapon': the civic organ tradition in the Midlands, 1834-1901. University of Birmingham. Ph.D.

Bertoglio, Chiara (2012). Instructive editions of J. S. Bach’s “Wohltemperirtes Klavier”: an Italian perspective. University of Birmingham. Ph.D.

Boone, Matius Shan (2022). Repetition as compositional method. University of Birmingham. Ph.D.

Borin, Alessandro (2012). Critical edition of Antonio Vivaldi’s Op. 6 Concertos with introduction and critical commentary. University of Birmingham. M.Phil.

Bosworth, William Thomas (2013). Metrical dissonance in Brahms's second piano trio, opus 87 in C major. University of Birmingham. M.Mus

Brodie, Val (2013). The overlooked evidence: the use of music in productions of Henry V 1859-1916. University of Birmingham. Ph.D.

Bumstead, Eric Walter Reginald (2011). A portfolio of electroacoustic and live electronic compositions with research into stochastic synthesis. University of Birmingham. Ph.D.

Byrne, Vincent James (2015). The life and works of Dorothy Howell. University of Birmingham. M.A.

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Campbell, Stewart (2022). Songs without borders: complex interpretative song worlds and the audiences that inhabit them. University of Birmingham. Ph.D.

Carpenter, James John (2013). Portfolio of compositions. University of Birmingham. Ph.D.

Carrasco García, Teresa (2015). ...in confidence: Portfolio of musical compositions. University of Birmingham. Ph.D.

Caruana, Roberta Anne (2018). Chamber music from Malta: introduction and survey. University of Birmingham. M.A.

Chaddock, Edward James Michael (2011). Two Orchestral Anthems by John Alcock (1715-1806): A critical edition with commentary. University of Birmingham. M.Phil.

Clay, Jeremy David (2012). Portfolio of compositions. University of Birmingham. M.Mus

Clemente, Manfredi (2017). Between space and evocation: a portfolio of acousmatic compositions. University of Birmingham. Ph.D.

Cleobury, Sophie (2007). The style and development of Herbert Howells' Evening Canticle settings. University of Birmingham. M.Phil.

Cogle, Joanna Marie (2014). Portfolio of compositions: explorations of genre within a classical idiom. University of Birmingham. M.Mus

Connett, Christopher Rae (2023). Music-making as a performed Theology of Christian relating. University of Birmingham. M.Litt.

Cormac, Joanne (2013). Liszt as Kapellmeister: the development of the symphonic poems on the Weimar stage. University of Birmingham. Ph.D.

Coull, Rosalyn (2015). Portfolio of compositions: emotion, meaning & narrative in electroacoustic music. University of Birmingham. Ph.D.

Currie, Fergus Alexander (2020). More than a satisfying continuity: a comparison of compositional processes in two orchestral works by Tōru Takemitsu (1930–1996). University of Birmingham. M.A.

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Danieli, Luca ORCID: 0000-0003-3278-966X (2019). Portfolio of musical compositions. University of Birmingham. Ph.D.

Davies, Rachel Lindley (2013). Marian aspects of Montpellier Codex motets. University of Birmingham. Ph.D.

Davies, Simon ORCID: 0000-0001-5127-4755 (2023). Tuning this curious harp: composing music that embodies the experience of illness. University of Birmingham. M.A.

Davis, James Serge Arthur (2020). Berio in history: music, politics and philosophy from Darmstadt to Postmodernism. University of Birmingham. Ph.D.

Deere, Joanne E (2010). Form and Programme in Liszt’s Hamlet: A New Perspective. University of Birmingham. M.Mus

Donworth, Koma S (2023). English musical antiquarianism in the long eighteenth century: religio-political and sociological undercurrents. University of Birmingham. Ph.D.

Dunster-Sigtermans, Richard (2017). Developments in British organ design 1945-1970: a player’s perspective. University of Birmingham. Ph.D.

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El-Turk, Bushra (2018). Bleeding through… compositional processes in the integration of Middle Eastern and Western art music. University of Birmingham. Ph.D.

Evans, Christopher John (2021). Rediscovering the forgotten music of the Holocaust: the life and music of the Dutch-Jewish composer Sim Gokkes. University of Birmingham. M.A.

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Fardon, Daniel Lewis (2019). Composing with plural approaches to tonality, source, and style. University of Birmingham. Ph.D.

Favali, Federico (2019). Shapes and notes: transforming images into musical structures. University of Birmingham. Ph.D.

Ferguson, Mark George Thomas (2022). Electroacoustic music composition, guided by the inherent methodologies and approaches of wildlife sound recording. University of Birmingham. Ph.D.

Flurry, Henry Sever (2016). Portfolio of compositions an exploration of the manipulation of modes. University of Birmingham. M.A.

Furse, Edward Niel (2010). Perspectives on the reception of Haydn’s Cello Concerto in C, with particular reference to musicological writings in English on Haydn’s Concertos and the classical Concerto. University of Birmingham. M.Mus

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Garfield, Benjamin (2010). Portfolio of compositions: (..) for solo tuba and off stage brass quartet : Raise your sticks and cry; on the Genealogy of Oneirology; In the eye. University of Birmingham. M.Mus

Gervasoni, Antonio (2021). Composing with polychords, sets and aggregates in 21st century Peru. University of Birmingham. M.A.

Gibson, Max (2019). Portfolio of compositions: an eclectic view. University of Birmingham. M.A.

Goodman, Thomas Antony ORCID: 0000-0001-9283-5010 (2022). Geometric Approaches to the Pitch Estimation of Acoustic Musical Signals. University of Birmingham. Ph.D.

Gorb, Adam John (2013). Anya 17, conception, collaboration and realisation. University of Birmingham. Ph.D.

Gramann, Ruth (2015). Compositions portfolio commentary. University of Birmingham. M.A.

Grammatopoulos, Ektor (2010). A study of the effects of playing a wind instrument on the occlusion. University of Birmingham. M.Phil.

Grigoropoulos, Grigorios (2016). Identity spaces music space as a medium for sound. University of Birmingham. M.Phil.

Guillamat, Julien (2014). A portfolio of electroacoustic compositions. University of Birmingham. Ph.D.

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Harman, Chris Paul (2012). Studies in instrumentation and orchestration and in the recontextualisation of diatonic pitch materials (Portfolio of Compositions). University of Birmingham. Ph.D.

Hedsund, Helene (2021). Portfolio of compositions. University of Birmingham. Ph.D.

Hiley, Diane Wendy (2010). Ways of integrating musical systems: a portfolio of compositions. University of Birmingham. M.Mus

Hindmarch, David (2010). A portfolio of acousmatic compositions. University of Birmingham. Ph.D.

Ho, Sze-Hwei Grace (2013). Changing Chopin: posthumous variants and performance approaches. University of Birmingham. M.Phil.

Honnold, Adrianne Lee (2021). 'Unacknowledged ubiquity': the saxophone in popular music. University of Birmingham. Ph.D.

Hutchins, Charles Celeste (2012). Portfolio of Compositions. University of Birmingham. Ph.D.

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Ibbett, David Roger (2015). Towards an integrated art music. University of Birmingham. Ph.D.

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Jarratt-Knock, David George (2014). The 'cornett': diversity of form, function and usage as portrayed in organological and iconographical sources, c.1500-c.1800. University of Birmingham. M.Mus

Jenkinson, Richard (2019). Kodály’s Sonata for Solo Cello Op.8 and Hungarian Nationalism. University of Birmingham. Ph.D.

Jeon, Jihun (2024). A thematic Catalogue of British String Quartets of the early Twentieth Century and an account of the some of their contexts: 1890-1950. University of Birmingham. Ph.D.

Jones, Oliver Christian Frederick (2023). 'She's so busy being free': towards a material-analytical approach to Joni Mitchell and her guitar. University of Birmingham. M.A.

Jones, Wilfrid Henry Gooch (2016). Models of liturgical music & model liturgical music: the application of sacrosanctum concilium to music in the parish of St Peter and St Paul, Wolverhampton. University of Birmingham. M.A.

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Kendall White, Cecilia (2014). 'Enter Ofelia playing on a lute, and her haire downe singing' - music in the performance of Shakespeare at the Globe, 1997-2005. University of Birmingham. M.Phil.

Kerr, David (2014). Performing the self: rappers, urban space and identity in Dar es Salaam. University of Birmingham. Ph.D.

Khalaf, Amir (2022). Deconstructing Egyptian culture, folk music and nature. University of Birmingham. M.A.

Khosravi Mardakheh, Milad ORCID: 0000-0001-9819-1623 (2022). The Sound of the hallmarks of cancer. University of Birmingham. Ph.D.

Kinch, Simon David (2010). Portfolio of Compositions: compositions of indeterminacy and predeterminacy. University of Birmingham. M.Mus

King, Andrew Howard (2021). Sir Granville Bantock (1868-1946): aspects of his life and songs. University of Birmingham. Ph.D.

Knotts, Shelly (2013). A portfolio of compositions: commentary. University of Birmingham. M.Mus

Kontos, Constantinos (2016). A portfolio of acousmatic compositions. University of Birmingham. Ph.D.

Kuoppala, Visa Tapani (2013). Commentary for composition portfolio. University of Birmingham. M.Mus

Kuoppala, Visa Tapani (2017). Composition in no-mind’s land: a portfolio of electroacoustic music. University of Birmingham. Ph.D.

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Leavy, Peter (2018). Models, language, and fabricated histories: a portfolio of musical compositions with commentary. University of Birmingham. Ph.D.

Linley, Olivia Mai ORCID: 0009-0000-4217-2140 (2023). Liveness & Audiences: An investigation into audience’s relationship to and understanding of live performance experience and culture. University of Birmingham. M.A.

Lockwood, Charles Joseph Robert (2019). A portfolio of compositions. University of Birmingham. Ph.D.

Lockyer, Rebekah Lucy (2014). The music of prose: a reading of Ford Madox Ford's Parade's End. University of Birmingham. M.Phil.

Lorway, Norah (2014). A portfolio of fixed electroacoustic and live laptop works. University of Birmingham. Ph.D.

Lovelock, James Michael (2017). ‘Not just for gays anymore’: men, masculinities and musical theatre. University of Birmingham. Ph.D.

Lucas, Flora May (2016). Franz Keyper: Concerto No. 1 for double bass. University of Birmingham. M.Phil.

Luque Ancona, Sergio (2012). Portfolio of compositions. University of Birmingham. Ph.D.

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Mackie, David (1974). The songs of Arthur Sullivan: a catalogue and commentary. University of Birmingham. Other

Malavasi, Matteo (2013). Portfolio of compositions. University of Birmingham. Ph.D.

Margetson, Emma May ORCID: 0000-0002-1054-1973 (2021). Sonic immersion: reaching new audiences through sound. University of Birmingham. Ph.D.

Marino, Luigi (2022). Revisiting a relational approach to Electronic music performance. University of Birmingham. Ph.D.

Miles, Natasha Frances (2014). Approaches to accompaniment on the baroque guitar c.1590-c.1730. University of Birmingham. Ph.D.

Miles, Natasha Frances (2011). The baroque guitar as an accompaniment instrument for song, dance and theatre. University of Birmingham. M.Phil.

Milner, Daniel Michael (2017). Songs and integration of the New York Irish, 1783-1883. University of Birmingham. Ph.D.

Minchella, Damon (2019). Making music in the radial mainstream: representations of creative practice in UK-based pop/rock. University of Birmingham. Ph.D.

Moncada, Jorge Gregorio García (2013). Ukhu pacha and La historia de nosotros: electroacoustic music composition portfolio. University of Birmingham. Ph.D.

Morton, Anthony James (2019). A portfolio of sound art installations that employ modern reactive and interactive technology through systems-based mechanisms. University of Birmingham. M.A.

Moyers Jr., Timothy Scott (2016). Pragmatism, eclecticism and accessibility in composing and improvising electroacoustic and audiovisual work. University of Birmingham. Ph.D.

Murray, Teresa Ann (2010). Thomas Morley and the business of music in Elizabethan England. University of Birmingham. Ph.D.

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Needham, Clare Louise (2012). A critical edition of Johann Caspar Kerll’s Missa a Tre Chori. University of Birmingham. M.Mus

Nelson, Mary Elaine Sigmon ORCID: 0009-0002-0169-0253 (2024). John Donne and music. University of Birmingham. Ph.D.

Nikolopoulos, Georgios (2021). A collection of musical works composed by the use of computer music applications and technology. University of Birmingham. Ph.D.

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Opstad, James Alastair (2022). A new kind of score: rethinking the relationship between composer, performer and technology. University of Birmingham. Ph.D.

Opstad, James Alastair (2018). Portfolio of compositions. University of Birmingham. Other

Osiebe, Garhe Victor (2016). Political music genres in postcolonial Nigeria, 1960-2013. University of Birmingham. Ph.D.

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Pinchbeck, Shawn William (2013). A portfolio of compositions. University of Birmingham. Ph.D.

Poepel, Cornelius (2011). An investigation of audio signal-driven sound synthesis with a focus on its use for bowed stringed synthesisers. University of Birmingham. Ph.D.

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Radford, Clive ORCID: 0000-0002-6717-6911 (2024). Being in the band: exploring agency and structure in popular music. University of Birmingham. Ph.D.

Robarts, Leslie Michael Martyn (2008). A bibliographical and textual study of the wordbooks for James Miller's Joseph and his brethren and Thomas Broughton's Hercules, oratorio librettos set to music by George Frideric Handel, 1743-44. University of Birmingham. Ph.D.

Roberts, Darren (2015). Music and the city: normalisation, marginalisation, and resistance in Birmingham’s musicscape. University of Birmingham. Ph.D.

Roberts, Mikie (2014). Hymnody and identity: congregational singing as a construct of Christian community identity. University of Birmingham. Ph.D.

Ryall, Nicholas J (2014). MPhil musical composition: commentaries. University of Birmingham. M.Phil.

Ryall, Nicholas John (2021). Portfolio of Musical Compositions. University of Birmingham. Ph.D.

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Scardanelli, Simon (2010). A portfolio of electroacoustic and acousmatic compositions. University of Birmingham. Ph.D.

Schrijnders, Marlene (2019). From London to Leipzig and back: (Post-)Punk, ‘Endzeit’ and Gothic in the GDR. University of Birmingham. Ph.D.

Seago, Robert (2012). A folio of musical compositions. University of Birmingham. Ph.D.

Sequera, Hector (2010). House music for recusants in Elizabethan England: performance practice in the music collection of Edward Paston (1550-1630). University of Birmingham. Ph.D.

Shan, Liang (2020). Messiaen and time: philosophical reflections on the performance of Visions de l’Amen for two pianos. University of Birmingham. Ph.D.

Shaw, Martyn (2014). The ‘Nicholsonian effect’: Aspects of ‘tone’ in early nineteenth-century flute performance practice in England, with particular reference to the work of Charles Nicholson (1795-1837). University of Birmingham. Ph.D.

Sheth, Niketa Milan (2021). A portfolio of electroacoustic compositions: blurring the lines between field recording, soundscape composition and acousmatic music. University of Birmingham. Ph.D.

Shih, Pei-Yu (2014). Portfolio. University of Birmingham. Ph.D.

Simmons, Alexander (2013). Erik Satie's Trois Gnossiennes in the French fin de siècle. University of Birmingham. Ph.D.

Soares da Ponte, Angela Maria (2016). Ensaios sobre cantos, portfolio of musical compositions influenced by traditional music from the Azores. University of Birmingham. Ph.D.

Spearing, Robert (2010). [A portfolio of compositions submitted for the degree of Doctor of Philosophy in Musical Composition]. University of Birmingham. Ph.D.

Spiteri Cefai, Mariella (2024). Opera in Malta from 1850 onwards: Towards a new Renaissance of the art-form in Gozo. University of Birmingham. M.A.

Squillante, Maurizio (2012). The Wings of Daedalus and Alexandros: two tragic operas inspired by the theory of the affections. University of Birmingham. Ph.D.

Szwed, Katarzyna Zofia (2015). A portfolio of compositions. University of Birmingham. Ph.D.

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Tarren, Christopher James (2014). Time, Space, Memory: A portfolio of acousmatic compositions. University of Birmingham. Ph.D.

Tienstra, Rens (2016). The late choral works of Ton de Leeuw: an analytical study. University of Birmingham. M.A.

Tran, Mai Khanh (2019). Auratic consumption: classical music in the age of technology. University of Birmingham. Ph.D.

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Vaughan, Stephen Benson (2015). The influence of music on the development of the Church of God (Cleveland, Tennessee). University of Birmingham. Ph.D.

Vuksic, Valentina (2023). The (troubled) sonicity of the computational through sites of crosstalking. University of Birmingham. Ph.D.

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Wadsworth, Sally Patricia ORCID: 0000-0002-1043-9987 (2021). The parish churches, cathedral, and corporation of Salisbury: continuity and change c.1480-c.1650. University of Birmingham. Ph.D.

Ward, Martin John (2006). Analysis of five works by Herbert Howells, with reference to features of the composer’s style. University of Birmingham. M.Phil.

Welch, Alison Margaret (2017). The Baldwin part books and a case study of the eight settings of the respond Dum Transisset Sabbatum. University of Birmingham. M.A.

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Yeung, Tsun Winston (2019). Portfolio of compositions: a dialogue between the human body and computer music. University of Birmingham. Ph.D.