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  Partner: UNT Libraries
 Department: School of Music
 Degree Level: Doctoral
 Collection: UNT Theses and Dissertations
Aesthetic Justifications for Music Education: a Theoretical Examination of Their Usefulness

Aesthetic Justifications for Music Education: a Theoretical Examination of Their Usefulness

Date: December 1988
Creator: Paul, Stephen John
Description: Justifications for music education have been studied only by examining historical trends in statements of aesthetic versus utilitarian values, and not from the perspective of evaluating the justifications' usefulness. A number of prominent writers in the music education field, while supporting aesthetic values as important for music education, have expressed doubts about the effectiveness of aesthetic justifications when used for convincing outsiders of the importance of music in the public school curriculum. These doubts, along with a preponderance of aesthetic justifications in the recent music education literature, led to the present study, which conducted a theoretical examination of the usefulness of aesthetic justifications for music education. The study addressed three research problems, namely: (1) the attitudes of the clientele groups of the public schools in terms of their values toward music as a subject in the schools; (2) the attitudes of the groups within the music education profession in terms of their values for music in the public schools and for the profession itself; and 3) the likelihood that justifications based upon "aesthetics" as a system of values would be accepted by the groups both inside arid outside the music education profession. A philosophical-sociological perspective was chosen for the theoretical ...
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Aspects of a Late Style in Sergei Rachmaninoff's Variations on a Theme of Corelli, Op. 42: a Lecture Recital, together with Three Recitals of Selected Works of J. Brahms, L. v. Beethoven, F. Chopin, C. Debussy, Zoltan Kodaly, M. Moussorgsky, and S. Prokofiev

Aspects of a Late Style in Sergei Rachmaninoff's Variations on a Theme of Corelli, Op. 42: a Lecture Recital, together with Three Recitals of Selected Works of J. Brahms, L. v. Beethoven, F. Chopin, C. Debussy, Zoltan Kodaly, M. Moussorgsky, and S. Prokofiev

Date: May 1989
Creator: Ruttle, Mark
Description: This document identifies elements of a stylistic change which occurred in several of the pieces Rachmaninoff wrote during the last years of his life. These elements reflect a progressive trend in his music, which certainly maintained in spite of the change, its characteristic sound. The Variations on a Theme of Corelli, Op. 42 illustrate these new developments in their lean, angular unison sonorities, stripped of chordal padding and virtuosic display, in their percussive, staccato and incisive ostinato rhythmic figures, astringent chromatic harmony and modern air of detachment. The Rhapsody on a Theme of Paganini, Op. 43 confirms this stylistic development in its remarkable similarity to the Corelli Variations. In the last twenty-six years of his life in exile from his homeland, making his way around the world as a concert pianist, Rachmaninoff wrote only six major works. Perhaps his increasing age, separation from homeland, and the musical revolutions surrounding him in the Western world produced this stylistic development.
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Beethoven's Transcendence of the Additive Tendency in Opus 34, Opus 35, Werk ohne Opuszahl 80, and Opus 120

Beethoven's Transcendence of the Additive Tendency in Opus 34, Opus 35, Werk ohne Opuszahl 80, and Opus 120

Date: December 1989
Creator: Kramer, Ernest J. (Ernest Joachim)
Description: The internal unity of the themes in a sonata-allegro movement and the external unity of the movements in a sonata cycle are crucial elements of Beethoven's compositional aesthetic. Numerous theorists have explored these aspects in Beethoven's sonatas, symphonies, quartets, and concertos. Similar research into the independent variation sets for piano, excluding Opus 120, has been largely neglected as the result of three misconceptions: that the variation sets, many of which were based on popular melodies of Beethoven's time, are not as worthy of study as his other works; that the type of hidden internal relationships which pervade the sonata cycle are not relevant to the variation set since all variations are, by definition, related to the theme; and that variations were composed "additively," that is, one after another, without any particular regard for their order or relationship to one another. The purpose of this study is to refute all three of these incorrect assumptions. Beethoven was concerned with the order of variations and their relationship to one another, and he was able to transcend the additive tendency in a number of ways. Some of his methods included registral connection, registral expansion, rhythmic acceleration, textural expansion, dynamics, articulation, and motivic similarities. ...
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The Beginnings of Music in the Boston Public Schools: Decisions of the Boston School Committee in 1837 and 1845 in Light of Religious and Moral Concerns of the Time

The Beginnings of Music in the Boston Public Schools: Decisions of the Boston School Committee in 1837 and 1845 in Light of Religious and Moral Concerns of the Time

Date: August 1989
Creator: Miller, David Michael, 1951-
Description: The research problems of this dissertation were: 1) A description of the perceived value of music in light of political undercurrents in Boston prior to and during the years under investigation, and 2) the profile of the constituency of the Boston School Committee and Committee on Music in 1837 and 1845. Questions addressed the effect of religious and moral concerns of the day on the decision by the School Committee in 1837 to try music in the curriculum, and the possible effect of religious politics on Lowell Mason's dismissal from the schools in 1845. In the minds of mid-nineteenth century Bostonians, religious and moral values were intrinsic to the very nature of music. Key members on the School Committee portrayed music as being spiritual yet nonsectarian in its influence. Therefore, the findings suggest that music was believed to provide common ground between opposing and diverse religious sects. Reasons given for Mason's dismissal by John Sargent, a member of the Committee on Music, showed parallels to H. W. Day's accusations in the press a year earlier that Mason had managed his position in a sectarian manner. Sargent's background supports the theory that religious politics were at work in Mason's dismissal. Although ...
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A Comparison of the Transcription Techniques of Godowsky and Liszt as Exemplified in Their Transcriptions of Three Schubert Lieder

A Comparison of the Transcription Techniques of Godowsky and Liszt as Exemplified in Their Transcriptions of Three Schubert Lieder

Date: December 1987
Creator: Cloutier, David, 1948-
Description: This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for accomplishing this. Liszt also frequently transcribed pieces of a particular composer in order to promulgate them by featuring them in his recitals. The Schubert lieder fall into this category. Liszt did not drastically alter the original in these compositions. Indeed, in the cases of "Liebesbotschaft" and "Das Wandern," very little alteration beyond the incorporation of the melody into the piano accompaniment, occurs.Godowsky, in contrast, viewed the transcription as a vehicle for composing a new piece. He intended to improve upon the original by adding his own inspiration to it. Godowsky was particularly ingenious in adding counterpoint, often chromatic, to the original. Examples of Godowsky's use of counterpoint can be found in "Das Wandern" and "Gute Nacht." ...
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Erwin Schulhoff (1894-1942): An Analytical Study and Discussion of Concertino for Flute, Viola, Double Bass, WV 75, and Sonata for Flute and Pianoforte, WV 86

Erwin Schulhoff (1894-1942): An Analytical Study and Discussion of Concertino for Flute, Viola, Double Bass, WV 75, and Sonata for Flute and Pianoforte, WV 86

Date: December 2011
Creator: Harman, Maria D Alene
Description: Erwin Schulhoff (1894–1942) was a Czechoslovakian musician born in Prague, to a German-Jewish family, and whose life came to a premature end in 1942 at the Wülzburg concentration camp, near Weißenburg, Bavaria. Schulhoff’s life, compositional style, and two of his flute works are addressed in this dissertation: Sonata for flute and pianoforte, WV 86, and Concertino for Flute, Viola, and Double Bass, WV 75. Each work is considered as a discrete entity, and insight provided into the structure of the music; stylistic and compositional influences, form, phrase structure, and other aspects are discussed. The intended audience is the flutist seeking knowledge regarding the historical significance and performance of each piece. The analysis and summary of Schulhoff’s life and primary flute works will contribute to the understanding of performance scholarship of his music and provide a deeper understanding of the composer, from the perspective of musical and compositional style.
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An Examination of Two Significant Percussion Compositions: Karlheinz Stockhausen's Zyklus and Ingolf Dahl's Duettino Concertante, a Lecture Recital Together with Five Recitals of Selected Works of A. Ginastera, A. Wilder, W. Kraft, and Others

An Examination of Two Significant Percussion Compositions: Karlheinz Stockhausen's Zyklus and Ingolf Dahl's Duettino Concertante, a Lecture Recital Together with Five Recitals of Selected Works of A. Ginastera, A. Wilder, W. Kraft, and Others

Date: December 1987
Creator: Carney, Michael R. (Michael Reed), 1952-
Description: Zvklus (1959) by Karlheinz Stockhausen and Duettino Concertante (1966) by Ingolf Dahl represent two of the most significant percussion compositions that present the percussionist as soloist. The performer of these works, either unaccompanied or accompanied by a non-percussion instrument, is featured as executant, interpreter, and improvisor. They are regarded as classics in the medium of multiple percussion because of their frequency of performance and their profound effect on notation, musical composition, and the technical expectations of the percussionist. This paper examines these compositions and their historical significance to both percussion literature and the percussionist. Each of these compositions is analzyed by examining instrumentation, compositional procedures, and performance problems. Finally, the notational procedures and role of the performer in these compositions are compared. A discussion of the development of the percussion batterie, percussion ensemble, and the important early solo multiple percussion compositions provides historical perspective for these compositions. This perspective is enhanced by consideration of biography, influences, and stylistic development of each composer.
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Fractures for Clarinet and Computer

Fractures for Clarinet and Computer

Date: May 2012
Creator: Dixon, Gregory Hart
Description: Fractures for Clarinet and Computer is a piece for live interactive performance using custom software designed in Max/MSP. the work explores musical borrowing and transformation of music from works such as Tchaikovsky’s Fifth Symphony, Gershwin’s Rhapsody in Blue, and several fragments from synthesizer recordings of the late 1960’s and early 1970’s. the dissertation focuses on both the musical aesthetics that informed the creation of the work and the software programming that enables live sampling and harmonization systems as well as flexible control of global parameters.
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Harmony in the Songs of Hugo Wolf

Harmony in the Songs of Hugo Wolf

Date: August 1989
Creator: McKinney, Timothy R. (Timothy Richmond)
Description: The songs of Hugo Wolf represent the culmination of the Romantic German Lied tradition. Wolf developed a personal chromatic harmonic style that allowed him to respond to every nuance of a poetic text, thereby stretching tonality to its limits. He was convinced, however, that despite its novel nature his music could be explained through the traditional theory of harmony. This study determines the degree to which Wolf's belief is true, and begins with an evaluation of the current state of research into Wolf's harmonic practice. An explanation of my analytical method and its underlying philosophy follows; historical perspective is provided by tracing the development of three major elements of traditional theory from their inception to the present day: fundamental bass, fundamental chords, and tonal function. The analytical method is then applied to the works of Wolf's predecessors in order to allow comparison with Wolf. In the investigation of Wolf's harmonic practice the individual elements of traditional functional tonality are examined, focusing on Wolf's use of traditional harmonic functions in both traditional and innovative ways. This is followed by an investigation of the manner in which Wolf assembles these traditional elements into larger harmonic units. Tonal instability, rapid key shifts, progressive ...
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Independent Piano Teachers: an Investigation of Their Attitudes Toward Selected Attributes of Profession

Independent Piano Teachers: an Investigation of Their Attitudes Toward Selected Attributes of Profession

Date: May 1989
Creator: Crane, Joyce L. (Joyce Lydia)
Description: The purpose of the study was to investigate independent piano teachers' view of themselves in the light of selected attributes found in sociological writings on the professions. The research problems were: (a) to determine the attitudes which independent piano teachers held toward selected professional attributes; (b) to determine the relationship between the attitudes toward the professional attributes and selected background variables; and (c) to determine the degree of association between these attributes. The problems were addressed by a questionnaire directed to independent piano teachers active in the area of Dallas-Ft. Worth, Texas. Thirty teachers were also interviewed to determine consistency of response and to explore issues which the questionnaire had raised. Reliability and validity were established at acceptable levels. Techniques of statistical analysis included Pearson's product-moment correlation, multiple regression, chi-square in conjunction with Cramer's V_, and factor analysis. The strongest attitudes expressed by the teachers in the study concerned professional self-image, altruism, client orientation, commitment to work, and independence. The most important background variables were age, years of experience, number of students, certification by a professional association, and college degree in music. A multiple regression analysis tested each variable against the dependent variable professional self-image; recognition by others, commitment to ...
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