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  Partner: UNT Libraries
 Decade: 1960-1969
 Degree Discipline: Music
 Collection: UNT Theses and Dissertations
Analysis of the Song Cycle “On Wenlock Edge” by Ralph Vaughan Williams

Analysis of the Song Cycle “On Wenlock Edge” by Ralph Vaughan Williams

Date: January 1965
Creator: Pummill, John Douglas
Description: This examination of Ralph Vaughan Williams' song cycle to poetry of Alfred Edward Housman, "On Wenlock Edge," will follow primarily two avenues of approach. First, following a brief biographical sketch of Vaughan Williams' career prior to the composition of "On Wenlock Edge," will be a discussion of Vaughan Williams' and Housman's respective aesthetic philosophies. In order to lay the background for certain salient characteristics of this cycle, parallels as well as differences in their artistic thinking will be explained. Secondly, a poetic analysis will precede the musical analysis of each song in order to differentiate between the original intent of the poet and the interpretation of the poetry by Vaughan Williams.
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Ariettes Oubilées and Fêtes Galantes, Series I and II by Claude Debussy

Ariettes Oubilées and Fêtes Galantes, Series I and II by Claude Debussy

Date: January 1960
Creator: Pannell, Frankie Franks
Description: Not only did Debussy find the Symbolist movement a source of inspiration for his artistic aims, he often selected his literary collaborators from them. Pelleas et Melisande, Prelude a l'Apres-midi d'un Faune, Chansons de Bilitis, Trois Pomes de Stephane Mallarme, Fetes Galantes, Ariettes Oubliees, all had Symbolist authors. Moreover, the poetic style of the Proses Lyriques, of which Debussy himself was the author, is in the Symbolist manner.
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Audio-Visual Materials for the Primary Music Classroom

Audio-Visual Materials for the Primary Music Classroom

Date: January 1967
Creator: Mathesen, Nancy A. (Nancy Ann)
Description: The purpose of this problem was to select audio-visual materials that would enhance the teaching of music in the primary grades. Since audio-visual equipment and materials have gained a place of prominence in the modern education program, the teachers, administrators, and even the architects need to be cognizant of their possibilities and applications. Audio-visual aids should be investigated to disclose ways of improving their utilization in the learning process through the stimulation of the following human senses: sight, hearing, and touch. The results of many experimental research studies in the field of audio-visual education have proved that the application of audio-visual devices in the classroom greatly improves both understanding and retention as compared to conventional teaching methods. It is hoped that the identification, enumeration, and suggestions for utilization of audio-visual aids presented in this study will motivate the reader to give further attention to audio-visual materials as applied to his specific situation, with the awareness of their unlimited possibilities in increasing understandings through sensory experiences.
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The Bass Trombone and Its Use in Selected Works of Smetana, Borodin, Tchaikovsky, and Dvorak

The Bass Trombone and Its Use in Selected Works of Smetana, Borodin, Tchaikovsky, and Dvorak

Date: August 1969
Creator: Kesting, Gary Walther
Description: The selected works by the composers studied in this thesis might well stand as illustrative of the normal development of the use of the bass trombone near the close of the nineteenth century. Although notable progress was made by the cited composers in increasing the bass trombone's usefulness in the orchestra, each composer also continued to use the bass trombone as it had been used in previous years, such as in doubling bass parts, harmonic backgrounds, and for strong rhythmic punctuations.
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The Basset Horn: Its Development and Literature

The Basset Horn: Its Development and Literature

Date: August 1968
Creator: Shanley, Richard A.
Description: The purpose of this study is to trace the development of a practically extinct woodwind instrument, the basset horn, and its use by composers as both a solo and an orchestral instrument. The first chapter concerns the development of the basset horn from the earliest imperfect specimen to the modern-day instrument. The second chapter deals with the physical characteristics that are peculiar to the instrument. The third chapter discusses the literature and musical history of the basset horn. An appendix provides a comprehensive listing of literature for the instrument.
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Blend in Choral Sound

Blend in Choral Sound

Date: January 1967
Creator: Wyatt, Larry Douglas, 1943-
Description: There is a need for a systematic collection of ideas concerning blend in choral sound. Many authorities discuss blend, but their concepts of the term are very divergent. These divergent concepts lead to emphasis of various factors which are important to the development or achievement of blend in choral sound. This emphasis in turn leads to various methods of achieving blend. Authorities ascribe several definitions to the term blend, as it relates to choral tone. These definitions should be studied collectively in order that a clearer concept of the term blend in choral sound may be developed. In studying blend in choral sound, several factors are generally deemed important. No study has been made which leads to a consensus concerning the relative importance of these factors. Scientific studies have been made of these factors, but the results have not been compiled and presented in one source. Authorities employ various methods in working with the factors which affect blend in choral sound. No study has been made which includes these methods. It is hoped that this study will contribute to the collecting and organizing of ideas regarding blend, including its various definitions and its important factors. It is also hoped that ...
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The Chaconne and Passacaglia in Twentieth Century Organ Music

The Chaconne and Passacaglia in Twentieth Century Organ Music

Date: January 1966
Creator: Tiller, Barney
Description: In order to trace the origin of the chaconne and passacaglia, the much larger classification of basso ostinato, of which the chaconne and passacaglia are two later examples, must be considered. According to one authority, Lili Propper, the earliest beginnings of the basso ostinato can be traced back to the Middle Ages through the use of organ points exemplified in organum purum. A later and more developed use of the basso ostinato can be discovered in the recurring basses of the Montpellier Codex and the masses of the fifteenth century. A freer manifestation of the idea can be found in the reiterated bass motive of the familiar canon, Sumer is icumen in.
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Choral Problems in Handel's Messiah

Choral Problems in Handel's Messiah

Date: May 1968
Creator: Williams, John J. (John Joseph)
Description: The purpose of this study was to investigate, through stylistic analysis, the choral problems in twelve selected choruses from George Frederick Handel's oratorio, Messiah. The twelve choruses were selected for analysis in this study after consultation with several authorities in the field of choral music and on the basis that they are representative of problems encountered in the remaining choruses. Each of the twelve choruses was analyzed individually. Chapter I of this study presents the purpose of the study, the sub-problems involved, definitions of terms, delimitations, the basic hypothesis of the study, the basic assumptions of the study, methodology and the plan of the report. Chapter II of this study contains a brief biographical sketch of Handel, a discussion of the circumstances surrounding the composition of Messiah, and a survey of the Handelian oratorio Chorus. Chapter III presents the results of the analysis relevant to a discussion of each of the twelve choruses followed by a sectional presentation of the choral problems. In Chapter IV, a summary, some conclusions and recommendations are offered. Appendices A and B present reviews of selected recordings and vocal-piano editions of Messiah respectively.
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A Comparison of Formal and Structural Principles in the Concerti Grossi of Corelli's Opus VI and Vivaldi's Opus III

A Comparison of Formal and Structural Principles in the Concerti Grossi of Corelli's Opus VI and Vivaldi's Opus III

Date: August 1968
Creator: Hart, Euclid August
Description: The comparison of structural and formal traits in the concert grossi of Corelli's Opus VI and Vivaldi's Opus III will proceed in the following manner: first, the cycle as a whole will be taken up; next, the individual movements will be considered. Finally, in each instance of comparison, Corelli's music will be dealt with first.
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A Comparison of the Variation Technique Employed by Beethoven and Copland

A Comparison of the Variation Technique Employed by Beethoven and Copland

Date: May 1964
Creator: Parrish, Mary Kay, 1940-
Description: Draws a comparison between the piano variation techniques of Beethoven and Copland with reference only to the two works discussed herein, Thirty-Two Variations and Piano Variations, with the intent of gaining from these isolated examples knowledge of the changes in variation writing from Beethoven's time to the present.
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The Development and Utilization of the Valved Brasses in the Orchestra of the First Half of the Nineteenth Century

The Development and Utilization of the Valved Brasses in the Orchestra of the First Half of the Nineteenth Century

Date: January 1969
Creator: Olson, Michael A. (Michael Augustus)
Description: The need for a valve mechanism of some type was first felt by French horn players, and after the horn's valve system had somewhat proved itself to composers as well as instrumentalists, it was adapted for the other brass instruments.
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Elements of Verismo in Selected Operas of Giuseppe Verdi

Elements of Verismo in Selected Operas of Giuseppe Verdi

Date: August 1968
Creator: Morgan, Ann Shands
Description: In music, the term verismo usually refers to a realistic or naturalistic movement in Italian operas of the late nineteenth century. From the dawn of Italian opera four features have been manifested--umanita (humanism), sincerity (sincerity), passione (passion), effetto (not only theatrical effect but the supreme dramatic moment). The elements of verismo are among the characteristics present in the operas of Giuseppe Verdi where they reached a zenith of development. It is upon these veristic aspects, as identified in the second chapter, that the operas Cavalleria Rusticana and Pagliacci were based. Rigoletto, Il Trovatore, and La Traviata richly exhibit these elements of verismo which have been identified in the fourth chapter.
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Exercises for Preparing Singers to Perform Contemporary Choral Music

Exercises for Preparing Singers to Perform Contemporary Choral Music

Date: August 1967
Creator: Ivey, Milvern K.
Description: This treatise has been prepared largely because of an increasing interest in contemporary music and an awareness on the part of many music educators of its merits in the curriculum of public schools and colleges. Since contemporary music is a controversial subject among directors, it has become necessary to search for specific, positive approaches to the teaching of contemporary music in high school.
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The Fifteen "Mystery" Sonatas of H.I.F. Biber (1644-1704)

The Fifteen "Mystery" Sonatas of H.I.F. Biber (1644-1704)

Date: August 1967
Creator: Vollen, Linda Hunt
Description: The "Mystery'" sonatas for scordato violin and continuo by H. I. F. Biber (1644-1704) had been largely ignored until 1905, when they were included in the collection of Austrian masterpieces, Denkmäler der Tonkunst der 0sterreich. Even then, they were the cause of some confusion which was later corrected in an addenda to the volume which included this series of sonatas. In the baroque period, scordatura was used by a few of Biber's contemporaries, but the technique is not commonly used today. In order to fully understand and to appreciate the " mystery" sonatas, a knowledge of scordatura is necessary, and this technique is discussed in Chapter II. Because the 17th century violins differed slightly from those used today, and the resources of the instrument had not yet been fully developed, a discussion of these aspects has been included. A comparison of the works of Biber with those of his contemporaries shows him to be an innovator who contributed greatly to the growing technique of the violin.
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Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, Manuscript Basevi 2439: Critical Edition and Commentary

Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, Manuscript Basevi 2439: Critical Edition and Commentary

Date: June 1968
Creator: Newton, Paul George, 1930-
Description: The subject of the present study, Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, abbreviated Florence 2439,1 contains secular and sacred vocal music of the late fifteenth and early sixteenth centuries, with texts in French, Dutch, Italian, and Latin.
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Form and Rhythm in the Moerike Lieder of Hugo Wolf

Form and Rhythm in the Moerike Lieder of Hugo Wolf

Date: January 1965
Creator: Mayse, Marilyn
Description: Hugo Wolf drew the strands of form, rhythm, and other elements together to form tightly woven songs, each element of which can be traced to the text as its original inspiration. Truly this was a genius of romantic expression, who took the tools developed by his predecessors in song, tempered them with his own sensitive personality, and used them to the fullest in setting the meaning and the mood, as well as the words, of the poems he had chosen.
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Forms in the Chopin Ballades

Forms in the Chopin Ballades

Date: August 1967
Creator: Driggers, Orin Samuel
Description: The term ballade is the French and German spelling of the English word "ballad" and the Italian ballata. Although each of these terms is derived from the Latin ballare, meaning "to dance," each denotes an entirely different meaning. The synonomous usage of these terms is definitely misleading (1,p. 67), Frederic Chopin, 1810-1849, was first to use this term as a title for piano compositions. The purpose of this study is to reveal the formal characteristics of each of the four ballades that Chopin wrote for solo piano and to determine,through a comparison of the similarities and differences, some identifying characteristics of a ballade. These characteristics will be illustrated through a formal analysis of each ballade.
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The Male Falsetto

The Male Falsetto

Date: January 1967
Creator: Coryell, Samuel E. (Samuel Eugene)
Description: The purpose of this study was to investigate the uses of the falsetto voice in training the male singer. Developing the upper voice is one of the most difficult problems facing the male singers. A most controversial approach to solving this problem is the use of the falsetto. The falsetto has been a subject of mystery among singers and vocal teachers for centuries. Some authorities have ignored it; some have denounced; others have greatly extolled this vocal enigma. Many myths and misconceptions surround the subject of falsetto. Even in the present age of scientific research and knowledge, there is little understanding of the falsetto--of its value and its use. The material dealing with falsetto is very brief and inconclusive in most pedagogy books. Therefore, there seemed to be a need for a systematic collection of pedagogical ideas concerning the male falsetto. This report will attempt to present all sides of the controversy.,
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Menotti's Use of Dramatic Impact in The Medium

Menotti's Use of Dramatic Impact in The Medium

Date: August 1968
Creator: Tompkins, Jimmy
Description: Whereas general conceptions of Menotti's style are available in various articles, none of the previous writings on this subject have attempted to give a detailed analysis of the techniques and devices used by Menotti in his operas. As has been stated, Menottils greatest asset as a composer of opera is his genius for employing a unique fusion of music and drama. The purpose of this study, then, is to isolate the various concepts and devices of composition used by Menotti and deduce how he has used them to create dramatic impact. The work chosen for this analysis is The Medium, which established Menotti as the foremost composer-librettist of modern opera.1 4 It is felt that this opera offers a cross section of the concepts and devices used in all of the operas composed thus far by Menotti.
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The Mignon Song Settings of Robert Schumann and Hugo Wolf

The Mignon Song Settings of Robert Schumann and Hugo Wolf

Date: August 1966
Creator: Crenshaw, Patricia Sam
Description: The poems of Mignon have inspired song writers for almost two centuries. They have served as the texts for more composers than almost any other single set of poetry. The Romantic composers were especially fond of the words. The poems are full of sadness and yearning and composers found they could be set in different moods. Some settings are in major tonalities while other settings of the same poem can be found in minor. Simple harmonies are used in some settings while others contain more complex harmonies. There are those composers who would have Mignon appear as a lost soul throughout all the poems with each song quietly sung, while others use a variety of dynamics adding drama to the setting and picturing Mignon as full of optimism at the end.
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Music and its Relation to Futurism, Cubism, Dadaism, and Surrealism, 1905 to 1950

Music and its Relation to Futurism, Cubism, Dadaism, and Surrealism, 1905 to 1950

Date: January 1969
Creator: Greer, Thomas H. (Thomas Henry), 1916-
Description: Inasmuch as this investigator can determine, no major study has been done concerning music's relation to the "isms" selected for this discussion. The contemporary interest in the movements themselves has been so widespread that the documentation of them, in scattered accounts, is enormous. It is disappointing that these records provide little or no information about the musical aspects of the movements; the graphic and literary accounts, on the other hand, have been accorded generous treatments. Since futurism, cubism, and surrealism, in their origins, were oriented toward the visual and literary arts, it is not surprising that these two aspects would receive the greatest amount of attention. The meager attention to music and the distortion of its role in the movements, as has largely been the case, has created an artistic imbalance, This writer's efforts have been directed toward an exhaustive search for factors which have, in some way or other, linked music with these movements. Musical futurism has been the easiest to identify, although its underlying theories are not always clear, since the futurists, in explaining their theories, were not always convincing, perhaps even to themselves. This writer's main attempt has been to interpret ideas that were frequently vague and ...
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Music Education in the Protestant Church

Music Education in the Protestant Church

Date: June 1967
Creator: Sanders, Gurvis Glenden
Description: The purpose of this study was to determine and describe ways in which music education can be used in Protestant churches. During the last twenty years, participation in church music has grown very rapidly. The increase is a result of the growth of music in general. Music has become an important part of home, school, church, and community functions. This is evidenced by many facts: symphony orchestras, as well as community instrumental and choral groups have increased in number to the extent that there are more today than at any time in history; school music has taken tremendous strides since 19257 and church music programs have been developed to such a degree that they attract large numbers of people. In spite of the tremendous advance of music in general, and in the field of church music in particular, there is still much that needs to be done in church music. For example, when "Sacred Music" is mentioned to an average group of Americans, some will respond with blank and uninterested stares. Others will mention some of the well-worn sentimentalized, semi-religious songs such as "He," "The Man Upstairs," "You'll Never Walk Alone," or other examples of commercialized religion, Those people, and ...
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A Pedagogical Approach to the Bach Two-Part Inventions

A Pedagogical Approach to the Bach Two-Part Inventions

Date: January 1969
Creator: Coryell, Carol W. (Carol Walfe)
Description: Since the nineteenth century the Two Part Inventions have become standard repertoire for piano students. However, piano teachers have often failed to give serious consideration to the suitable selection of Inventions for study. Piano students have commonly formed a dislike for Bach's piano music because of an ungratifying initial experience. There is little material written in English dealing with the Two Part Inventions. Those studies of the Inventions which do exist consist mainly of brief articles in periodicals and limited discussions in piano literature books. Therefore, there seemed to be a need for a systematic collection of pedagogical ideas concerning the Two Part Inventions. In addition, it was felt that an analysis of the problems in each piece and a subsequent graded list of the Inventions would be a step toward a more intelligent and more knowledgeable approach in the teaching of these compositions.
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A Plan of Study for a Course in Vocal Pedagogy

A Plan of Study for a Course in Vocal Pedagogy

Date: August 1968
Creator: Lewis, Cynthia McPhail
Description: The purpose of this report is to present a plan of study for a course in vocal pedagogy.
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