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Alexander Glazounov and His Concerto in E-flat Major for Saxophone and String Orchestra
This paper analyzes Alexander Glazounov's Concerto in E-Flat major for saxophone and string orchestra and explores the music and style of Alexander Glazounov. Robert E. Austin provides a complete listing of the composer's works as well as biographical details about his life.
An Analysis for Performance of Les Nuits d’été by Hector Berlioz, Opus 7
This paper analyzes Hector Berlioz's song cycle Les Nuits d’été, Opus 7, for the purpose of performance. Along with musical analysis, Anna Ruth Stone also provides background about the poet Théophile Gautier and describes the appeal of the Berlioz's song cycle.
Analysis for Performance of the Song Cycle Songs of Travel, by Ralph Vaughan Williams
This paper analyzes Ralph Vaughan Williams' Songs of Travel and asserts that the songs are a song cycle rather than just a collection of songs set to to the poetry of Robert Louis Stevenson. Richard Porter Cole performs a musical and poetic analysis of the songs and makes suggestions to aid performers of the piece.
Analysis of Darius Milhaud's La Creation Du Monde
Darius Milhaud was born on September 4, 1892, to a Jewish family in Aix-en-Provence in the South of France. This study provide analysis of Darius Milhaud's work, entitled La Creation Du Monde.
An Analysis of Jaques Ibert’s Concertino Da Camera for Alto Saxophone and Eleven Instruments
This paper provides historical background for the creation of Jacques Ibert's Concertino da camera for alto saxophone and eleven instruments and analyzes its three movements. As one of the first works written for the saxophone, James Garland Riggs explains the importance of the piece.
An Analysis of Johann Nepomuk Hummel's Concerto for Trumpet
During the first half of the twentieth century the trumpet has gained its position as a solo instrument, even surpassing its esteemed position in the High Baroque Era. With the combined efforts of performers like Herbert L. Clark, Ernest S. Williams, and Joseph Arban, and the efforts of the French school of trumpet playing, notably those of Raymond Sabarich, the trumpet has risen from a mere accompanying instrument of the Classical Period and early Romantic Era to its present place as an expressive solo instrument. In this relatively new position the trumpeter is faced with one serious problem: that is one of limited literature. The trumpeter of today is almost compelled to perform either works of the Baroque Era or solos written within the last thirty years.
An Analysis of Method Books for the Bass Trombone
This paper provides a survey and analysis of eight method books for the bass trombone. Robert G. Hurst describes each of these titles with detail and explores the methods discussed in the texts, as well as the history and construction of the bass trombone.
Analysis of Selected Trombone Methods Developed at the Paris Conservatory of Music
This study described various Trombone methods and specifically analysed the eight methods developed at the Paris Conservatory of Music, which considered to be an outstanding methods for most of the good trombone literature of today.
An Analysis of the Hindemith Sonata for Double Bass and Piano, for Performance Purposes
This paper analyzes composer Paul Hindemith's Sonata for Double Bass and Piano and provides conclusions about how to interpret the movements in performance as well as the compositional techniques used by Hindemith to create them.
Analysis of the Soprano Arias in the Oratorios of Joseph Haydn
This paper analyzes the soprano arias in three of Franz Joseph Haydn's oratorios, which are Il Ritorno di Tobia, Die Schöpfung, and Die Jahrezeiten. Deborah Thomas analyzes Haydn's oratorio style and attests that development is reflected in the soprano arias.
An Annotated Translation of the British Museum, Additional 4918: Traité De La Musique Moderne, Avec Quelques Remarques Sur La Musique Ancienne Par A.D.V. (1702)
The British Museum, Additional Manuscript 4918, provides an interesting insight into the sociology as well as the music of the Baroque period. This treatise was written by an unknown "music-lover," who was not a musician by profession. All that is definitely known about his identity are the initials A.D.V. that appear on the title page. The manuscript is dated 1702. In method and design this work represents the transitional character of the seventeenth and eighteenth centuries. Because the author was not a professional musician, it is important to consider the sociological aspects which influenced the writing of a treatise of this sort. A study of the development of Baroque musical treatises indicates a direct parallel with the social and political temperament of the time.
The Baritone Title Roles in the Operas of Verdi
This paper discusses the nature and significance of the baritone title roles in the operas of Giuseppe Verdi. These operas include Nabucco, Macbeth, Rigoletto, Simon Boccanegra, and Falstaff. Jewel William Hobbins explore the evolution of vocal roles and asserts that Verdi highly prized dramatic skill in his performers.
Beethoven: The "Eroica" Variations, Opus 35
This paper discusses and analyzes Ludwig van Beethoven's "Eroica" Variations, Opus 35. Cynthia Hukill explores the significance of the "Eroica" as a ground-breaking expansion of the variation form.
Brahms-Schumann Variations, Op. 9: A Significant Contribution Among Brahms’s Piano Compositions
This paper analyzes the Variations on a Theme by Schumann, Op. 9, created by . Pamela S. Lee discusses the influence of Robert and Clara Schumann on Johannes Brahms and his music, evaluating the impact of the piece and its origin.
The Cantate Profane of Antonio Vivaldi: An Analysis and Evaluation
This paper provides an in depth examination of the style and works of Antonio Vivaldi, particular his secular solo cantatas. Stephen J. Town also provides historical background about the development of the solo cantatas as well as the life of the composer Antonio Vivaldi.
The Chansonnier Biblioteca Casanatense 2856: its History, Purpose, and Music
The chansonnier held by the Biblioteca Casanatense in Rome, designated Codex 2856 (0. V. 208), is a handsome volume containing 123 polyphonic compositions in the style of the Franco-Flemish School, circa 1450 to 1400. Although no text beyond the incipit is found in the manuscript, the value of the source is enhanced by the names of the composers of 106 of the compositions. Volume one focuses on the manuscript, giving a physical description of the manuscript, recounting the history of the manuscript, and includes discussion of selected composers and a concordance. Volume two contains the music of the chansonnier Biblioteca casanatense 2856.
The Chorale Kyrie, Gott Vater in Ewigkeit and its Use in Bach's Clavierubung, Part III
This study closely explores the Chorale Kyrie, Gott Vater in Ewigkeit and its Use in Bach's Clavierubung. The effect is one of gentilness and intimacy that conceal a wealth of inner emotion.
The Clarinet: Its Development and Influence in the Field of Jazz
This paper identifies the major clarinetists who contributed to the development of jazz and the history of the jazz movement. Gary F. Hallquist traces the history of the clarinet in jazz from the beginnings in New Orleans to the late twentieth century, touching on the major events in the scene during this era.
Claude Debussy and the Etude Tradition
This paper discusses etudes and the history of their composition, focusing on the works of Claude Debussy in particular. Richard E. Roberson examines pieces from Douze Etudes Pour Le Piano, Book One, the difficulty of the etudes, and the problems they present.
Comparison of Bach’s Chaconne in D Minor for Solo Violin and Its Piano Transcription by Ferrucio Busoni (1866-1924)
This paper provides an analysis of Johann Sebastian Bach's Chaconne in D minor for Solo Violin and its piano transcription by Ferrucio Busoni. Hsiao-Hung Ku highlights the value of transcribing music and compares the original work to its transcription.
A Comparison of Editions of Carl Maria von Weber’s Grand Duo Concertant, Op. 48, for Clarinet and Piano, With the Composer’s Autograph Score
This paper compares various editions of Carl Maria Von Weber's Grand Duo Concertant, Op. 48, with the composer's original autograph score. Catherine E. Wood discusses how well these editions retained the composer's intentions, and which edition is the most accurate.
A Comparison of Technical Solutions With Possible Alternatives in the Performance of Chopin’s Etudes, Op. 10
This paper explores the development of the practice of etudes and provides technical solutions for Frédéric Chopin's Etudes, Op. 10. David McKamie explores each etude in turn and considers various methods to perform them.
Compositional Techniques Using the Clarinet in the Swing Period in Big Band Jazz
This paper discusses the compositional techniques developed for the clarinet during the Swing period of big band jazz. Victor E. Wertz traces the history of big band jazz and highlights some major clarinetists and their performance techniques.
Contemporary Music Studies for the Concert Band
The purpose of this thesis is to isolate the techniques presently being used by composers and to define and explain these techniques. The thesis concludes with a series of studies based on these twentieth-century compositional techniques for high school students in the form of warm-up and technique materials. The purpose of this study was to devise a sequence of studies designed to acquaint band members with twentieth-century composition techniques found in contemporary band literature.
The Coplas of Mario Castelnuovo-Tedesco
This paper explores the composition and historical background of Mario Castelnuovo-Tedesco's coplas. Molly J. McCoy discusses the composer's background, style, and influences, before examining each copla in turn.
The "Dante" Sonata: The Diabolical Liszt
This paper describes the creation and impact of Franz Liszt's "Dante" Sonata. Bill Blaine gives historical context and elaborates on the literary and philosophical influences evident in the piece before providing an examination of the music.
Developing a Guide to the Techniques of Imitating Selected Commercial Music Styles
The purpose of this study was to develop a guide to help teach commercial music style imitation, Styles selected were ragtime, dixieland, Whiteman, Goodman, Miller, bop, Berry, Presley, Motown, hard rock, horn band, soft rock, straight ahead big band, Ellington, Basie, country rock, bluegrass, Country-Western, Mantovani, Boston Pops, and Love Unlimited Orchestra. Melody, harmony, rhythm, voicing, instrumentation, form, special effects, performance techniques, electronic alteration, and articulation were discussed for each style. A table summarizing each discussion, and an arrangement and recording of the same melody in each style were included, The guide appears successful, judging from commercial writers' estimations, The work will probably aid writers, performers, researchers, and publishers. Similar works could be done on other commercial and ethnic styles.
Development of the Mozart Song
This paper explores the lesser known songs Wolfgang Mozart composed for voice and keyboard and examines developments in harmony, melody, and style. Timothy G. Seelig traces the history of these songs, their structure and interpretation, and promotes study of the pieces.
Eclectic Style, the Essence of Originality in the Music of Francis Poulenc Discussed Through the Concerto for Piano and Orchestra, 1949
This paper analyzes Francis Poulenc's Concerto for Piano and Orchestra written in 1949. Deborah Lee Erftenbeck explores his eclectic style and the manner of its development, determining the originality of its nature and his works.
The Elements of Early New Orleans Jazz
This paper discusses the development of jazz that occurred in the Storyville district of New Orleans. Bernard Norman Rose explores the history of the area and the influences that resulted in a synthesis of music.
Elements of Surrealism in La Courte Paille by Francis Poulenc
This paper explores the influence of French surrealism in the composition of La Courte Paille by Francis Poulenc. Martha Ann Pampell discusses the history of the surrealist movement, Poulenc's style, and provides an analysis of the piece.
Evolution of the Role of the Solo Trombone in the Nineteenth and Twentieth Centuries: A Lecture Recital Together with Three Recitals of Selected Works of Frescobaldi, White, Druckman, Jones, Blaecher, Ott, and Others
The evolution of the role of the trombone as a solo instrument in the nineteenth and twentieth centuries can be traced most effectively through four schools of playing, with the music of today's avant-garde being a logical historical culmination of these four schools. It will be demons t rated that the avant-garde's use of the solo trombone has merely continued the evolutionary process started in the early nineteenth century. The contribution of the early nineteenth-century virtuosi was the establishment of the idea that the trombone could compete on its own terms with other instruments as a solo instrument. In addition to expanding the technical capabilities, they also left a basic solo repertoire. With the death of the virtuosi the trombone as a solo instrument went into a decline. For the remainder of the nineteenth century and well into the twentieth century the Paris Conservatoire was influential. Standards of solo performance were brought to new heights by excellent study material and contest solos. The next important step came from the late nineteenth-century American band virtuosi. Their influence helped the public to accept the idea of the trombone as a solo instrument. The American jazz trombonists of the 1930's and 1940's also further widened the technical capabilities of the trombone and also further encouraged acceptance of the Instrument in its solo capacity. However, their most important contribution was in new tonal colors. The music of the avant-garde takes all these previous historical achievements and makes use of them in its own unique way.
An Experimental Study of Intonation Factors of the Cornet and Trumpet
Many musicians have theorized that intonation would be improved if all players in a band or orchestral section used instruments of identical dimensions and material. This study consists of a test taken under experimental conditions comparing the Conn 38A cornets used in the North Texas State University Concert Band with a random selection of trumpets, using the same performers for both sets of instruments.
Four Chamber Arias of Vincenzo Bellini
This paper explores the musical significance, history, and development of Vincenzo Bellini's four chamber arias. Nancy W. Barfield discusses the life of composer Vincenzo Bellini, his musical style, and the style of the arias themselves.
The Four Chopin Ballades: A Guide to Performance and Interpretation
This paper discusses the origin of literary and musical ballads and focuses on analysis and interpretation of the four Chopin ballades. Jill Beth Street also discusses how to perform these ballades based off of this interpretation.
The Four Dominating Elements in the Piano Literature of Sergei Prokofieff
This paper analyzes the piano compositions of Sergei Prokofieff and identifies four elements evident in the literature: classicism, innovation, toccata, and lyricism. Elisabeth Euwer Roberts traces the history of his works and the evidence of these elements in them.
The French Cantata: A Survey and Thematic Catalog
The musical compositions known collectively as the French cantata have remained relatively unknown since their popularity waned in the middle of the 18th century. In order to establish a foundation for their systematic study and to bring them to the attention of a wider audience, this survey and catalog have been prepared. The cultural mileu in which the cantatas were written, their formal structure, and principles related to their performance have been presented along with pertinent biographical and bibliographical information.
French Mélodie: The Solo Songs of Henri Duparc
This paper explores the French mélodies written by Henri Duparc and includes a historical background of both Duparc and the mélodie as a type of song. Carol Tagg explores the roots of the mélodie and how influences of the Romantic movement are reflected in Duparc's work.
Goethe's Kennst du das Land: Eight Musical Settings, 1795-1888
This thesis studies the problem of combining a poem with music in nineteenth-century Lieder so that the music enhances the poetry rather than detracting from it. Eight settings of Goethe's poem "Kennst du das Land," from his novel Wilhelm Meisters Lehrjahr, are compared. Settings by Johann Friedrich Reichardt, Beethoven, Schubert, Schumann, Liszt, Tchaikowsky, and Wolf are analyzed, after initial treatment of the literary aspects of the poem. The degree of musico-poetic synthesis varies in these settings, and it becomes evident that total fusion of poetry and music is not possible. However, the settings by Schumann and Wolf achieve strong balance of word and tone.
The Influence of Hindemith's Harmonic Theories on Das Marienleben, op. 27
This study attempts to show the relationship of Hindemith's harmonic theories and practice in the revision of Das Marienleben, op. 27. The study is based on Hindemith's The Craft of Musical Composition, commentaries on Hindemith's application of his theories, and analyses of Das Marienleben. Chapter One concerns Hindemith's contribution as a theorist, including a synopsis of his harmonic theories, and his application of the theories in his compositions. Chapter Two concerns Das Marienleben itself, including general information about the work and its revision, and an analytical comparison of its two versions. Chapter Three concludes that Hindemith made improvements in the new version in accordance with his harmonic theories through replacing ambiguous harmony with carefully controlled fluctuation and clearly defined tonalities.
The Influence of the Commedia Dell’ Arte on Opera Buffa
This paper explores the connection between the Commedia dell'arte and the opera buffa genre and asserts that performers should be aware of this connection. John Arden Hopkin explores the history of the Commedia dell'arte and the rise of opera buffa.
Influences Seen in Prokofiev's Piano Style
The influence of existing musical trends is evident in almost every composer. Prokofiev entered the musical scene in Russia when Scriabin was the recognized leader in innovation. To understand fully the rapid popularity of Prokofiev one must be aware of the musical forces of his time, the circumstances leading up to them and their influence on Prokofiev. In the latter half of the nineteenth century there began a movement toward nationalism in music. Among the most important of these nationalistic countries were Bohemia and Russia. Composers deliberately drew their inspiration from the musical resources of their native country. From all that is known a native Russian music did not exist before the nineteenth century. The music enjoyed by the upper class and royalty had to be imported. In the eighteenth century this included Italian opera and in the beginning of the nineteenth century, French opera. Pianists such as Field, Mayer and von Henselt were popular as both teachers and performers.
Innovations in the Usage of the Damper Pedal
The piano first came into existence about 1709, but until the 1770's it was probably used most successfully as an accompanying instrument because of the small volume of tone it could produce. In its earlier stages the piano was not capable of producing even as big a tone as a large. sized harpsichord, During these seventy years piano builders experimented a great deal with the piano and its mechanisms, As with any instrument, some ideas were kept and improved, and others were tried and then discarded.
An Interpretative Analysis of the Song Cycle An die ferne Geliebte by Ludwig Van Beethoven
Statement of Problem and Analytical Procedures The primary purpose of this study is to examine the song cycle An die ferne Geliebte, by Ludwig van Beethoven, in an effort to provide the performer substantive musical and poetic evaluations leading to a valid interpretation of the songs. The analysis is intended to determine the aesthetic implications of the cycle and their effect on performance.
An Investigation of the Acoustical Properties of the Trumpet Mouthpiece
The purpose of this study was to present a comprehensive analysis of the acoustical properties of the trumpet mouthpiece. The first section will be concerned with the individual parts of the mouthpiece and their interrelationship. The second portion of the study will be the physical analysis of three commonly used trumpet mouthpieces. For this study, five examples of each size have been selected. The third section will present a tonal analysis of the selected mouthpieces. These investigative procedures will attempt to recognize any relationships between the individual mouthpieces and the resulting tones.
J. S. Bach Cantata No. 52: An Analysis for Performance
This paper analyzes Johann Sebastian Bach's Cantata No. 52, Falsche Welt, dir trau' ich nicht. Janette Cook Williams presents findings on the evolution of the sacred solo cantata and examines the style of Bach's work.
Karg-Elert’s Own Clues to the Thirty Caprices for Flute, Opus 107
This paper discusses and analyzes the music and methodology of Sigfrid Karg-Elert's Thirty Caprices for Flute, Opus 107. Jon Novi examines how Karg-Elert provides clues and instruction in The Logical Development, a paper appended to the Thirty Caprices.
The Liederkreis, Op. 39, by Robert Alexander Schumann
This paper analyzes the music of the Liederkreis, Op. 39 to provide insight into the nature and style of the piece. Robert Farias Austin, Jr. explores the history of the German Lied and the life of the composer, Robert Alexander Schumann.
The Life and Music of Jacques-Christophe Naudot
Favorable judgment of a work of art, or of a man, usually means that the work of art, or a record of the man, will be preserved for future generations to judge for themselves. An unfavorable judgment may result in a richly deserved obscurity or an irreplaceable loss, unless favorable circumstances combine to preserve the evidence for a more perspicacious generation. One can be forgiven if he distrusts history's judgment; mistakes which have been corrected are legion (the case of J. S. Bach comes most vividly to mind) and skepticism is warranted unless or until the facts are available for confirmation. It is difficult to explain the paucity of information about Jacques-Christophe Naudot, Not that he is another J. S. Bach; neither Fleury, who made the first serious effort to revive interest in his music in the early 1920's, nor Ruf, who has done much in this regard recently, nor this writer makes any such claim. He does not, however, deserve the obscurity that has been his lot. If his music is not always profound, it nevertheless has both intrinsic and historical value, and some of his works reveal considerable contrapuntal skill. It may be that Naudot stood in the shadow of Blavet, whose prowess as a flutist bolstered his reputation as a composer, or that his music was never quite the right style for the time; in any case, although his name was not unknown, he never gained the fame that earned a contemporary biographer. As a result, no autographs and very little biographical data have been found, although one or more printed copies of all his known works, except two, are to be found in various libraries, principally the Bibliotheque National in Paris.
Melismata: Musical Phansies Fitting the Court, Citie and Countrey Humours. Edition and Commentary
Thomas Ravenscroft, the English composer, editor, and arranger, is known for his participation in the St. Paul's Boys' Choir, as instructor of music at Christ's Hospital School, and as a prodigy. His best-known publications are a setting of the psalter, The Whole Booke of Psalmes, and the treatise, A Brief Discourse,which is an effort to revive mensural notation. Ravenscroft's works contain many examples of popular Elizabethan music which he edited and arranged. Part II of this thesis consists of an edition of his third publication, Melismata, a collection of nine rounds and fourteen partsongs. A list of critical notes is also included. The commentary to the edition includes a biography, a discussion of his works, the background and origin of the songs in Melismata, and an analysis of these songs.
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