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 Department: College of Music
Opera and the Galant Homme: Quinault and Lully's Tragedie en musique, Atys, in the Context of Seventeenth-Century Modernism

Opera and the Galant Homme: Quinault and Lully's Tragedie en musique, Atys, in the Context of Seventeenth-Century Modernism

Date: May 1994
Creator: Browne, Marilyn K. (Marilyn Kay)
Description: The tragedie en musique of Quinault and Lully was a highly successful new genre, representative of contemporary Parisian life. However, it is still largely viewed in the negative terms of its detractors, the proponents of classical tragedy. The purpose of this study is to redefine the tragedie en musique in terms of seventeenth-century modernism. An examination of the society and poetry of the contemporary gallant world provides the historical framework for an analysis of both the libretto and music of Quinault and Lully's Atys (1676). This study attempts to bridge the historical and cultural distances that until now have hindered accessibility to this major new genre in seventeenth-century literature and music.
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Orchestral Accompaniment in the Vocal Works of Hector Berlioz

Orchestral Accompaniment in the Vocal Works of Hector Berlioz

Date: May 1994
Creator: Lee, Namjai
Description: Recent Berlioz studies tend to stress the significance of the French tradition for a balanced understanding of Berlioz's music. Such is necessary because the customary emphasis on purely musical structure inclines to stress the influence of German masters to the neglect of vocal and therefore rhetorical character of this tradition. The present study, through a fresh examination of Berlioz's vocal-orchestral scores, sets forth the various orchestrational patterns and the rationales that lay behind them.
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Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others

Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others

Date: May 1994
Creator: Quantz, Michael O.
Description: The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the resolution note; trills were begun on the main note unless preceded by a grace note; tremulo was usually an alternation of a main note with its lower neighbor note and this ornament is normally indicated at points of harmonic prolongation. The last chapter discusses general approaches to arranging these works for the guitar and the specific influence of ornamentation on the performance of the sonatas on guitar. Details from eight sonatas arranged for the guitar are used to exemplify the conclusions of the research.
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A Study of Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 by Johann Joseph Fux: the Historical Significance as Works for Alto Trombone and Performance Considerations, a Lecture Recital together with Three Recitals of Selected Works by J. Albrechtsberger, R. Gregson, W. Hartley, E. Bozza, Lars-Erik Larsson, A. Pryor and Others

A Study of Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 by Johann Joseph Fux: the Historical Significance as Works for Alto Trombone and Performance Considerations, a Lecture Recital together with Three Recitals of Selected Works by J. Albrechtsberger, R. Gregson, W. Hartley, E. Bozza, Lars-Erik Larsson, A. Pryor and Others

Date: May 1994
Creator: Babcock, Ronald D. (Ronald Dean)
Description: Johann Joseph Fux's influence on the development of eighteenth-century alto trombone literature is significant. His music, when compared with that of other composers who wrote for the alto trombone before 1730, reveals a more elaborate and frequent use of the instrument. Many of Fux's compositions call for alto, tenor, or bass trombone, but his Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 are of particular interest in regard to the composer's treatment of the alto trombone. This study points out the technical demands placed on the trombonist in Fux's works as compared to such contemporary composers as Antonio Caldara and Marc'Antonio Ziani. The primary goal of this study is to substantiate the importance of Fux's role in the development of the alto trombone repertoire. Published and unpublished works by Fux that significantly incorporate the instrument have been studied and compared to compositions of his contemporaries. A thorough discussion of Sonata a Quattro and Alma Redemptoris Mater illustrates the technical aspects of his alto trombone writing. The secondary goal of this study is to create a performing edition of Sonata a Quattro and Alma Redemptoris Mater. The existing editions in Denkmaler der Tonkunst in Osterreich and Johann Joseph ...
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A Study of the Oboe Concertos of Johann Friedrich Fasch with a Performing Edition of Oboe Concerto in G Major (Küntzel 8) : A Lecture Recital Together with Three Other Recitals of Selected Works of Handel, Mozart, Bellini, Poulenc, Britten and Others

A Study of the Oboe Concertos of Johann Friedrich Fasch with a Performing Edition of Oboe Concerto in G Major (Küntzel 8) : A Lecture Recital Together with Three Other Recitals of Selected Works of Handel, Mozart, Bellini, Poulenc, Britten and Others

Date: May 1994
Creator: Manning, Dwight C. (Dwight Carroll)
Description: Johann Friedrich Fasch's music displays a stylistic variability characteristic among some composers of the early eighteenth century, a time in which the mature Baroque style period of Western art music was beginning to show new elements of the Classical style. Opinions regarding Fasch's contribution vary from praise for his role as one of the most important pioneers to simple acknowledgment as merely one among many significant, forward-looking, transitional composers. During the early eighteenth century, a wealth of fine literature for solo oboe was produced. Current oboe repertoire includes many standard, mature Baroque concertos of the early eighteenth century; few works representative of evolutionary compositions hinting toward the development of a new historical style period are available. The primary purpose of the lecture recital is to introduce to the oboe repertoire an edition of a concerto by Fasch, one representative of the transition from Baroque to Classical eras.
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Chaos, Cosmos, and Communion: Three Movements for String Quartet

Chaos, Cosmos, and Communion: Three Movements for String Quartet

Date: August 1994
Creator: Moran, David W. (David Wayne)
Description: The three movements of this piece are related proportionally in that movements one and two represent three-fifths of the length of the whole. Movement three represents two-fifths of the length of the whole. Another proportional relationship exists between movements one and two. Movement one represents two-fifths of the length of the first two movements, while movement two represents three-fifths of the length of the two. An additional link between the three movements is pitch content. Movements one and two have little in common in this regard, but movement three combines elements of the first two. The duration of the entire piece is approximately fifteen minutes.
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Contours

Contours

Date: August 1994
Creator: Hughes, Russell M., 1954-
Description: Contours is scored for full wind ensemble and percussion, and is approximately nine minutes in length. The title refers to the way melodic shape or contour is used to create unity and variety in the piece. Contours is a single-movement work containing three sections that are unified by thematic and harmonic materials. The melodic material is generated by three twelve-tone rows, which are then used in combination with freely composed material. The first and last sections are highly contrapuntal and rhythmically disjunct. Both sections share common rhythmic and melodic patterns. These sections are contrasted with a slower and more lyric middle section. This section is made of a series of episodes that create an overall A-B-A structure.
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The Flute: the Mechanical Improvements on the Body of the Orchestral Instrument since 1847

The Flute: the Mechanical Improvements on the Body of the Orchestral Instrument since 1847

Date: August 1994
Creator: Nussbaum, Carolyn
Description: This thesis uniquely explains the mechanical improvements which have occurred to the flute over the last 147 years. Theobald Boehm revolutionized the flute by changing many of its components culminating with the 1847 model flute. Since that time other improvements have been made which enhance the flute's capabilities in terms of pitch, tone, timbre, and simplification offingeringpassages. Among those improvements which are discussed in the following pages are the Dorus G-sharp key, the gizmo key, the Cooper scale, and The Brogger Mekanik as well as the makers behind the various improvements including Vincent Dorus, George Barrere, and Albert Cooper.
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Music Preferences 1980 Versus 1989 and Their Relationship With Selected Environment and Listener Variables

Music Preferences 1980 Versus 1989 and Their Relationship With Selected Environment and Listener Variables

Date: August 1994
Creator: Novak, Jennifer J. Doud
Description: The purpose of this study was to determine differences between the same subjects' music preferences at the elementary and high school levels, and the relationship between these findings and the following variables: peer preferences, musical training, excerpt familiarity, grade, gender, and race.
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Ronald Stevenson's Passacaglia on DSCH: Understanding the Composer's Unique Approach to Large-Scaled Structure, a Lecture Recital, together with Three Recitals of Selected Works of L.V. Beethoven, J. Brahms, F. Liszt, F. Mendelssohn, B. Bartók and Others

Ronald Stevenson's Passacaglia on DSCH: Understanding the Composer's Unique Approach to Large-Scaled Structure, a Lecture Recital, together with Three Recitals of Selected Works of L.V. Beethoven, J. Brahms, F. Liszt, F. Mendelssohn, B. Bartók and Others

Date: August 1994
Creator: Beckman, Bradley J. (Bradley John)
Description: This paper investigates Ronald Stevenson's unique treatment of large-scaled structure in his Passacaglia on D S C H. This piece's unusual eighty-minute length, use of traditional forms and unusual piano techniques, musical references to other cultures and a massive triple-fugue over a ground bass will be examined as they relate to its overall form. The elements of rhythm, melody/mode, harmony, counterpoint, piano techniques, and tonality are also used as means of highlighting many unifying elements of the piece which contribute to its overall cohesiveness. Tributes to other composers, among them Dimitry Shostakovich to whom the piece is dedicated, are discussed in addition to many references to world cultures and events which support Stevenson's views on what he terms world music. Rarely is a piece written that encompasses such a wide range of musical elements that possess the ability to engage an audience for an uninterrupted length of eighty-minutes. As of yet, an in-depth scholarly investigation of Stevenson's treatment of formal unity in this landmark piano work has not been done. This analysis reveals Stevenson's approach to composing in such a large form, as well as illustrating his mastery of variation, counterpoint and unending ingenuity for innovative piano techniques. The composer's ...
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