An Historical and Technical Analysis of the Mozart Horn Concerti

An Historical and Technical Analysis of the Mozart Horn Concerti

Date: 1950
Creator: Myers, Allen, 1925-
Description: This thesis presents an historical and technical analysis of the Mozart horn concerti.
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The French Ballet De Cour and Its Predecessors, 1400-1650

The French Ballet De Cour and Its Predecessors, 1400-1650

Date: January 1952
Creator: Bice, John Arch
Description: A study of the historical development of the origins of ballet in Italy and France during the fifteenth and sixteenth centuries. Specifically focuses on the ballet-comique de la reine and the ballet de cour.
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The Early Piano Sonatas of Prokofiev

The Early Piano Sonatas of Prokofiev

Date: January 1955
Creator: Meeks, Ida Ledale
Description: The purpose of this thesis is to give a descriptive look at modern Russian music, specifically the early piano sonatas of Russian composer Sergei Prokofiev, with focus on style and style influences.
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An Analysis of William Walton's Concerto for Violin and Orchestra

An Analysis of William Walton's Concerto for Violin and Orchestra

Date: January 1957
Creator: Pipkin, Robert Joseph
Description: The rhythmic analyses (derived from the rhythm tables of Chapter II) reveal: 1. Walton used rhythms sparingly. 2. Walton's rhythms constitute an evolutionary state of re-creation, i. e., Walton's rhythms are in empathy with each other. The harmonic analyses (derived from the harmonic fluctuation tables of Chapter II) reveal: 1. The most frequent chords of any classification occur in groups III and IV (chords of the highest tension). 2. The most frequent dissonant interval used is that of the major seventh.
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The Concert Arias of Mozart for the Bass and Tenor Voices

The Concert Arias of Mozart for the Bass and Tenor Voices

Date: August 1955
Creator: Smith, Charles Temple
Description: The concert arias of Mozart are probably among the least known works of this genius among composers, yet they represent no small part of his musical output and are scattered throughout every period of his life. He composed a total of fifty-seven in all, the first when he was only nine years old and the last one in the final year of his life. Mozart's fifty-seven concert arias are divided among the four voice groupings as follows: one for alto, eight for bass, ten for tenor and thirty-eight for soprano. Of these soprano arias one (K. 569)l is lost and two (K. 307 and K. 308) are merely ariettas on French texts. It is with the eighteen arias for normal male voice that this discussion will be primarily concerned; arias for the castrati voice will not be considered.
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Modality in Three of the Choral Works of Ralph Vaughan Williams: Mass in G Minor, Five Tudor Portraits and Te Deum in E Minor

Modality in Three of the Choral Works of Ralph Vaughan Williams: Mass in G Minor, Five Tudor Portraits and Te Deum in E Minor

Date: August 1957
Creator: McCain, Eula Louise
Description: To summarize in general the use of modes by Vaughan Williams, it could be said that the works that have been analyzed are characterized by frequent use of the traditional modes, but in a very free manner. The "Kyrie" of the Mass, "Pretty Bess," "Jolly Rutterkin" and Te Deum are confined somewhat closely to given modes, with some changes of mode, changes of tonality and use of altered chords. The "Gloria," "Credo," "Sanctus," "Osanna I," "Benedictus," "Osanna II" and "Agnus Dei" of the Mass, however, contain many striking chromaticisms. These chromaticisms are the result of use of many altered chords, a good deal of modulation and much combining of modes, often with startling cross-relations. The use of seventh chords in "Pretty Bess," "Jolly Rutterkin" and Te Deum further complicates the picture from that of the sixteenth century.
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A Comparative Study of Three Sonatas for Solo Brass Instruments and Piano by Paul Hindemith

A Comparative Study of Three Sonatas for Solo Brass Instruments and Piano by Paul Hindemith

Date: June 1957
Creator: Alley, Edward Lee
Description: In the years during the writing of The Craft of Musical Composition, and for the next few years afterwards, Hindemith was engaged in writing a solo sonata for each of the instruments of the orchestra. Muser states that this series of sonatas continues a definite policy of providing music for people who want to play music, and not merely to listen to it. The three sonatas for solo brass instruments and piano were written during this period. The sonatas, written for trumpet, horn, and trombone, were written in the following order: Sonata for Trumpet and Piano—1939; Sonata for Horn and Piano—1939; Sonata for Trombone and Piano—1941. These sonatas, being written rather closely together, should have certain stylistic characteristics in common, and there should also be certain features peculiar to each sonata. To study these sonatas and compare them with each other structurally and stylistically is the purpose of this work.
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The Analytical System of Hindemith and Schenker as Applied to Two Works of Arnold Schoenberg

The Analytical System of Hindemith and Schenker as Applied to Two Works of Arnold Schoenberg

Date: January 1956
Creator: Miron, Nathan (Nathan Ben)
Description: This thesis uses two different musical analytical systems, one of Heinrich Schenker and one of Paul Hindemith, to analyze tonality within "Die Gurre Lieder" and "Fourth String Quartet" by Arnold Schoenberg.
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The Development of Baptist Hymnody with Particular Emphasis on the Southern Baptist Convention

The Development of Baptist Hymnody with Particular Emphasis on the Southern Baptist Convention

Date: August 1955
Creator: Wall, Woodrow Wilson
Description: This thesis undertakes a study of some of the historical origins and developments of the Southern Baptist Convention in relation to its music.
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The Organ Works of Healey Willan

The Organ Works of Healey Willan

Date: August 1957
Creator: Massingham, Robert Louis
Description: Although Willan is first and foremost a musician of the church, it is obvious that he has not cloistered himself in the organ and choir loft, as it were. As a composer he has written significantly in many fields, and as a teacher he has had a major influence in shaping the musical thought of a boundless number of Canadian musicians. As a musician of the church he has kept alive the great English traditions and made his own laudable and abundant contributions to church music practices. One of the first Canadian musicians of wide eminence, he has set an example worthy of the attention of younger Canadians who will contribute to the musical development of the nation.
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The Use of Music as a Therapeutic Agent in Connection with and as an Aid to Hospitalized Mental Patients

The Use of Music as a Therapeutic Agent in Connection with and as an Aid to Hospitalized Mental Patients

Date: January 1952
Creator: McClung, Marjorie C. (Marjorie Catherine)
Description: The increasing importance of music as a therapeutic benefit in mental hospitals has prompted this study. Numerous unscientific reports and papers concerned with music therapy have been published; however, material based upon controlled experiments and results is available which has proven valuable in the study of this growing aid for mental patients. The reference material in the following chapters has been organized and limited to objective reports produced by those who have devoted their interest and time to the facts about the use of music as a therapeutic agent in mental hospitals.
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A Comparative Study of the Harmonic Equipment and Formal Features in the String Quartets by Claude Debussy and Maurice Ravel

A Comparative Study of the Harmonic Equipment and Formal Features in the String Quartets by Claude Debussy and Maurice Ravel

Date: August 1952
Creator: Jenkins, Robert E. (Robert Eugene),1929-
Description: This thesis proposes to determine the construction of the two string quartets and to reveal through the study of the quartets the similarities and contrasts of the creative musical characteristics of Debussy and Ravel.
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The Characterstücke of Johannes Brahms

The Characterstücke of Johannes Brahms

Date: August 1955
Creator: Guerry, Jack, 1931-
Description: With the advent of the Ballades, Intermezzi, Cappriccios and Rhapsodies of Johannes Brahms the musical world was to witness the apex of a development of a particular style of pianoforte composition which began in the nineteenth century with the publication in 1803 of a group of seven pieces called Bagatelles, opus 33 by Ludwig van Beethoven. This style thus originated was the Caracterstücke.
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The Anthems of William Byrd

The Anthems of William Byrd

Date: January 1955
Creator: Propst, Fred L.
Description: The sacred anthem has had a unique conception and development that compares readily to that of other major forms of sacred music. Since an abundance of this music is used in our services, it is the purpose of this study to trace the history of the anthem from its origin in the early Tudor period to its culmination in the works of William Byrd. A special study will be made of the anthems by this master of the form.
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An Analysis of the Works for Solo Trumpet by Alan Hovhaness

An Analysis of the Works for Solo Trumpet by Alan Hovhaness

Date: August 1957
Creator: Tull, Fisher Aubrey
Description: The purpose of this study is to determine the general style characteristics of the works for solo trumpet by Alan Hovhaness, viz., Khrimian Hairig, Overture to Avak, Prayer of Saint Gregory, and Haroutiun. The musical elements of form, melody, harmony, tonality, rhythm, texture, and counterpoint are examined objectively in order to determine the essential features of the music. Further consideration is given to the idiomatic use of the solo trumpet in these compositions. Each composition is examined separately, the conclusions and generalizations of the style features being reserved for the final chapter.
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Piano Sonatas Six, Seven and Eight of Prokofiev

Piano Sonatas Six, Seven and Eight of Prokofiev

Date: January 1956
Creator: Allen, Daniel Joseph
Description: The Sixth, Seventh, and E Piano Sonatas of Prokofiev illustrate the composer's more mature style. In these works there is a definite return to the classic forms and contrapuntal devices which have been called Neo-classicism. Prokofiev, himself, has said that form is one of the basic elements of his style. It is the purpose of this thesis to discover the' formal organization and make a comparison of these sonatas with the works of Beethoven and his contemporaries.
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A Study of the Fugal Writing of Paul Hindemith

A Study of the Fugal Writing of Paul Hindemith

Date: August 1952
Creator: Cody, Robert O. (Robert Oswald), 1928-
Description: Paul Hindemith's compositions are, for the most part, contrapuntal; and since the construction of such a traditionally contrapuntal medium as the fugue was brought to such a high degree of musical expression in the fugal writing of J. S. Bach, it is the purpose of this thesis to compare Hindemith's fugal style with the standard set by J. S. Bach.
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A Comparison of the Hindemith and Schenker Concepts of Tonality

A Comparison of the Hindemith and Schenker Concepts of Tonality

Date: January 1955
Creator: Knod, Grace E., (Grace Edith)
Description: The purpose of this thesis is to illustrate and compare, through a representative historical sampling of music, the concepts of tonality evolved by Paul Hindemith in his Craft of Musical Composition, Vol. I; and Heinrich Schenker in his Tonwille, MusijNkeael ische Theorien Fantasien, Das jeisterwerk in der Musik, and Per Freie Satz.5 When feasible, these two concepts will be compared with the conventional concept.
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Transcriptions and Editions for Harp by Carlos Salzedo

Transcriptions and Editions for Harp by Carlos Salzedo

Date: January 1956
Creator: Thornberry, Johne Buddington
Description: Anyone concerned with the harp in this century knows of the genius of Carlos Salzedo. His pedagogical, compositional and professional activities have had a tremendous impact on the harp world. With this in mind, the present study considers his transcriptions for harp from other works and his editings of other composers' harp compositions. It is the purpose of this study to find in what ways his work in this area has been helpful to harpists.
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The Melodic Use of the Augmented Second in the Eighteenth Century

The Melodic Use of the Augmented Second in the Eighteenth Century

Date: January 1952
Creator: Shipp, Clifford M. (Clifford Marion)
Description: When a particular phase of music theory is omitted from the contents of a treatise or textbook on that subject, the omission can usually be ascribed to one of two causes. Either the omitted phase is of little importance or it is not used in the music of the period on which the treatise or textbook is based. It is the purpose of this research study to discuss a particular phase of music theory that has been omitted or avoided by numerous counterpoint and theory textbook authors. The material in the contents of this work is based on a discussion of the melodic use of the augmented second in the music of the eighteenth century.
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Charles Ives and a Stylistic Analysis of his Three Piano Sonatas

Charles Ives and a Stylistic Analysis of his Three Piano Sonatas

Date: 1955
Creator: Harer, Carolyn Bertha
Description: This thesis has been written with several goals in mind. The first purpose has been to inform the reader about the life of Charles Ives and the influences he experienced that gave him the impetus to experiment and write music of a nature thirty years ahead of its time, while the rest of the world was basking in the waning light of Romanticism. The second purpose has been to describe in a short space general characteristics that may be found throughout the entire musical output of Ives. The third purpose has been to analyze in greater detail the major portion of his contributions to piano literature, the three piano sonatas, so that the student may better understand the complexities which will face him in performance of these compositions. Perhaps the strongest motivation for the present study has been the hope that it might induce more students to be explorers themselves and become familiar with this music of Ives.
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Quintet for Woodwinds

Quintet for Woodwinds

Date: January 1956
Creator: Hutchison, Warner, 1930-
Description: The purpose of writing the quintet for Woodwinds is to produce composition for woodwind ensemble containing elements of significant musical form. Much of the quintet music. by composers such as, Reicha and Taffanel is characterized by pure virtuosity of style and lack of significant musical form. The Quintet for Woodwinds utilizes the conventional instrumentation for a woodwind quintet, that is, flute, oboe, clarinet (Bb), Horn in F,, and bassoon. In the Third Movement (Playfully) the piccolo is to be used as an alternate instrument with the flute.
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The Organ Concertos of George Frideric Handel

The Organ Concertos of George Frideric Handel

Date: August 1955
Creator: Martin, William Henderson
Description: This thesis analyzes the organ concertos of George Frideric Handel
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The Organ Works of Jehan Alain

The Organ Works of Jehan Alain

Date: May 1952
Creator: Barron, Richard Errol
Description: This study looks at Jehan Alain's music itself. However, it does not propose to analyze every bar of every composition but rather to point out certain melodic, rhythmic, and harmonic traits that are peculiar to this composer's style. It will also set forth facts concerning Alain's registrations and other items of special interest to organists. Upon such investigation an attempt will be made to reach a critical evaluation of Alain as a composer for the organ.
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