This subject has been chosen by the writer for the purpose of discussing these problems of performance, arising with the composition, the St. Matthew Passion, by J. S. Bach. Since Bach was a German and wrote in that language, the edition used is called the American edition. The performances in America are, with few exceptions, based upon translations which must be accurately edited so as not to obscure Bach's intentions.
The purpose of this survey was to analyze the course of study in instrumental music prescribed by the Texas State Department for the high schools of the state and to determine whether or not a coordinated and well-rounded program of education in instrumental music is being offered in the schools of Texas. It was hoped, furthermore, that, by comparing this program with others elsewhere, this analysis might show whether or not Texas is following any general trend in instrumental music education.
It has been the purpose of this study to examine representative beginning piano methods, as found available in published form, and to compare and evaluate them according to musical, psychological, physical, and educational standards.
The problem of this study is to set forth some principles of teaching beginning music theory in Texas colleges; to survey and evaluate critically a sampling of standard theory textbooks basing the evaluation on the principles outlined; and to recommend a methodology for teaching beginning college theory.
The problems arising in the conception, composing and perfecting of a composition may be divided into two types (1) Those connected with the composition itself; and (2) Those pertaining to the interpretation of the moods and thematic variations of the composition by the orchestra.
The purpose of this survey is to evaluate the contribution that the Westminster Choir movement has made to choral music in the United States today. It is hoped after the contributions have been stated by the investigator that the important position Westminster Choir College is occupying will be better understood.
The subsequent study is an outgrowth of observations made during a year spent in secondary voice teaching on the college level. For the purpose of working toward a more effective and efficient secondary voice program, the following material is presented. The first part of the study is a critical analysis and comparison of six methods of voice teaching designed for, or adaptable to, class voice teaching. The second part of the study is a suggested plan for teaching secondary voice in classes, including an outline of material which could be used.
The significance of a complete analysis of Schubert's orchestral larger works is self-evident to musicians and scholars. In the literature today one may find adequate analysis of many of the larger choral and orchestral works of the various masters, but rarely is it possible for one to secure a scholarly and intelligent analysis and interpretation of the smaller forms, especially the vocal works. Perhaps the reason for this state is the lack of interest in many of the aspects and phases of song literature as vocalists and teachers have probably been more concerned with the artistic rendition of the songs rather than an academic approach. But with the turn of the present decade, a decided interest has become apparent in musicological scholarship and the present study is but one evidence of the trend toward critical and academic analysis of smaller forms heretofore omitted in music literature.
Roy Harris is an American composer who has contributed and is still contributing to the field of modern music. This study is concerned with his choral music and the substantiation of the fact that his contributions in this field are outstanding and are expressive of a living Americanism. It is also the purpose of the study to examine and analyze the choral works of this notable Oklahoma composer and teacher in an effort to determine what Harris has to say musically and his method of expressing himself.
The following analysis of Franz Schubert's (1797-1828) song cycle Schwanengesang (1828) was undertaken in the hope that such a treatment of the final contributions of this important master of song literature would prove of interest to students of this field.The materials examined comprise the fourteen songs collectively known as Schwanengesang (Dying Strains), taken from the G. Schirmer's Edition of Schubert's Songs with English translations by Theodore Baker. From a synopsis of the art song concluded with critical remarks on Schubert's style and contributions to the art of writing songs, the author has proceeded to a few general statements on the song cycle itself. This is followed by an analysis of each song from the point of view of the text, the general harmonic scheme, the vocal line, and the function and type of accompaniment.
Leo Sowerby is an American composer who has, in the writer's opinion, made a fine contribution to the field of modern music. This fact will be substantiated in the following study, the purpose of which will be to examine and to analyze to some extent the works of this eminent Chicago composer, teacher, organist, and choir-master. This study will-be of particular interest to students of the organ, for it concerns itself chiefly with the organ works of Sowerby, and to students of composition and modern harmonic trends, for the study high lights the composer's characteristic procedures in these two directions.
The problem which is reported in these pages represents an attempt to bring into one work a critical and analytical survey of the material currently available in the field of music therapy. There is such a wealth of new material, especially since the termination of the war, that the necessity for a new and up-to-date compilation of material is evident. The objective of this thesis is to collect general information as to the theory and practices of music therapy, rather than to secure for purposes of statistical analysis great numbers of detailed items in regard to a technique that has not yet been carried to a point where it can be standardized. However, this compilation does include some actual experiments which have been conducted in hospitals with the object of determining the effect on physical and mental patients of certain musical compositions and certain instruments.
The findings of this study should prove to be a boon to all those who enjoy performing madrigals, for through the cooperation of the leading music publishing houses in this country, a complete authoritative list of fine madrigals has been gathered. Many of these will be new both to the performers and the public.
Th study of two-piano music was prompted by an active interest in that field and a recognized need for a knowledge of its literature on the part of the writer, who, for the past five years, has devoted most of her time to two-piano work. After careful investigation it becomes apparent that no other study similar to this has yet been made, and it is hoped that it may be helpful to others with interests in common. Much remains to be done and further study would prove profitable. More information might be gained from interviews with prominent duo-pianists, as well as from examination of foreign catalogues and of recital programs given in Carnegie Hall, Town Hall, and similar music centers.
The purpose of this study is to set forth certain principals or rules, Which, if adhered to, will be a beginning in the training of the young musician who would make the playing of dance music his profession. Be it understood that this is only an embryonic work and as such it should not be considered a final and irrevocable treatise on this topic. Actual work and development in this field will probably see many of the practices recommended herein relegated to a less important stage while items not mentioned, or perhaps mentioned and treated without undue stress, may come to the foreground of importance. It is hoped that this work will help in paving the way for a sincere and unprejudiced program of training for the young dance musician. However, before venturing into any discussion concerning dance music, it is necessary to have a clear understanding as to what fields of music are included in the term dance music.
An important and unending responsibility of the music teacher is the competent evaluation of available basic text-series. It seems obvious that before any text-series, or any single book, is adopted for use in the public school music classes, a process of assessing the available series or single volumes should precede the final decision and purchase. Since a thorough search in music education literature has failed to reveal any set of formal rules of analysis, the writer has thought it possible to use those general principles recommended by two authoritative sources, The Psychology of School Music Teaching by Mursell and Glenn, and Music in the Grade Schools by Gehrkens in collaboration with personal ideas obtained from professional study of music teaching and experience as a music teacher.
There are no figures available, but if a survey were made, possibly more people would be found engaged in the study and teaching of piano than any other musical instrument. It is much to be desired for both teachers and students to have an intimate acquaintance with the principles underlying the structure of modern piano technique. The situation as it generally exists contrasts sharply with the ideal situation. The ignorance of this important phase of piano study causes an enormous annual waste of time and money on the part of students. With an adequate technical knowledge, teachers, instead of allowing their pupils to practice blindly and mechanically, would be able to explain the reason for each movement they ask them to perform. Many failures in both classes occur because of the lack of understanding of what piano playing requires.
This study is an experimental investigation of two groups of junior high school students in an effort to evaluate the advantages of workbooks in their music classes. The comparison was made with two classes composed of thirty-two students each from the two junior high schools in the Beaumont Independent School District. One class used the workbooks in conjunction with the regular singing and appreciation work, but the other class did not use formal workbooks. They discussed the theory and notation of the music in relation to the work they were doing.
Instrumental music classes in the public schools of Tulsa, Oklahoma, have experienced a phenomenal growth during the past twenty years. Prior to this period, opportunity for instrumental music expression was limited to the high school band and orchestra,which rehearsed outside of school hours. No instruction other than this was provided and the student who wished to play in the school band or orchestra studied first from private instructors. In this study the investigator has examined a great many devices for measuring capacities and aptitudes which are known to the profession. He has attempted to evaluate these procedures in the light of sound educational philosophy. He has set forth a plan which he believes will materially improve the instrumental program through discovering unsuspected musical capacity and through sound guidance in the selection of suitable instruments.
A study of the carol form immediately leads into the field of the hymn; each is a form of praise or worship. The hymn is as instinctive as life itself, and as universal as the air man breathes. Hymns to the sun god, to the many Babylonian deities, to the Great Spirit of the American Indian - these are found, along with others in all ancient literature.
The first of any formal education in music that can be found from the records or from the memories of those who were present at the time was the singing school. One ranch in the Blair community has files in which records were found of all import ant events of the school and community life. These files relate the coming of the singing school regularly every summer. Shaped notes were taught front hymn books. At the end of the course, a certificate was given to those who graduated. The teacher of the school then moved on to the next engagement.
The presence of musically deficient children in the music classes of elementary public schools is a well-known and a widespread situation. The problem of this study was to determine which of two methods of giving special attention to such pupils would be the more successful in assisting them to improve musically.
An inadequate music education program should give rise to some thought and action on the part of any serious-minded progressive teacher in that field, It is not enough to suspect or to discover faults, but a way to improve the situation should be attempted. Best practices should be evaluated and objectives formulated for future procedure through cooperative planning.
In this bibliography an attempt has been made to furnish references to teachers that may assist them to develop in the students: (1) an attitude of friendly interest which will help to link the Americas in mutual respect and to promote a better understanding of problems to be met; (2) to gain an understanding and appreciation of the background of South American culture of today; (3) to become familiar with the folk music as well as the concert, both vocal and instrumental.
This study is to determine some means of directing and supervising practice periods of band students; and to examine the available class study materials with a view of determining their use and suitability as an aid to supervised practice.
The purpose of this study is to present a plan whereby teachers may effect a more worthwhile meaning of musical form by teaching it in connection with an activity that shall be called 'movement.' The problem of the study is to bring together the knowledge that come from the writer's experience as a teacher, and the data from the limited literature on the subject and organize them in such a way as to formulate this plan.
A. What training are senior colleges giving students in Texas to prepare them for teaching music in the grades? B. What training are junior colleges giving students in Texas to prepare them for teaching music in the grades? C. What observations can be made on training now given? What recommendations can be made for improvement? D. 'What conclusions have supervisors of music in Texas reached concerning the ability of teachers trained in teachers' colleges? E. What is the reaction of teachers who are teaching music and who have had the six hours of music required by the state department?
Five French organ composers, representative of the period from Widor to the present time, are identified in this study, and a comparative analysis of the works of each is made. The introduction includes the source of the data, the scope of the problem, the purpose of the study, the method of procedure, a brief historical background of the new French school of music, general characteristics of modern French music, and specific idioms of contemporary French organ composers, as exemplified in the works of the organists selected: Charles Marie Widor, Louis Vierne, Charles Tournemire, Marcel Dupre, and Joseph Bonnet. The compositions and musical contributions of Widor, Vierne, Tournemire, Dupre, and Bonnet, respectively, are discussed in Chapter II through Chapter VI. Chapter VII states a summary of the study and the conclusions drawn,
These eight were selected as typical lyrics to meet the diverse interests of students in the intermediate grades and to aid the teachers of those students in transmitting desired precepts and ideals. The poems are short and varied in verse form. The subject matter ranges from pirates and fairies to one's own conscience and Christmas; the moods, from whimsicality and nonsense to patriotism and reverence. The marked poetic devices influencing the choice of these particular lyrics are their rhythmical and alliterative quality; their rich, lively, yet correct language; their vivid imagery; their emotional appeal; and in a few cases their narrative quality.
The purpose of this work is to set forth the physical characteristics of the generator and resonator of the violin and to determine in what manner and degree they influence the technic of artistically manipulating the instrument.
This study was made, first, to compile the prerequisites and requirements for a master's degree in music from sixty-two of the colleges and universities of the National Association of Schools of Music; second, to compare the standards found from the observation of these data with those requirements at North Texas State Teachers College; third, to secure such information as would be useful in improving the graduate curriculum in the Department of Music at North Texas State Teachers College. It is the further aim of this investigation to aid any student interested in advanced study in any field of music to determine which college or university offers the most appropriate curriculum for his present need. This is the first study, as far as the investigator knows, ever made of this particular problem.
It is the belief of many tuners that the best education for the young tuner is to do apprentice work in a piano factory where he must learn all the construction of the piano from the frame work of the case to the final setting of the tuning pins. It appears that most tuners are men now in the late forties to late fifties and were either factory-trained or apprentice-trained by an experienced tuner. The situation has changed and the apprenticeship method of training professional men such as lawyers and physicians has long since been discarded as a method of education. It is now the generally accepted plan to go to a college or university where such specialized training is given or offered under the direction and tutelage of specialists, and where students learn other essential subjects, the knowledge of which is necessary to the success of any educated man or woman.
After teaching music in several high schools for a number of years, and observing the lack of continuity in assembly programs, the writer became interested in developing a program of music which would more adequately function in the high school assembly.
It was this writer's problem to determine which of these two contentions is correct; i.e., to find out whether or not it is possible for a person to perceive a difference in 2/4 and 4/4 meters by listening to the accents. It was felt that a large group of college music students and faculty members should provide satisfactory subjects for this experiment. If, as a result of this experiment, it was found that these trained musicians could actually discriminate between the simple meter and its compound with any marked degree of consistency, it would then be admitted that the difference in the two meters is important. If, however, it was found that even musicians, who knew the technical distinctions between 2/4 and 4/4, could not really hear the difference in the two when the music was played by competent performers, it would then be contended that no important difference exists.
The music of Bach becomes much more understandable through an examination of the composers who work before him. An examination of the music of the pre-Bach composers proves it to be amazingly fresh and vital, and it was in this field that Back sought inspiration.
The problem of absolute or positive pitch has been studied by a considerable number of researchers. This cannot be said, however, for the problem of the element of tempo, or the normal speed of the true beat in music. The reason for this probably lies in the fact that absolute pitch can be measured quite accurately, for it is dependent upon the anatomy and physiology of the ear. On the other hand, a means whereby the innate pulse in music can be externalized so as to be capable of exact expression and measure in number, presents a challenge to those interested in further investigation of this phenomenon.
Bela Bartok's art is a perfect microcosm of the art of the twentieth century. It is interwoven with the musical conceptions and techniques of the great Western European masters, without in any way obscuring the individuality, the national consciousness, and the personal style and originality of the composer's own musical language -- a language rooted in the glorious tradition of his people. In the six volumes of the Mikrokosmos, or "little world," Bartok has presented a series of progressively difficult pieces designed -- if not intentionally, at least effectively -- to introduce to the piano student a technical approach to piano playing in the modern idiom. Admittedly, the etude does not cover every pianistic technical problem. It clearly shows that Bartok fully appreciates the worth of the great wealth of piano literature, and does not prescribe his method as a "cure-all" for the technical problems of piano playing.
The purpose of the following study is to make an analysis of the structural elements and stylistic characteristics in the Second Concerto for Violin by the modern Russian composer, Serge Prokofieff. These include the composer's treatment of form, melody, rhythm, harmony, and medium of expression.
This study attempt to analyze the style Albéniz, especially as expressed in Iberia Suite. As with all composers, his particular style is created out of his own combining and recombining the principal elements of music, arranging them in a certain way to suit his needs and taste. The musical elements are: rhythm, melody, and harmony. The study is organized in ten chapters.
This study has three purposes: first, to point out the stylistic elements of music that are present in the piano works of Debussy and Ravel; second, to determine how the composers have used these elements; and third, to discover the effects that have been achieved through individual uses of the elements.
The study of the twenty-four preludes of Shostakovitch [sic] has a three-fold significance. First, it deals with a body of music literature representing important aspects of twentieth-century music. Secondly, it is an original study since no detailed analysis of these preludes has been made. Very little has been written about this collection of short pieces, and no material is available along the line of a technical, scientific analysis. Thirdly, our subject deals with a collection of compositions written by one of the foremost living composers of today, not only of Russia, but of the entire musical world -- a man who is in the public eye at present, and in whose works the Soviet ideology is reflected.
The purpose of the following study is to make an analysis of the structural elements and stylistic characteristics of the Sonata in A Minor for violin and piano by David Stanley Smith. This analysis will include the composer's treatment of form, harmony, melody and tonality, rhythm, intellectual and emotional content, and mediums of expression.
It is the purpose of this thesis to determine the comparative differences and similarities of the accompanied violin sonatas of the two contemporary eighteenth-century composers, Johann Sebastian Bach and George Frederick Handel.
The problem and purpose of this study is to attempt to establish a reasonably accurate basis for planning a program of educating prospective public school instrumental music teachers that meets the demands of present-day educational practices in the public schools. This present study may provide a simplification of the methods of teaching instrumental classes at the college level through a criticism of the preparation of instrumental teachers in an effort to discover specific contributing elements that assist the instrumental teacher to teach economically and effectively by making an investigation into the factors involved in teaching techniques that depend upon the acquisition of instrumental performance skills and upon practical principles of procedure in organizing and teaching instrumental music in the public schools.
This teaching guide for adult piano study has been designed to be used with many of the methods which already exist, and to serve as a guide for the teacher who failed to keep abreast with the progress of modern piano study.
It shall be the purpose of the writer to prepare program material appropriate for school use which will interest, instruct and contribute toward mutual understanding of both the Latin-American and Anglo-American child. This program material has been incorporated into ten musical plays, the themes, dances and songs of which have been gleaned from a great amount of reading material, stories related by Mexican people, legends told by pioneer Anglo residents of the Lower Rio Grande Valley, and ideas that have been presented by students. It is the purpose of the writer to organize this material into plays which may be of service to any teacher who intends to present a program, in the intermediate grades, dealing with some phase of Latin and Anglo-American relations.
An unusual opportunity to hear and perform this work has been afforded at North Texas State Teachers College by the presentation of the German Requiem in the summer of 1941. Furthermore, a Brahms Festival, including another presentation of the Requiem along with outstanding compositions of Brahms in other media, is to be given during commencement week of June, 1942. Not only does this type of emphasis promote interest among students and faculty, but it also serves as a stimulus to detailed study of the German Requiem, thus intensifying the immediate importance and personal significance of the subject.
This dialog allows you to filter your current search.
Each of the Counties listed note their name and the number of records that will be limited down to if you choose that option.
The list can be sorted by name or the count.
This dialog allows you to filter your current search.
Each of the Years listed note their name and the number of records that will be limited down to if you choose that option.
The list can be sorted by name or the count.