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"Among the Voices Voiceless": Setting the Words of Samuel Beckett
Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.
Interactive Networks in "Forgotten Lyres": Critical Analysis and Original Composition
Forgotten Lyres is a musical response to Percy Bysshe Shelley's poem Mutability, which depicts the fragility and unpredictable nature of human life. Four independent chamber ensembles make up the performing forces of Forgotten Lyres; the musicians evoke the topics of Shelley's text as they interact and coordinate with one another according to a variety of paradigms and without the use of a conductor. This essay focuses on the approaches to coordination within and between ensembles, and the ways in which the musicians' interactions can evoke and convey Shelley's texts. The essay also examines works by Mel Powell, Toru Takemitsu, Witold Lutoslawski, and Pierre Boulez as examples and precursors for the coordination strategies employed in Forgotten Lyres.
Negotiating Decades of Change in America: The Houston Chinese Traditional Music Group
For over two hundred years, Chinese immigrants have brought ancient customs and musical traditions to their new homes in America. As in many immigrant communities, a new heritage that embodies and exhibits both the quintessential features of American culture and genuine Chinese heritage have come together to form new expressive cultures that are uniquely "Chinese American." As the youngest of the major American Chinese immigrant centers, the city of Houston, Texas provides an exemplary example of a distinct cultural cohesion that, in part, resulted from significant cultural and political upheavals in the latter half of the twentieth century. During this era of political unrest, many Chinese people's attitudes towards their traditional culture changed drastically. The Houston Chinese Traditional Music Group (HCTMG) is a Chinese orchestra comprised of amateur and professional musicians ranging in age from 13 to over 60 years old. Performing regularly for the Chinese immigrant population in Houston, HCTMG's take on traditional Chinese music deviates greatly from that of older, more established immigrant communities on the East and West Coasts and in some parts of mainland China. Via participant observation, interviews, and analysis of source materials, this paper examines how changing political and economic climates in China during the 1960s to the 1990s—when the majority of HCTMG musicians lived in China –are reflected in the musical decisions of HCTMG and the greater Houston Chinese immigrant community at large.
Evocative Foreshadowing: The Motivic Construction in "The Legend of Two Rings"
In this thesis, I demonstrate how I use leitmotif in a programmatic context in my original orchestral suite, The Legend of Two Rings.
Looking through a Different Lens, Beyond Censorship: The American Reception of "Lady Macbeth of the Mtsensk District"
The censorship of Lady Macbeth of the Mtsensk District is a familiar story to musicologists, but reception of the opera is not frequently mentioned. Examining the reception of a work can bring a work's relative importance into focus. In this thesis, German literary and reception theorist Hans Robert Jauss's model of the horizon of expectations is applied to reviews of American productions of Lady Macbeth. Curiosity about communism following the Great Depression in 1930s, America and American music critics' knowledge that Soviet composers worked for the Soviet regime led to the belief that Lady Macbeth was officially approved export from the Soviet Union. When the article condemning the opera as a Western formalism appeared in the Soviet magazine, Pravda, Americans needed to adjust their understanding of Lady Macbeth as a socialist expression. Following the work's revival in San Francisco in 1981, the influence of Solomon Volkov's Testimony is prevalent in many reviews. Many reviewers use Volkov's narrative of Shostakovich as covert dissident of the Soviet Union to assert that the censorship of the opera was about the content of the plot and not the music. Following the Soviet rejection of the work, American critics tried to claim Shostakovich for the West based on the values of individual freedom and feminism set forth in Lady Macbeth.
"Monolith: A Piece for Midi Piano, Mixed Sextet, and Fixed Electronics"
Reference to a regular pulse is one of the most common ways of measuring time in music. As the basis for tempo, meter, subdivisions, and even formal symmetry, pulse, or the sonic articulation of regular units of time, is found throughout all levels of music. In this paper, I describe how I used a structure of twelve simultaneous pulses to compose "Monolith," a recent piece for MIDI piano, Pierrot ensemble, and fixed electronics. In the first chapter, I contextualize "Monolith" by briefly examining pulse's relationship to hierarchical structure in music and the possibilities for creativity in pulse-based hierarchical structures. In the second chapter, I analyze the use of pulse in Steve Reich's "Music for 18 Musicians," György Ligeti's "Self-portrait with Reich and Riley (with Chopin in the background), and Conlon Nancarrow's "Study No. 36 for Player Piano." In the third chapter, I describe in detail the relationship between the twelve-pulse structure and the various movements that comprise "Monolith," focusing on the relationship between compositional freedom and prescribed structure throughout the work.
Recent Approaches to Real-Time Notation
This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application called VizScore, which delivers notation and conducts through it in real-time, and a development environment for real-time notation using the Bach extensions and graphical overlays around them. These tools support a concept of cartographic composition, in which a composer maps a range of potential behaviors that are mediated by human or algorithmic systems or some combination of the two. Notational variation in performance relies on computer algorithms that can both generate novel ideas and be subject to formal plans designed by the composer. This requires a broader discussion of the underlying algorithms and control mechanisms in the context of algorithmic art in general. Terraformation, for viola and computer, uses a model of the performer's physical actions to constrain the algorithmic generation of musical material displayed in on-screen notation. The resulting action-based on-screen notation system combines common practice notation with fingerboard tablature, color gradients, and abstract graphics. This hybrid model of dynamic notation puts unconventional demands on the performer; implications of this new performance practice are addressed, including behaviors, challenges, and freedoms of real-time notation.
The Status and Administration of Student Dance Bands in Colleges and Universities in the United States
Due to the increased importance of music in everyday life, the expanding enrollment in most colleges brought on by the return of war veterans, and the ever increasing popularity of dance music, more and more schools are incorporating dance bands as part of their musical program in connection with their recreation and college promotion activities. Since this is more or less a new development, it is of interest to all school administrators to see just what is being done in regard to dance music in the schools. Therefore, it is the purpose of this study to determine the extent and usage of popular dance bands in colleges at the present time, and to present certain problems which are apt to confront the administrator of such an organization.
An Analysis of the Course of Study for Instrumental Music Courses in the High Schools of Texas
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.
A Proposed Music Theory Text Book for Instrumental Students of High Schools of 250-750 Enrollment, Who Have a Limited Amount of Public School Music
It is the author's purpose, after a thorough study of published theory books, to present a proposed textbook in music theory to meet the needs of the average high school student.
Sixteenth and Seventeenth Century Composers and Music Forms Which Influenced the Organ Works of J.S. Bach
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.
Guidance Factors in the Selection of Students for the Study of Instrumental Music in the Public Schools of Tulsa, Oklahoma
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 Survey of the Musical Background of Representative Students at North Texas State College
"The purpose of this thesis is to compare the musical background prior to college of one-hundred music majors and one-hundred non-music majors made up of students from each department." leaf 1
Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, Manuscript Basevi 2439: Critical Edition and Commentary
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.
A Union List of Musical Literature in North Texas Regional Libraries, 1946
It is the purpose of the study to make a survey of the larger libraries in this region and to compile a list of the holdings of books about music. With the impetus of the North Texas Regional Union List of Serials, 1943; Comprising the libraries of North Texas State Teachers College. Southern Methodist University, Southwestern Baptist Theological Seminary, Texas Christian University Texas State College for Women, and the Public Libraries of Dallas and Fort Worth, and its two supplements of 1943-45 and 1945-46, and following the general form of that work, the present "Union List of Musical Literature in North Texas Regional Libraries, 1946," has been compiled. The libraries represented in the North Texas Regional Union List of Serials are included here, with holdings listed as of March 1, 1946. These libraries are: North Texas State Teachers College and Texas State College for Women, Denton, Texas; Texas Christian University, Southwestern Baptist Theological Seminary and Fort worth Public Library, Fort Worth, Texas; Southern Methodist University and Dallas Public Library, Dallas, Texas.
A Critical Evaluation of Eight Series of Music Books for Grades Four, Five and Six
This study is an evaluation of individual music textbooks from eight series for grades four, five, and six, by a definite criterion basis. It seems very worthwhile to have an evaluation of such books: (a) to aid in the wise selection of music books, and (b) to become familiar with the contributions of each series.
An Evaluation of Motion Picture Films for Use in Music Education
The purpose of this thesis is to present an evaluated list of motion picture films which are related to the field of music and the teaching of music in order that both teacher and student of music may become familiar with the films which are available for use in music education and with the relative merit of each film.
A Course of Study in Music Education for the Elementary Education Major
Since the music requirement does rest with the teacher training institutions, the elementary education major is required, in most colleges and universities, to take six hours of music education. My problem is to develop an adequate course of study in music education to fit the musical needs of the elementary education major which will prepare her as well as possible in the allotted six hours to teach music in a classroom aided or unaided by supervision
Symbolism of Johann Sebastian Bach as Portrayed in the Passion According to St. Matthew
The purpose of this study is to make an investigation of the musical score of "The Passion According to St. Matthew" with attention given to the pictorial elements or symbolism in the composition. The study is confined mainly to the one composition, but attention is given to the historical background of the work, and examples of the pictorial technique of sacred music as it had been developed in the Netherlands.
Television in Education: a Survey of Current Practices and a Consideration of Its Applicability to the Field of Music
The use of television as an aid to music education is a relatively new and unexplored field. It is so new, in fact, that to undertake a study of what has been accomplished until the present may seem at first rather premature and unfruitful. It is my belief, however, that if television is to become the prominent factor in education that has been predicted, there is a definite need for a study of what has been done to date toward the development of this new medium. This will provide the background and foundation for further experiment and use. The study shall include, therefore, a brief history of television itself, general educational experiments in television, experiments in televised music education, problems involved in presenting musical television programs, and suggestions for the development of this newest of teaching aids.
A Study of the J.S. Bach Capriccio on the Departure of a Beloved Brother
The purpose of this study is to present a brief history of the work, a discussion of the ornamentation which occurs therein and suggestions for the performance of the ornaments, an analysis covering especially the characteristics of each movement in regard to form and style and inasmuch as possible to show the influence of this early work on the later compositions of J. S. Bach.
Practical Approach to Protestant Church Music
The purpose of this study is to make the Protestant church workers more efficient in their use of music in religious work by giving them a clear conception of the kind of music to be used and by suggesting detailed plans and methods by which desirable results may be secured in the use of church music. Ideal standards have their place, but here it is proposed to be matter-of-fact, practical and concrete, and to secure immediate results with the average church member and choir singer as the final criterion in every phase of the work. The purpose is not to emphasize high ideals but to instruct and inspire all those who have leadership in the service of church music, that they may be able here to provide the greatest religious helpfulness that the use of music can bring the souls to whom they minister.
“In Old Mexico:” Suite for Solo Piano
There is often difficulty in determining the most desirable medium to be used in the composition of music. After careful consideration, the writer chose the medium of piano to present the following musical composition. In the initial investigations, it appeared that the vocal idiom might provide a more suitable choice. However, piano teaching rather than work in the vocal field will probably consume a greater part of the writer's time in the future. The writing of a piano composition, then, appeared to be a justifiable decision.
A Critical Compilation of Graded Band Material at High School Level
The instrumental composition of the band is an outgrowth of utilitarian improvisation. The well-developed percussion section, and the voluminous reed and brass sections are a carry-over from the Military, where the emphasis was on functional beating of time for marching. Mobility and volume sufficient for the accompaniment of troop movements were also necessary. Until recent times, the band existed only for functional matters, never as an independent and self-justifying medium with its purpose being a musical organization. Through the growth of military, professional, and school bands, the band of today has developed into a musical organization in its own right, which can perform almost anything in the technical range of composition.
Contribution of the Westminster Choir Movement to American Choral Music
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.
A Critical Appraisal of English Madrigals Currently Available in American Publication
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.
A Critical Analysis of the Song Collection Schwanengesang by Franz Schubert
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.
Latin American Music: A Compendium of Bibliographical Aids for Teachers
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.
Prerequisites and Requirements for a Master's Degree in Music of Selected Schools of the National Association of Schools of Music
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.
A Critical Analysis of the Choral Works of Roy Harris
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.
Typical Elements of Brahms's Choral Style as Found in the German Requiem
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.
An Experimental Investigation of the Value of Music Workbooks in Junior High Music Classes
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.
A Stylistic Analysis of Béla Bartók's "Mikrokosmos"
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.
A Stylistic Analysis of the Piano Works of Debussy and Ravel
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 Earliest Operas of Giuseppe Verdi with Emphasis Upon Ernani
This thesis provides a brief history of opera as well as analysis of the operas of Giuseppe Verdi.
Simple and Compound Meter: An Historical Investigation of Their Differences and an Experimental Investigation of Their Current Significance
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 Origin and Development of the Solo Cantata
This thesis is designed to acquaint vocalists with the history of the solo cantata and to give a bibliography of available cantatas. Very few singers know that solo cantatas exist and little material is available on the subject in comparison to the material available on other musical forms.This work endeavors to aid the vocalist by compiling the solo cantata material that is available in the North Texas State College Library.
A Practical Application of the International Phonetic Alphabet to the Teaching of Singing
The teaching of singing is fraught with psychological problems not met with in the other branches of applied music. The inordinate physical and mental concepts with which the singing teacher must deal result in the necessity that the singing teacher, to be highly efficient, must be a practicing psychologist. In the writer's experience, first as student and then as teacher and observer of the work of other teachers, it has become obvious that in the minds of the majority of pupils, diction problems are so paramount that they supercede the purely vocal aspects of singing. As the language sounds are rightly but a point of departure for the building of a beautiful and expressive singing tone, it seems absolutely essential that the way must be pointed whereby language in singing can find its proper place in the pupil's development, where it can assume the position of a help rather than a hindrance in vocal achievement.
A Critical Analysis and Comparison of Six Vocal Class Methods and an Outline of Material for Group Voice Teaching on the Secondary Level
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.
A Report and Evaluation of a Graduate Internship in Music Education
Advanced courses, more or less related, resulting in a research problem and a thesis are the procedures for graduate work as prescribed and accepted in most fields of study. Is it worth while to try other and possibly less accepted procedures, and then attempt to evaluate the results? For example, would it be profitable for a prospective teacher to spend the major part of his graduate work in actual teaching, to have an opportunity to do intensive work over a long period of time in collaboration with an experienced teacher or supervisor, and to choose his graduate courses so as to relate them to the teaching being done? Is there justification in giving a graduate student the opportunity to try out in a laboratory the ideas gained from academic and professional training, to have further experiences in working with boys and girls, and to develop skills in working with students and other teachers? Would the personal and professional growth of the graduate student, from his related courses, his preparation and planning for the teaching job ahead, his experiences with his students, his adaptation of previous plans to meet the needs of the actual teaching situation, the assembling of materials as to suitability and interest and the arranging of these materials to meet the needs of individuals as well as the groups he taught, be effective ways to prepare and develop a skilled teacher?
Organization and Administration of a Vocal Competition Festival
The conviction that the music competition festivals should be better organized and better administered has led to the study of this topic by many serious-minded music leaders.The present study will deal with this all important phase of the contest or festival--the organization and administration of a vocal competition festival. The writer has no intention of setting down a set of rules and regulations to be followed by all directors of contests in all situations. He rather would suggest the use of a set of findings which should help contest directors to organize and administer an event which should be of great educational value both to the directors and the students.
A Digest of Published Opinions About the Teaching of Music Reading in the Elementary School
Throughout the history of public school music in the United States, one of the problems which has continually been in the foreground is that of music reading, It is primarily a problem for the elementary school as that is the place where reading must begin in order for the children's interest and ability to be balanced. The elementary school is the focal point for the teaching of all skills and tools in learning. Certainly, reading is one of the major tools in the process of musical learning. In many cases the ability of the students to read music has been the basic criterion of the entire music program. Davison states that the aim and end of a large percentage of instruction has for so long been to train students to sing music at sight that it has grown to be a fetish. While such a standard as that is an over-emphasis of reading, most music educators will agree that the place of music reading in the elementary school is of utmost importance. The differences of opinions lie not so much in the goals to be reached as in the methods of reaching them. The purpose of this study is not to weigh these various methods as to their usefulness. It is rather to survey as many publications as possible concerning the teaching of music reading in the elementary school and to make a digest of the opinions found in them. In agreement with Mursell's statement that anything can be taught effectively in a considerable number of ways,2 it is the writer's belief that there is no one best method for teaching music reading. The desired outcome of this study is to present an adequate digest of the material published about various methods in order that these lines of thought may ...
An Analysis of Twenty-Five Vocal Methods of the Twentieth Century
The following study is designed to define the existing differences of opinion regarding the solution of vocal problems. Some twenty-five vocal methods have been examined with reference to the principles set forth on what are generally considered the most important vocal problems, viz., Breathing, Registers, Resonance, Tone and Interpretation.
Teaching Syllabus for the Junior High School General Music Class
To further the effectiveness of music in the schools, to create a more meaningful and enjoyable musical experience in the junior high school -- these are the ideals that prompted the writing of this thesis. The need for this work is set forth in three subordinate needs. First, there is need for uniformity in aspects of music to be taught at the junior high school level. Second is the need for emphasis on certain aspects of music which carry over into future life. Last to consider is the need for organization of material to insure the proper background or further music study.
A Course in Keyboard Harmony Based on the Recitative Style and the Figured Bass
The problem of this study is to present a course in keyboard harmony based on the recitative style and figured bass of great works of music which can be used in the teaching of beginning and advanced college music theory.
A Historical Survey of Psalm Settings from the Time of the Reformation Through Stravinsky's "Symphonie des Psaumes"
Though perhaps we shall never know the music to which these religious lyrics were written, the poems have never ceased to be the source of inspiration for the spirits of men since they were first sung. Each psalm seems to have an underlying purpose with a personal message for each reader. In the Book one can find a reply to every sort of question, for the Psalms are filled with expressions of emotion brought about by all human experience. The collection of these 150 songs or psalms makes up what is known as the Hebrew hymn-book or the Book of Psalms.
A Survey and Critical Analysis of the Preparation of Instrumental Music Teachers with the Recommendations for Altering the Curriculum and Content of the Courses
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.
The Early English Ballad and Its Influence on Classical English Song
The English classical song is peculiarly native to Britain. It roots in the mystic elements of ballads and nature. It was the influence of the early English ballad, first spoken, then sung, then joined in the happy culmination of voice and melody to make a song that is immortal and unique in music.
A Comparison of Early and Modern Musical Settings of Eleven Shakespearian Lyrics
The object of this paper is to effect a comparison between the early Shakespearean songs and their more recent settings and to discuss in detail differences in style and technique, with emphasis upon textual and melodic characteristics.
An Analysis of American Choral Folk Music Currently Available in Domestic Publication
The traditional music of America in collection is musically representative of pioneer settlements of the country from Mexico to Canada and from the Pacific to the Atlantic Ocean. To insure that each section of this vast country was musically represented naturally would require a systematic and thorough coverage by those persons who have made this work their primary concern for a good many years. A look at the map of these United States gives the observer an acute awareness of the stupendous undertaking for those who were first to begin their trek into the regions of the land where folk song abounds, into communities into which fast-moving civilization has been slow to penetrate. Early in their history these communities were isolated because of the hardships and dangers of travel. With the spread of civilization, however, the country was tamed and became more densely populated so that the growth of folk song and traditions within the social life of these isolated communities was a natural sequence.