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Beethoven's Choral Fugal Technique

Description: It is the purpose of this thesis to offer some pertinent information in the form of a documentary symposium and analytical study in which historical and technical matters relative to Beethoven's fugal techniques in his choral compositions will be presented. References to specific musical examples in this composer's works will be illustrated by diagrammatic and verbal analyses, and correlated with the pagination of the scores of his complete works as published by Breitkopf and Hartel.
Date: January 1958
Creator: Doering, Harold Owen

Blend in Choral Sound

Description: There is a need for a systematic collection of ideas concerning blend in choral sound. Many authorities discuss blend, but their concepts of the term are very divergent. These divergent concepts lead to emphasis of various factors which are important to the development or achievement of blend in choral sound. This emphasis in turn leads to various methods of achieving blend. Authorities ascribe several definitions to the term blend, as it relates to choral tone. These definitions should be studied collectively in order that a clearer concept of the term blend in choral sound may be developed. In studying blend in choral sound, several factors are generally deemed important. No study has been made which leads to a consensus concerning the relative importance of these factors. Scientific studies have been made of these factors, but the results have not been compiled and presented in one source. Authorities employ various methods in working with the factors which affect blend in choral sound. No study has been made which includes these methods. It is hoped that this study will contribute to the collecting and organizing of ideas regarding blend, including its various definitions and its important factors. It is also hoped that this study will contribute to the understanding of these factors as they relate to the achievement of blend in choral sound. It is intended that this study will present this information in such a manner as to be of assistance to the musician in the field of choral music.
Date: January 1967
Creator: Wyatt, Larry Douglas, 1943-

The Brass Instruments as Used by Brahms in His Four Symphonies

Description: Instead of putting the emphasis on color in his orchestration, Brahms felt that the music was more important; not the orchestration. However, it would be a mistake to feel that he was deaf to orchestral color. When discussing color in regard to Brahms' orchestration it is necessary to realize that his use of color is much different than that of his contemporaries. This thesis discusses the four symphonies of Brahms and his usage of brass instruments within these symphonies, specifically the french horn, trumpet, trombone and tuba. It is apparent that he used considerable care in writing for the brasses as well as the other instruments and had complete command of the use of their individual colors.
Date: August 1964
Creator: Ritter, David G.

The British Museum Manuscript Additional 35087: A Transcription of the French, Italian, and Latin Compositions with Concordance and Commentary

Description: The London British Museum Manuscript Additional 35087, hereafter referred to as London Add. 35087, is an important parchment manuscript in large octavo choirbook arrangement from the beginning of the sixteenth century. Its measurements are 19.4 x 29.3 centimeters. The manuscript contains ninety-five folios and one stub where a leaf has been torn out (f. 4).1 The last composition in the manuscript is incomplete, which indicates that one leaf is lacking at the end (f. 96). Two sets of foliation are shown: the original Roman and a more recent Arabic. Both are placed in the upper right hand corner of folio recto. The sets agree in folios 4-93. Folios 1 and 2 show no Roman figures now; folio 3 has "ii," and therefore the missing leaf probably had "iii." The Arabic numbering does not account for this missing leaf. This folio might have been assigned "4," but this number is given on the next complete leaf to coincide with the Roman "iiii." At the end, by mistake, folio 94 has "xciii" and folio 95 has "xciiii."
Date: August 1967
Creator: McMurtry, William M.

A Capella Eletronnica

Description: The intent of A capella Eletronnica is to explore the possibility of the human voice as the most versatile of musical instruments. The voice, capable of melodic, harmonic, percussive and rhythmic effects, is also employed for spoken text and conversational elements as musical sources. My aim was to enlarge this array of vocal techniques with the use of electronic processing and amplification.
Date: August 1995
Creator: Bonneau, Paul G. (Paul Gregory)

The Castrato Sacrifice: Was it Justified?

Description: One of the greatest mysteries in the history of music is the castrato singers of the Baroque era. Castration has existed for many thousands of years, but for the first time in history, it was used for artistic purposes. Who were these men who seemingly gave up their masculinity for the sake of music? By examining the time period and circumstances in which these musicians lived, an answer may be found. Exploring the economic, social, and political structure of the 17th and 18th centuries may reveal the mindset behind such a strange yet accepted practice. The in-depth study of their lives and careers will help lift the veil of mystery that surrounds them. Was their physical sacrifice a blessing or a curse? Was it worth it?
Date: August 2006
Creator: Sowle, Jennifer

The Chaconne and Passacaglia in Twentieth Century Organ Music

Description: In order to trace the origin of the chaconne and passacaglia, the much larger classification of basso ostinato, of which the chaconne and passacaglia are two later examples, must be considered. According to one authority, Lili Propper, the earliest beginnings of the basso ostinato can be traced back to the Middle Ages through the use of organ points exemplified in organum purum. A later and more developed use of the basso ostinato can be discovered in the recurring basses of the Montpellier Codex and the masses of the fifteenth century. A freer manifestation of the idea can be found in the reiterated bass motive of the familiar canon, Sumer is icumen in.
Date: January 1966
Creator: Tiller, Barney

The Characterstücke of Johannes Brahms

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.
Date: August 1955
Creator: Guerry, Jack, 1931-

Charles Ives and a Stylistic Analysis of his Three Piano Sonatas

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.
Date: 1955
Creator: Harer, Carolyn Bertha

Chopin's Mazurka: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, F. Busoni, D. Scarlatti, W.A. Mozart, L.V. Beethoven, F. Schubert, F. Chopin, M. Ravel and K. Szymanowski

Description: This dissertation consists of four programs: one lecture- recital, two recitals for piano solo, and one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the performer to project music of various types and composed in different periods.
Date: August 1969
Creator: Drath, Jan

Choral Problems in Handel's Messiah

Description: The purpose of this study was to investigate, through stylistic analysis, the choral problems in twelve selected choruses from George Frederick Handel's oratorio, Messiah. The twelve choruses were selected for analysis in this study after consultation with several authorities in the field of choral music and on the basis that they are representative of problems encountered in the remaining choruses. Each of the twelve choruses was analyzed individually. Chapter I of this study presents the purpose of the study, the sub-problems involved, definitions of terms, delimitations, the basic hypothesis of the study, the basic assumptions of the study, methodology and the plan of the report. Chapter II of this study contains a brief biographical sketch of Handel, a discussion of the circumstances surrounding the composition of Messiah, and a survey of the Handelian oratorio Chorus. Chapter III presents the results of the analysis relevant to a discussion of each of the twelve choruses followed by a sectional presentation of the choral problems. In Chapter IV, a summary, some conclusions and recommendations are offered. Appendices A and B present reviews of selected recordings and vocal-piano editions of Messiah respectively.
Date: May 1968
Creator: Williams, John J. (John Joseph)

Choral Problems in the Unaccompanied Music of Francis Poulenc

Description: The purpose of this study, ve to analyze the stylistic characteristics in the unaccompanied music of one twentieth century composer, Francis Poulenc, in order to discover the choral problems which would confront choruses and conductors as they performed his music. It is hoped that this study will not only enable choral conductors to better understand, interpret, and appreciate the music of Poulenc, but also will serve as a guide toward the investigation of other twentieth century composers and their works.
Date: January 1966
Creator: Barnard, Jack Richard, 1932

Circumfusion: a Composition for Real-Time Computer Music Spatialization System

Description: Two of the leading methodologies for spatializing audio over multiple channels include non-real-time multi-track tape and variations of real-time systems that often involve complex configurations of hardware. Of the latter, composers relying on MIDI as a control source have used pairs of sound modules, effects units and automation capable mixers to achieve spatialization over four loudspeakers. These systems typically employ intensity panning, Doppler shifts and reverberation. The present research details the development of a compact spatialization system using a MAX patch controlling a Kurzweil K2500 sampler. This system supports real-time diffusion of up to six simultaneous sound files over eight loudspeakers while incorporating intensity panning, Doppler shifts, delays and filtering. The MAX patch allows composers to choose from several automatic sound spatialization trajectories or to use the mouse to draw and store their own trajectories for later playback. The piece, Circumfusion, is an eighteen-minute composition of electroacoustic music utilizing this spatialization system.
Date: August 1998
Creator: Morgan, Christopher R. (Christopher Robert)

The Clarinet in Chamber Music from Mozart through Brahms

Description: It is the purpose of this thesis to present a study of the development of writing for the clarinet in chamber music during the period from Mozart (1756-1791) through Brahms (1833-1897). The first part is a brief history of the clarinet showing the stages of development of the instrument from its beginning to its present form and also surveys the field of chamber music in general, with special attention to the chamber music for the clarinet, and to the performers for whom many of these works were written.
Date: August 1950
Creator: Farris, John Alexander

Clavecin Pieces of Louis Couperin

Description: Louis Couperin (c. 1626-1661) was an outstanding member of the seventeenth-century clavecin school and an important link in the Couperin dynasty. His works for the harpsichord, or clavecin, have been neglected. This is due primarily to the fact that there are relatively few of his works, in comparison with those of his nephew, Franois Couperin Le Grand, who greatly overshadows him. Louis wrote no treatise on how his works are to be played, and there are few accounts of him, or his works, that are written in English. There is no biography of Louis Couperin. A more detailed study should be made of his music and its place in the French clavecin literature. Before examiinig the music itself, however, it is necessary to trace the origins and development of the clavecin school and its style.
Date: January 1968
Creator: Hudgens, Cecilia K. Knox

A Comparative Analysis of the Orgelbüchlein by J.S. Bach and Choral-Vorspiele für Orgel by Max Reger

Description: One of the outstanding aspects of nineteenth-century romanticism was its preoccupation with the past. This interest in the music or the old masters has lasted well into the twentieth century, and one whose lifetime bridged the two centuries was the composer Max Reger (1873-1916). Reger's admiration for the music of the past pervaded his own works. His preference for contrapuntal textures and devices, his use of baroque forms, his distaste for program music--all bespeak Reger's especial interest in the old masters, particularly in 5. S. Bach. These qualities led some to regard him as the successor of Johannes Brahms, who held similar tenets. Because of his particular interest in composing for the organ, Reger was viewed as a "nineteenth-century Bach."
Date: August 1963
Creator: Moehlman, Carl B.

Comparative Study of the Bel Canto Teaching Styles and their Effects on Vocal Agility

Description: This thesis examines the historical significance of the vocal methods employed from the middle of the seventeenth century to the beginning of the nineteenth century in what became known as the bel canto era. It provides further exploration into the pedagogical procedures of the bel canto technique through a study of the premier instructors and singers from this period. The resurgence of interest in this tradition is addressed along with its impact on current vocal pedagogy. The vital role that vocal agility played as one of its most distinguishing traits is the primary factor under investigation. A discussion of the bel canto teaching styles in relation to their approach to agility is a major point of inquiry. By maintaining a link between present artists and pedagogues and the old Italian school, it helps the singer understand the historical implications of vocal agility as an integral part of healthy vocal development.
Date: August 1996
Creator: Harper, Portia