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Articles 1 - 13 of 13
Full-Text Articles in Music Theory
The Structure Of Paul Creston's Narrative No. 2, Op. 79 No. 2 For Piano, Myrna Evelyn Johnson
The Structure Of Paul Creston's Narrative No. 2, Op. 79 No. 2 For Piano, Myrna Evelyn Johnson
All Master's Theses
This paper presents an analytical discussion of the structure of Paul Creston's Narrative No. 2. An explanation of Mr. Creston's approach to composition is followed by a general description of the free-sectional form. Next, each section is investigated separately according to its rhythm, harmony, and melody. However, at the same time relationships between the sections are mentioned also. Some characteristics of Mr. Creston's style which are revealed in this study are his use of various rhythmic structures, pantonality, the lydian mode, and tangential variation.
Romanzen Aus Magelone: Characteristics Of Style, Benjamin Fredrick Hammack
Romanzen Aus Magelone: Characteristics Of Style, Benjamin Fredrick Hammack
All Master's Theses
Brahms' Romanzen aus Magelone serves as an excellent model for the German lied. Although other musical elements are important, Brahms never sacrifices his melodic lines, which progress diatonically in a wide range. Complex rhythms, with such devices as hemiola and holding over the measure line, are frequent. Although some songs are ternary or strophic, a free-sectional form is generally employed. The textures vary; one song may be both homophonic and polyphonic. A complex piano accompaniment always enhances the text and requires an accomplished pianist.
Handel's Bass Solos In His Oratorios, Ronald E. Jones
Handel's Bass Solos In His Oratorios, Ronald E. Jones
All Master's Theses
Handel, recognized as a great Baroque composer, has had his vocal compositions performed by most serious singers. Many of these would agree that his compositions are, in general, very considerate of the singer and seldom vocally awkward. Since Handel wrote for all types of voices, most singers may find appropriate literature in his oratories. All singers should have some acquaintance with Handel's vocal compositions. Unfortunately, much of the present repertoire represents little of the bel canto techniques of the golden age of singing of which Handel was a part. This writer believes every serious vocal student should at least know …
Brahms' Variations And Fugue On A Theme By Handel, Op. 24: A Study Of The Technique Of Harmonic Variation, Richard C. Grant
Brahms' Variations And Fugue On A Theme By Handel, Op. 24: A Study Of The Technique Of Harmonic Variation, Richard C. Grant
All Master's Theses
It is the purpose of this study to isolate as much as possible a single technique, harmonic variation, and explore its techniques and uses through the study of a complete set of variations. The study is limited to harmonic concepts, procedures, and techniques used by the composer in the development of this particular set.
An Analysis Of Verdi's Dramatic And Musical Unity In Desdemona's Monologue, Georgia A. Zutavern
An Analysis Of Verdi's Dramatic And Musical Unity In Desdemona's Monologue, Georgia A. Zutavern
All Master's Theses
The purpose of this study is to examine as thoroughly as possible Desdemona's monologue in Verdi's fourth act Otello. The study includes a detailed analysis of the composer's approach both musically and dramatically.
An Historical Study Of The Solo Concerto Cadenza, Toni Christine Rydman
An Historical Study Of The Solo Concerto Cadenza, Toni Christine Rydman
All Master's Theses
The study of the solo concerto cadenza is one that encompasses the areas of performance, history and theory. Even though the cadenza occupies a small place in the total music literature, it is a sort of microcosm of music. It would be impossible to make a study of the cadenza without completely understanding the concerto and related forms of music. An historical study such as this can lead to deeper understanding of the music to be performed.
An Investigation Of Italian Singing Practices Of The Seventeenth And Eighteenth Centuries, George C. White
An Investigation Of Italian Singing Practices Of The Seventeenth And Eighteenth Centuries, George C. White
Graduate Student Research Papers
Many contemporary documented sources have substantiated the claims of earlier scholars that singing in the eighteenth century reached such a high point of skill and virtuosity that it has never since been equaled. If the above is true, it would seem that an investigation of the early singing schools would be of value to contemporary teachers and students of singing, in as much as various vocal theories seem to advocate differences of opinion.
Benjamin Britten: Stylistic Devices And Characteristics Of Peter Grimes, Aletha Warring Farrell
Benjamin Britten: Stylistic Devices And Characteristics Of Peter Grimes, Aletha Warring Farrell
Graduate Student Research Papers
It is the purpose of this study to investigate, compile and elucidate techniques, devices, and stylistic characteristics employed by Benjamin Britten in the opera Peter Grimes.
J. S. Bach's Use Of Vocal Ornamentation, John A. Melrose
J. S. Bach's Use Of Vocal Ornamentation, John A. Melrose
Graduate Student Research Papers
In view of some misconceptions concerning the reading of these ornamental symbols, a study of how to interpret them accurately seems of value. Stenographic signs of later periods are superficially similar to Baroque ornaments and are frequently used mistakenly in performing music of the Baroque. Bach's embellishments should obviously be treated according to Baroque practice.
An Analysis Of The Thematic Structure Of Chopin's Polonaise-Fantaisie, Opus 61, Thomas Walter Bull
An Analysis Of The Thematic Structure Of Chopin's Polonaise-Fantaisie, Opus 61, Thomas Walter Bull
Graduate Student Research Papers
The analysis of the Polonaise-Fantaisie was undertaken to ascertain, insofar as can be done through the analysis of one work, whether or not Frederic Chopin's music is loosely structured and unpolyphonic as some of his critics have maintained.
Puccini's Treatment Of Verismo, Janet M. Ice
Puccini's Treatment Of Verismo, Janet M. Ice
Graduate Student Research Papers
The employment of verismo, or realism, in opera did not begin with Puccini; however, his treatment developed the concept to its fullest. Inasmuch as Puccini was one of the foremost composers of his time, a study of his treatment of verismo seems valuable.
Monteverdi: Characteristics Of His Operatic Style, Mallory C. Mcmanus
Monteverdi: Characteristics Of His Operatic Style, Mallory C. Mcmanus
Graduate Student Research Papers
With this emphasis on textual understanding, opera, as introduced by a group or amateur composers called the Florentine Camerata, was born. These composers wrote in a recitative style for the solo voice. Being amateurs, however, they did not possess the professional musicianship to amplify the textual implications. Therefore, Monteverdi, the trained musician, established many musical innovations still in effect.
A Style Analysis: Bach's Brandenburg Concerto, No. 2 In F Major, Charles Raymond Wallgren
A Style Analysis: Bach's Brandenburg Concerto, No. 2 In F Major, Charles Raymond Wallgren
Graduate Student Research Papers
This paper is primarily concerned with one example of Johann Sebastian Bach's instrumental style--the "Brandenburg Concerto No. 2." The style of this work was influenced by the musical resources known to Bach, compositional techniques, and the capabilities of the instruments in the baroque period. The manner in which Bach used these resources and the integrity of what he had to say are evidences of his individual genius.