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Articles 1 - 7 of 7
Full-Text Articles in Music Theory
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.