Music Commons^™

Musical Realism Of Modest Mussorgsky In The Songs And Dances Of Death, Lynn A. Howard

All Master's Theses

This investigation proposes that the Russian composer, Modest Mussorgsky (1839-1881), was one of the foremost masters of musical realism. The song cycle, The Songs and Dances of Death, is presented as an outstanding and representative example of the creative efforts of the composer. It is analyzed from the standpoint of prosody, tonality, melody, and harmony.

In order to aid in comprehension, the first portion of the paper deals with the Russian environment and the development of the ideals of Mussorgsky.

Structural Developments Of The Violin And Bow As They Affected Violin Playing Technique From 1775 To 1850, Robert Donn Anderson

All Master's Theses

This paper represents a study of the alterations that were made in the structure and design of the violin and bow during the late eighteenth and early nineteenth centuries. These alterations were the result of the increasingly more difficult technical demands that were placed on the violinists of the late eighteenth century by composers of that period. Once the violin and bow had been restructured to meet those demands, many new violin playing techniques were introduced.

Recommendations included additional research.

The Art Song, Nebbie By Ottorino Respighi, James M. Scott

All Master's Theses

Introduction: Ottorino Respighi is probably known more widely for his instrumental compositions than other media. Although his art song production was not prolific, some songs, such as Nebbie, will undoubtedly be retained in the vocal repertory.

"The Columbia River Suite" An Original Composition For Orchestra, Glenn Theodore Kelly

All Master's Theses

"The Columbia River Suite" is a five movement composition relating the river's physical and geographical qualities to man's struggle for purpose in life. Program notes accompanying the composition aid in simulating desired interest and understanding.

The covering paper presents helpful materials as definitions of terms used and brief histories of: the symphony orchestra, the orchestral suite, the cyclical principle and programmatic music. Also a brief analysis presents representative excerpts of compositional devices utilized to bind the movement together.

Dichterliebe: A Partnership In Irony, Gary L. Bankes

All Master's Theses

The paper discusses the irony of love as expressed in the Dichterliebe song cycle of Robert Schumann on the poems of Heinrich Heine.

Schumann's relationship to the Romantic era is discussed, as well as the basic musical style of the work. The irony inherent in five of the songs exposed, as are the musical techniques and devices through which Schumann expresses it musically.

The Dichterliebe is shown to be a partnership, where the words and the music benefit and compliment each other.

A Composition (Untitled), Donald J. Para

Masters Theses

No abstract provided.

Statement Regarding Magnificat, John Stanley Hilliard

Theses and Dissertations

This thesis statement presents an analysis and explanation of a music composition entitled: Magnificat. The full music score to the Magnificat may be found in the collection of the Music Department of the School of the Arts, Virginia Commonwealth University. The King James Version is the source for all of Biblical text. The presentation here of the text for the Magnificat corresponds to the manner it is introduced into the music score. Thus, the use of small case primarily to contrast those parts of the text of high volume intensity which are capitalized, and parallel text to show simultaneous reading.

Elements Of Preparation Requisite For Performance Of The Brahms Cycle, Vier Ernste Gesange, Opus 121, Donald L. Ricks

All Master's Theses

This paper examines the text, the harmonic, tonal, melodic and stylistic characteristics of the cycle Vier ernst Gesange, op. 121 by Johanne Brahms as they relate to preparation for authoritative interpretation in formal concert performance. The study includes reference to particular events in the composer's life which directly influenced his decision to compose this final vocal work. In addition specific problems to be met in vocal technique, interpretative insight and German diction are discussed.

Rondo And Variations For Brass Ensemble, John Ernest Ward

All Master's Theses

This paper presents an original musical composition, in a contemporary style, written specifically for the modern brass ensemble. In addition to its purely aesthetic value, the piece may serve as an educational tool, to be used in developing the brass ensemble at the high school and college levels.

The covering paper includes a history of the family of brass instruments and an analysis of the composition. Research supports the argument that the bass ensemble is a viable, musical medium.

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.

The Transcription Of Paul Creston's Rhythmicon For Guitar, Geary Scott Thompson

All Master's Theses

Utilizing the music of the contemporary American composer, Paul Creston, the purpose of this study was to compare the idiomatic differences and technical capabilities of the piano and the guitar. This study of the transcription process, and the problems that arise in adapting piano literature to the guitar, has had binary results: a challenging collection of rhythmic studies, for the guitarist, as well as possible additions to his concert repertoire.

It was recommended that the initial guitar fingering of each piece be indicated; and phrase markings should be added where possible.

The Transcription Of Piece Heroique For Wind-Band, Douglas Frazier Cairns

All Master's Theses

Wind ensemble performers have had to rely on transcribed music for their repertoire since the earliest days of the eleventh century. The situation showed little change through the nineteenth century as composers of the stature of Cesar A. Franck continued to demonstrate their disregard for the medium. However, the advent of the public school band has provided the economic stimulus necessary to attract the efforts of major modern composers. Though this trend satisfies the need for contemporary wind-band music, transcriptions continue to serve as a major means of teaching music history. The transcription of Piece Heroique for wind-band provides an …

Prokofieff's Second Piano Sonata Transcribed For Sring Quartet, Robert Carter Lodge

All Master's Theses

The primary purpose of the transcription is to contribute new and fresh material to the ever expanding body of string quartet literature. A new work by a composer of Prokofieff's stature will be a creditable addition to the chamber music repertoire. The purpose of the accompanying text is threefold: (1) to give a brief history of Serge Prokofieff, (2) to give a brief history of the string quartet, and (3) to examine the methods chosen by the writer to transcribe the sonata tor string quartet.

Sonata For Violin And Piano, Op. 3, Lynda K. Forbes

University of the Pacific Theses and Dissertations

This is a musical score written to fulfill the requirements of a master of music.

A Performer's Analysis Of Eight Piano Sonatas Of Nicholas Medtner, Sarah Louise Kinley

Undergraduate Honors Thesis Collection

The piano sonatas of Nicholas Medtner are only a portion of the great heritage bequeathed to the piano by one of the most unique and significant, although relatively unknown, modern Russian composers. Medtner's personality penetrates his compositions but can be truly discovered only through considerable study of and acquaintance with his music. "But to the earnest and sincere student approaching with goodwill and sympathetic spirit, this music will yield treasures of grave and sad, but great and most moving, beauty.

Characteristics Of Style In The Song Cycle Don Quichotte À DulcinéE, Bruce Gyger Dodge

All Master's Theses

As Don Quichotte à Dulcinée is representative of contemporary vocal literature, an investigation into its style characteristics would seem to have value. Through the performance of the song cycle this writer has come to appreciate and recognize that an understanding of French and the style characteristics of this composer are necessary for an artistic rendition.

Outlines: An Original Composition For Concert Band, Bruce Albert Stephenson Hunter

All Master's Theses

If one attempted to study the history of jazz through the study of music playable by and available to the average high school band, he might conclude that jazz was a frivolous medium which died in the late 1940's. Outlines was composed in the hope that future high school musicians will develop a more balanced view of music trends in the last half of the century.

An Original Composition For Band “Suite For Band”, Bill R. Love

All Master's Theses

The writer's contemporary work seeks to contribute to the growing repertoire of original band music. The technique, range, intonation, and rhythm problems of average high school musicians are taken into special consideration. It could easily serve as an introductory piece to performers unfamiliar with the contemporary idiom. Although performance difficulties are kept to a minimum, "Suite for Band" should prove musically challenging and worthwhile to both high school and college bands.

An Analytical Study Of The Holy Sonnets Of John Donne By Benjamin Britten, Richard Arthur Ruth Jr.

All Master's Theses

The purpose of this study is to show some of the techniques used in the melody, rhythm and harmony Benjamin Britten used in setting The Holy Sonnets of John Donne. This study also shows the ways in which these techniques serve to bring out the full meaning of the text.

The Influence Of Janissary Music Upon Selected Composition Of Ludwig Van Beethoven, Jerry Len Weakley

Morehead State Theses and Dissertations

A thesis presented to the faculty of the School of Humanities Department of Music at Morehead State University in partial fulfillment of the requirements for the Degree of Master of Music Education by Jerry Len Weakley January 23, 1969.

Basic Harmonic Techniques, Hilda L. Steyer

Ayres Special Collection

True to its title this text is basic and may be geared to any or all styles of writing from the Baroque period through the nineteenth century. It is possible to use it for a one-term concentrated course, or for a one or two year program, depending upon the demands of the school curriculum. It has been designed specifically for use in the course-credit system, even though adaptable to the more traditional procedures just mentioned.

Through years of teaching basic theory this presentation has developed due to intelligent inquiries from sincere students who desire to know the why, where, who …

Sea-Night: A Cantata, Louis William Cowen

Masters Theses

No abstract provided.

Sonata For Clarinet And Piano, Opus 4, No. 2, Edwin L. Schoen

University of the Pacific Theses and Dissertations

No abstract provided.

The Seasons : Four Poems By Robert Frost For Tenor And Orchestra : Opus 5 (1969), Richard Meeks

University of the Pacific Theses and Dissertations

No abstract provided.

A Brief History Of The Sonata With An Analysis And Comparison Of A Brahms’ And Hindemith’S Clarinet Sonata, Kenneth T. Aoki

All Master's Theses

It was the purpose of this study to: (1) trace a brief history of the sonata up to the Classical period; and (2) analyze and compare Brahms' Sonata (E-flat major) for Clarinet and Piano, Op. 120, No. 2 to that of Hindemith's Sonate for Clarinet and Piano.

Marshall University Music Department Presents The Contemporary Music Festival, Paul A. Balshaw

All Performances

No abstract provided.

Beethoven’S An Die Ferne Geliebte, Paul R. Piersall

All Master's Theses

Beethoven has often been accused of writing vocal music which exceeds some normal limitations of the voice. Such unfortunate accusations result in many singers avoiding his vocal music. Through means of historical evidence presented in this paper, through an examination of An die ferne Geliebte and its performance, the writer hopes to dispel some of this misunderstanding of Beethoven's vocal music.

An Original Composition For Chorus Missa Brevis, Robert Austin Barbey

All Master's Theses

In the composition of this Mass the composer was faced with several alternatives in the selection of a suitable musical style. These choices were narrowed to include (1) "traditional" or "romantic"; (2) "pop"; or "jazz"; (3) "folk-mass"; or (4) avant garde. The ultimate choice was a synthesis, consisting of devices from fourteenth century music, and elements of contemporary style.

An Analysis Of The Styles Of C. Saint-Saëns And W. A. Mozart With Emphasis On Their Clarinet Compositions, Gerald Kenneth Steele

All Master's Theses

This paper has represented an effort by the writer to learn something about two major clarinet compositions and about their composers, and to provide for the readers of this paper a means of better understanding Wolfgang Mozart and Camille Saint-Saëns and their clarinet compositions. The study of these compositions has been in connection with the preparation for their performance in a Graduate Recital by the writer. The two composers studied in this project represent two periods of music history, two different styles of composition and two different personalities.

Motival Structure Of Susannah, A Music Drama By Carlisle Floyd, Sue Ellen Mcmurray

All Master's Theses

The purpose of this study was (1) to locate and identify the various musical motives within the opera Susannah; (2) to point out the significance of each motive; (3) to examine the transformations of each motive; and (4) to demonstrate how the motive structure relates to both the visible series of events and to the psychological progress of the opera.