Music Commons^™

Volume 5, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

Volume 4, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

Volume 3, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

George Alan Russell: Jazz's First Theorist, Robert E. Moore

Trotter Review

In 1953 George Alan Russell published The Lydian Chromatic Concept of Tonal Organization. By virtue of this work Russell carved out a unique niche for himself in the history of jazz, his opus representing the first theoretical work to come out of the jazz tradition. The purpose of this paper is to define his place in jazz history and to offer a biographical sketch off jazz’s first and most important theorist. My points of departure will be references made to Russell in two widely read works—Gunther Schuller’s Early Jazz and Wilfrid Meliers’ Music in a New Found Land. …

Volume 2, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

A Conductor's Study Of The First Movement Of Gustav Mahler's Fifth Symphony, Allan Coleman Sholl

University of the Pacific Theses and Dissertations

The purpose of this study is to become acquainted with the first movement of Mahler’s Fifth Symphony in the same manner as a conductor would when preparing the work for performance. Dr. William Dehning stated in his doctoral thesis: “The correct execution of any music imposes a great responsibility on the conductor of that music to determine what the composer might have intended.” The areas of concern to be discussed in this thesis, then, include analysis, thoughts on aesthetic and stylistic qualities, and some historical accounts relating directly to the Fifth Symphony.

Volume 1, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

89th Annual Convocation; Annual Spring Concert, The Sherwood Conservatory Of Music

Commencement Programs

Programs for the Sherwood Music School 89th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 3, 1984 and the Annual Spring Concert on May 20, 1984

88th Annual Convocation, The Sherwood Conservatory Of Music

Commencement Programs

Program for the Sherwood Music School 88th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 3, 1983

Abstracts, James Hepokoski, David Lawton, Martin Chusid, Andrew Hornick, John Nádas, Gary Tomlinson, Leonard Garrison, Harold S. Powers, Gregory W. Harwood, Richard B. Beams, William P. Cole, Albert O. Cordell, Marianne Davis, Loryn E. Frye, Ben King, James Mason, William E. Mccauley, Stephen Town

Verdi Forum

Abstracts of papers about Giuseppe Verdi and his works, presented at joint meetings of the AIVS and Greater NY Chapter of the American Musicological Society, 1979-81 (Hepokoski, Lawton, Chusid, Hornick, Nádas, Tomlinson, Garrison, Powers), at the 1982 national meeting of the American Musicological Society (Harwood), and at an NEH-sponsored summer seminar at NYU in 1980 (Beams, Cole, Cordell, Davis, Fry, King, Mason, McCauley, Town).

87th Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 87th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 4, 1982 and the Annual Spring Concert on May 23, 1982

Froberger's Toccatas: Stylistic Considerations And Modern Editions, James W. Kosnik

Music Faculty Publications

(First paragraph) The music of Johann Jakob Froberger is recognized by scholars and musicians to be of significant artistic achievement and historical interest. Yet, with the possible exception of the suites, few modern-day performances of his music are likely to be heard for several reasons: the music does not fulfill the requirement of easy and accessible listening; the music lacks a certain superficial brilliance, or the proper instruments are unavailable so that the music cannot be heard in its most authentic language. The most important reason, however, is our own lack of understanding of the correct performance style which prevents …

86th Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 86th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on May 29, 1981 and the Annual Spring Concert on May 3, 1981

85th Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 85th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 3, 1980 and the Annual Spring Concert on May 18, 1980

84th Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 84th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 1, 1979 and the Annual Spring Concert on May 20, 1979

83rd Annual Convocation, Sherwood Music School

Commencement Programs

Program for the Sherwood Music School 83rd Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 2, 1978

0241: William Tweel Papers, 1920-1978, Marshall University Special Collections

Guides to Manuscript Collections

Contains arrangements of popular music by Tweel in his orchestra. Also contains two research papers written while a graduate student at Marshall University: " Bill Tweel and his society music", for the Music Department; and "Samuel Finley Breese Morse", for the Art Department.

82nd Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 82nd Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 3, 1977 and the Annual Spring Concert on May 20, 1977

Valentin Roeser’S Essay On The Clarinet (1764) Background And Commentary, Albert Richard Rice

CGU Theses & Dissertations

Valentin Roeser’s Essai d’instruction à l’usage de ceux qui composent pour la clarinette et le cor is the earliest treatise on instrumentation and the first theoretical study of the clarinet. Comparisons are drawn with other eighteenth-century instructional materials, e.g. Francoeur’s Diapason général, La Borde’s Essai sur la musique, and Vanderhagen’s Méthode nouvelle et raisonnée pour la clarinette. A history of the chalumeau and two-keyed clarinet is presented, along with a biographical sketch of Roeser and an English translation of the first section of the Essai. Appendices include a checklist of Roeser’s writings and a list of eighteenth-century music using the …

81st Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 81st Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 8, 1976 and the Annual Spring Concert on June 3, 1976

80th Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 80th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 11, 1975 and the Annual Spring Concert on May 28, 1975

Bach's B Minor Flute Sonata: A Study Of Six Recorded Interpretations, Edwin F. Sabrack Jr.

Masters Theses

The lack of knowledge and understanding of the performance practice of the early eighteenth century can lead to faulty and ill-conceived ideas regarding the interpretation of Bach's flute

sonatas. Problems of tempo, articulation, phrasing, dynamics, and ornamentation can overwhelm the student approaching these works for the first time. Luckily, the great flutists of our time have

given us a permanent documentation of their interpretations of this music by committing to record their performances. A diligent study of these performances, (in this case, the Sonata in B Minor), can guide the student to make intelligent decisions for his own playing of …

A Structural Comparison Of Traditional Opera And Music Drama, Charles H. Stephens

All Master's Theses

This paper presents a structural comparison of traditional opera and music drama. It uses Wagner's criticism of traditional opera, and his plan of incorporating the individual arts into a unified art form, to contrast the two forms. An identification of motives from a section of Wagner's Die Walkure further demonstrates the unifying factors in music drama.

A Linguistic Analysis Of The Lyrics Of Frequently Sung Hymns Of Three Protestant Congregations, Marjorie A. B. Thompson

Morehead State Theses and Dissertations

A monograph presented to the faculty of the Department of English at Morehead State University in partial fulfillment of the requirements for the Degree of Master of Arts by Marjorie A. B. Thompson in January of 1972.

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

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

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

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

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

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.