Composition Commons^™

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

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.

An Original Composition For Brass Choir, Kenneth John Kraintz

All Master's Theses

The purpose of this composition, "Suite For Brass Choir", is to make a contribution to the growing amount of literature for brass choir. It is composed in contemporary style with the expressed wish to further the musical thought and understanding of brass choir members.

Vision An Oratorio, John Tuckness Bonney

All Master's Theses

Vision is an oratorio written for mixed chorus and soli accompanied by a chamber orchestra. The text is from the book Doctrine and Covenants, section seventy-six, paragraphs one and two, as printed by the official publishing organization of the Reorganized Church of Jesus Christ of Latter Day Saints.

Sonata For Clarinet And Piano, David Louis Mulder

University of the Pacific Theses and Dissertations

No abstract provided.

An Analytical Study Of The Formal Treatment Of The Cantus Firmus In Thirty Chorale Preludes On Well-Known Hymn Tunes Op. 68, 69, And 70, By Flor Peeters, E. Donnell Blackham

Theses and Dissertations

This study represents an effort to analyze the forms used by Flor Peeters in his Thirty Chorale Preludes on Well-Known Hymn Tunes, op. 68, 69, and 70. Through this analysis it has been found that Flor Peeters has systematically used certain devices in the treatment of the cantus firmus. Furthermore, these devices can be used as a criterion in developing a classification system for the chorale preludes, which logically divide into six groups or types.

The first type includes the chorale preludes in which the composition begins immediately with the first phrase of the chorale melody and continues without interruption …

Concerto For Orchestra, Donald Clifton Driscoll

University of the Pacific Theses and Dissertations

This is a musical score written in completion for a master of music.

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.

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.

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.

Songs Of Otterbein College - Original Publication, Otterbein University

Songbooks

A collection of original songs about Otterbein and by Otterbein faculty and students.

A Critical Analysis And Study Of The Problems Of Intonation In The Band Ensemble, Harold H. Bartlett

University of the Pacific Theses and Dissertations

The purpose of this treatise is not so much to discover heretofore unknown facts through original research; however, certain research is planned to assist in deleting the obvious handicaps one might encounter from using faulty instruments or mouthpieces, but rather to assemble under one cover practical data that may be of value in improving intonation in the band ensemble. Various definitions of terms will be established, purposes determined, opinion and methods of teachers evaluated, conclusions reached, and highlights of other persons’ experiments that may bear upon the subject will be presented.

Volume 75, Number 05 (May-June 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Josef Hofmann, 1876-1957

Igor Stravinsky, Approaching his 75th Birthday, is Truly a Colossus of Modern Music

Music in the High School Gym

Good Vocal Habits (interview with Renata Tebaldi)

What Power Professional Criticism

Thalberg's Erard: A Discovery

An Intriguing Account of the Various Operational Details Requiring Careful Attention . . . Behind the Opera Curtain

Books on American Music: A Selected Bibliography

Music in the Schools

Choral Potential From the Baroque Era

Music to Link Mankind: The Story of the Formation of an Important Body Having to Do with International Relations

Volume 75, Number 04 (April 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Folk Music and Art Music

Playing with Orchestra (interview with Alec Templeton)

Community Solves its Music Crisis: The Inspiring Story of The Bronx Symphony

Orchestra Genius Lies in the Individual

Miniature Opera from Salzburg

Kostelanetz on Conducting, Conductors and Batons

Drama in Song: A Discussion of the Importance of Clear Enunciation on the Part of Singers

A Glimpse of the Inner Workings of One of the Largest Summer Music Camps is Gained from These Day to Day Entries . . . From the Music Camp Office

Henry Cowell—Musician and Citizen, Part 3

Richard Rodgers on Current Trends in Popular Music

Volume 75, Number 03 (March 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Hail and Farewell to The Grand Old Man of Music Confusion

Confounded: An Objective Explanation of Some Frequently Perplexing Musical Terms

Singing Must be Natural (interview with Victoria de los Angeles)

Music's Part in Social Integration

Mariachis of Mexico

Henry Cowell—Musician and Citizen, Part 2

Music in the Schools High School Symphony Orchestra . . . How It Is Made

New Studio

Volume 75, Number 02 (February 1957), Guy Mccoy

The Etude Magazine: 1883-1957

International Aspect of Folk Music

Candlelight Concerts in Colonial Williamsburg

Don't Shy Away From Adult Beginners

Singing on Television (interview with Lois Hunt) Impressions of Musical Education in the United States

Henry Cowell—Musician and Citizen Shape Notes, New England Music and White Spirituals, Part 2

We Can Co-operate

Staccatos for the Sightless New Vistas in Music Programming for Radio

Volume 75, Number 01 (January 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Philadelphia's Academy of Music . . . One Hundredth Anniversary

Story of Roy Harris—American Composers, Part 2

Some Impressions of Music Education in Japan

Louis Moreau Gottschalk—First American Concert-Pianist

Shape Notes, New England Music and White Spirituals

Approach to Chopin's Etudes (interview with Ruth Slenczynska)

Music in the Schools

Madrigal Group is Fun Composer, Conductor, Comedian . . . That's Jackie Gleason

American School Music: An Assessment

Symphony In Three Movements, Robert Lester Davis

University of the Pacific Theses and Dissertations

A symphony in three movements with parts for

piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns(?), 3 trumpets, 3 trombones, 1 tuba, 1 timpanist, 1 cymbal, 1 triangle, 1 xylophone, 1 piano, 1 harp, violins one and two, viola, cello, and standing bass(?)

Volume 74, Number 10 (December 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Obituary - Guy Maier (1890-1956)

Béla Bartók and Hungarian Folk Music

Story of Roy Harris—American Composer

Cradle of Music: A Brief Visit to One of the Most Interesting of Old-World Music Publishing Houses

Some Basic Issues in Music Education

Operas of Hugo Weisgall

Volume 74, Number 09 (November 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Carl Orff's Musical Theatre

World Ballad of Bady Doe

Responsibility of Music Education to Music—A Reply

Opera for all America: Chandler Cowles, General Manager of NBC Opera Company, Outlines His Ideas Concerning the Project

Volume 74, Number 08 (October 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Folk Music in Civilization

In Memorium - Mrs. Eduard MacDowell (1857-1956)

Wallingford Riegger—Composer and Pedagog

Loring Club

Bach of High Fidelity (interview with Robert D. Darrell)

Glenn Gould, A Début and a Personality

Volume 74, Number 07 (September 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Music in Focus

Responsibility of Music Education to Music

Music in the American Wilderness

Picture Painted in Sound: Alden B. Dow Creates a New Art Visualizing Music

Pianist's Page

Waltz and Brahms' Opus 39

Volume 74, Number 06 (July-August 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Music in Focus

Daylight and Darkness: Robert Schumann and the Years after Leipzig

Lieder Singer (interview with Irmgard Seefried)

Charles E. Ives, Part Two

Robert Schumann: Across the Years

Volume 74, Number 05 (May-June 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Charles E. Ives . . . A Composer With Something to Say

Music, Music Everywhere: A Resume of the Most Important Festivals that Take Place this Summer in European Music Learning to Learn Bach (interview with Rosalyn Tureck)

Diction in Singing, Part 2

Volume 74, Number 04 (April 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Fiftieth Anniversary of the Music Educators National Conference

In Memorium: Edwin Franko Goldman (1878-1956)

Personal Memories of Cortot as Artist and Teacher

Diction in Singing

National Interscholastic Music Activities Commission

MTNA in Action Music in Focus National Federation of Music Clubs . . . America's Most Far-Flung Musical Organization

Phi Mu Alpha (Professional Music Fraternity) . . . What it is and What it Does

National Association of Teachers of Singing

Story of Sigma Alpha Iota

Stepping Stones to West Point (interview with John A. Davis, Jr.)