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Full-Text Articles in Music Theory
A Structural Comparison Of Traditional Opera And Music Drama, Charles H. Stephens
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.
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.