Music Theory Commons^™

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.

The Perception Of Musical Intervals: The Theory Of Property Arrays, Aikin Orange Connor

University of the Pacific Theses and Dissertations

The purpose of the study was to develop a theory of the aural perception of simultaneous musical bitones, called vertical or harmonic intervals. The study was specifically concerned with: (1) formulating a theory of vertical interval perception, (2) documenting the psychological premises of the theory, ( 3) implementing the theory by developing a model, (4) testing the theory by utilizing the model to analyze empirical data of interval recognition errors, and (5) delineating implications of the new theory for pedagogy and research.

The theory developed in the study is called the Theory of Property Arrays because it identifies the structure …

"Panel Discussion On Jazz", Dave Brubeck

Special Collections: Oregon Public Speakers

No abstract provided.

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.

"Why Good Music Isn't Popular And Popular Music Isn't Good", Robert D. Crowley

Special Collections: Oregon Public Speakers

No abstract provided.

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.

A Translation Of Chapter Lxvi Of Book I, Part I Of Fra Lodovico Zacconi's Prattica Di Musica, Diran Akmajian

Theses and Dissertations

It is common knowledge that the practice of improvisation, variation, and ornamentation was widespread during the late Renaissance. Numerous authors testify to this, and scores of manuals exist that ''teach11 this particular skill. One of the most important theorists to write such a manual was Lodovico Zacconi, a monk of the order of Saint Augustine. Chapter LXVI of Part I of his Prattica di Musica is one of the most detailed of its kind. Because there is a genuine revival today of performance of Renaissance vocal music, and because sufficient knowledge is yet to be had of the practices of …

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.

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.

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

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.

Tones And Intervals Of Hindu Classical Music, Donald A. Lentz

University Studies (University of Nebraska) (1888–1984)

ART IS ALL ENDURING and limitless, and defies positive, unvariable classification. No attempt is being made in this book to compare artistic, subjective or emotional factors. Only the objective elements, techniques and procedures of music that are tangible and definite are being compared and classified. Western music, having reached a plateau under the present harmonic system, is projecting into new channels for textural inspiration. Composers have exploited the present system, using existing intervals in every conceivable manner under existing tonal and atonal theories. Devices such as smaller intervals (example: tempered quarter tones), electronic combinations, aleatonic principles, etc. are being dealt …

Introducing Theory Through The Creative Approach Into The Secondary School Curriculum, Richard E. Harrison

Masters Theses

No abstract provided.

Kristofo Nnwom (Christian Hymns), Churches Of Christ In Ghana

Stone-Campbell Books

No abstract provided.

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

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