Thesis (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references.

Document (D. Mus.)--Indiana University, 2006. / Computer printout. Includes bibliographical references (leaves 145-152).

System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 259-273).

Baroque music is an area largely neglected in the music education of young horn students and wind players in general. Baroque horn repertoire is very demanding primarily due to the range. Baroque composers wrote for horn using the uppermost register of the instrument. In this range the partials are closer together, allowing for more melodic writing. This music requires an advanced level of technique, endurance, and ability. Often this repertoire is not suitable for students until they are well into their collegiate years of study. Frequently this music is performed on descant horns. Since only a small number of middle school and high school horn students continue to play after they leave their school band programs, they many never get first hand experience performing Baroque music. Vocal students are often introduced to Baroque arias early in their training. Purcell’s songs and arias are an excellent example of the literature that young voice students use. These arias and songs can be the perfect portal to Baroque music for horn students as well. Here I have created an edition of Henry Purcell’s songs and arias for young horn students. Each aria used the text as a guide for the “affect” and its impact on tone, articulation, and phrasing. The bass line is also used as a guide for determining tempo and style. Each piece is transcribed as a solo with piano accompaniment and as a duet. The goal of this edition is to use Baroque vocal music to introduce horn students to the musical concepts of expression, articulation, phrasing, and tempo.

No description available.

Thesis (D. Mus. Arts)--University of Washington, 1998. / Vita. Includes bibliographical references (leaves [55]-58).

Isang Yun (1917-1995) embraced a masterful combination of two elements derived from his life: his Korean cultural upbringing and Western musical traditions. This dissertation explores Yun's distinctive style through an analysis of his Kontraste: Zwei Stücke für Violine Solo. Following the introduction (Chapter 1), Chapter 2 contains a brief biography of Isang Yun, and explores the compositions of his Korean period (1917-1955) and his European period (1956-1995). It also discusses how Yun's musical styles changed during these two periods as a result of important life events and due to cultural and political influences. Chapter 3 examines Korean instruments such as Kayakem, Hae-Kem, and Pak; discusses Nonghyun (traditional string techniques of ornamentation in Korean music); and introduces Korean performance techniques. This chapter also provides explanations of these concepts, illustrated through various examples. A subsequent discussion illuminates Yin-Yang theory and Jeong-Jung-Dong, both elements of Taoist philosophy that influenced Yun's compositional style. This is followed by explanations of Hauptton and Umspielung, two compositional techniques that Yun developed and employed in Kontraste. Yun created the idea of Hauptton to reflect the Korean traditional concept of a single note. He used the term Umspielung ("playing around" in German) to describe his interpretation of the four traditional techniques of Nonghyun within a Western notational framework. In Chapter 5, analysis of Kontraste reveals how the piece's contrasting elements represent the concepts of Yin-Yang and Jeong-Jung-Dong, and shows how the violin imitates the sounds of Korean traditional instruments and instrumental technique. Yun's adaption of Korean traditional performance techniques to the violin in Kontraste is aimed at combining East and West and producing a new aesthetic.

The intent of this study is twofold: first, to explore the dramatic and musical functions of chorus in baroque operas in Italy, France, and England; second, to identify choral excerpts from baroque operas suitable for present-day concert performance. Musical and dramatic functions of chorus in baroque opera are identified. Following a brief historical overview of the use of chorus in the development of Italian, French, and English baroque opera, representative choruses are selected for analysis and comparison. Examples are presented to demonstrate characteristic musical use of chorus in baroque opera; characteristic dramatic use of chorus in baroque opera; or, the suitability of a chorus for use as concert repertoire. Musical examples are drawn from a twenty-five year period in the late seventeenth century, 1667-1692, as represented in Italy by Alessandro Scarlatti, Antonio Sartorio, and Antonio Cesti; in France by Jean-Baptiste Lully; and in England by Henry Purcell. The results of this study indicate that there are numerous choruses appropriate for concert performance to be found in the English baroque opera repertoire, the semi-operas of Henry Purcell in particular; there are some suitable examples to be found in French baroque operas, although frequently choruses by Lully are harmonically simpler than those by Purcell; and, there are choruses available for extraction from early Italian operas such as those by Monteverdi, but very few to be found in late seventeenth century Italian operas. The document concludes with an appendix of selected baroque opera choruses considered appropriate for concert performance. The appendix includes only those choruses considered to be harmonically, melodically, and textually autonomous, and of sufficient length to be free-standing. Selections chosen for the appendix are drawn from a wider range of composers and a broader time span than those discussed in the body of the paper. Information contained in the appendix includes composer, opera title, date, act and scene, chorus title, voicing, source, and editorial remarks.

Descartes’ Compendium musicae and Lamy’s La Rhétorique ou l’art de parler, both published in English translation in London in the late seventeenth century, suggest approaches to period performance practice that support expressive intonation as a rhetorical device. Descartes’ unique perspective on musical pitch and intervals provides a methodology for understanding inflected intonation in performance. Closely aligned with Descartes’ epistemological perspective, Lamy’s treatise provides an understanding of expressive intention as essential to effective rhetorical delivery. These approaches are applied to musical examples from trio sonatas of Arcangelo Corelli, John Ravenscroft and Henry Purcell, demonstrating that expressive intonation using subtle pitch inflection can be explained as a rhetorical practice. These subtle pitch inflections, related as they are to both rhetorical delivery and intonation systems, are not reflected in notation but realized only as music is heard in time. It is in performance contexts that pitch inflection can be realized as an expressive device. A supplemental audio file contains five short examples demonstrating pitch deviation applied to selected intervals.

Thesis (D.M.A.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 35-37).