Master of Music / Department of Music / Frank C. Tracz / The following report details the research and analysis required for completion of the degree, Master of Music from Kansas State University. This project was culminated in the conducting performance by Candace Bailey of four pieces during the 2009-2010 school year. The symphonic, concert and combined bands of Shawnee Mission North High School in Overland Park, KS contributed time, skills and feedback for the successful performance of Hands Across the Sea by John Philip Sousa, Michigan’s Motors by Thomas Duffy, Yorkshire Ballad by James Barnes and In the Forest of the King by Pierre LaPlante. Documentation of processes are detailed in lesson plans and critical evaluations of rehearsals. Analysis models were provided by the Unit Teacher Resource Guide, developed by Richard Miles, and the Macro-Micro-Macro score analysis form created by Dr. Frank Tracz.

This dissertation investigates Cape Breton fiddle music from a popular culture perspective. It introduces a conception of musical groove comprising two interrelated components: a social component wherein individual musical actors retain their own identities and relationships with the music while also uniting collectively in their response to the music, and a sonic component consisting of an acoustical repeating of a rhythmic idea that forms the metrical underpinning for a piece of groove music. Each of these two components is informed and mediated by the other. Cape Breton fiddle music is considered here as a form of groove-based popular music, similar to other groove musics. The two dimensions of the groove are analyzed in turn, revealing aspects of social identity, political and commercial representation, and processes of intercultural syncretism that have resulted in the evolution of the music within the pop culture mainstream. The dissertation is divided into two large sections. The first section concerns the social component of the Cape Breton fiddle groove, considering aspects of cultural representation, social identity, globalization and perceived external threats, and intersections with popular culture. The second section examines the sound of Cape Breton fiddle music as a form of groove-based music by first proposing a general model for the analysis of groove-based musics, and then applying the model to the Cape Breton fiddle context. The social and sonic components of Cape Breton fiddle grooves are treated as mutually reinforcing components of the same cultural product. Explorations of social identity and cultural representation of Cape Breton fiddle music determine those aspects of the sonic dimension of the music with the most social salience. In turn, analyses of the sound of Cape Breton fiddle grooves influence the understanding of the contemporary and historical socio-cultural community. Cape Breton fiddle music is therefore used here as a case study for combining the powerful modes of inquiry from the disciplines of music theory and ethnomusicology, leading to a richer and more nuanced understanding of musical traditions and cultures in general.

Master of Music / Department of Music / Frank Tracz / The following report is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of James D. Rogers. The recital, performed by the Mission Valley High School Band, was held in the gymnasium of Mission Valley Schools USD #330 on May 4, 2013 at 7:00 p.m. Pieces of music performed were Firework Music by George Frederick Handel and arranged by Phillip Gordon, Portrait of a Clown by Frank Ticheli, A Childhood Hymn by David Holsinger, and Citadel: Concert March by Frank Erickson. In addition to the analysis of the mentioned music, this document also contains rehearsal plans used in the preparation of the music for performance.

Fretboard harmony is essential in any thorough approach to the education of classical guitarists yet no effective method or materials for teaching a course in fretboard harmony is currently available. This dissertation aims to remedy this state of affairs by providing a method book intended for use in an upper-level undergraduate course. The design of the method book is informed by the study of historical documents and by the examination of recent theory and keyboard harmony texts. In Chapter I, materials from the Renaissance, Baroque and Classical guitar traditions are examined to assess the historical conception and use of the guitar as an harmonic instrument. These include Matteis’ The False Consonances of Music, Sor’s Méthode pour la guitare and Horetzky’s Preludes, Cadences and Modulations. Having established some historical context, the dissertation proceeds in Chapter II to examine theory and keyboard harmony texts to determine if there is a consensus on the ordering of presentation of concepts. The type of exercises given and their deployment are also assessed. The fretboard harmony method which emerges from these studies adapts this information to the particular exigencies and constraints of the guitar, resulting in a text which is intended for use in a full-year, upper-level undergraduate course. It comprises Chapter III and consists of a progressive arrangement of over 250 exercises along with written instruction. It begins with fretboard orientation and proceeds through single-note exercises, intervals, triads, chords, chord function and chord progression and modulation. The derivation of barre chords and “common” or “familiar” chords is explicated through a systematic method of chord formulation. Melody harmonization and figured bass realization are employed as pedagogical tools and are objectives in themselves in learning to actualize harmony on the fretboard. The harmonic scope of the method is confined to the vocabulary of the common-practice period. The use of secondary dominants, Augmented and Neapolitan 6th chords are final goals. Chapter IV is a conclusion of the study with a discussion of potential areas of future research.

This dissertation examines and critiques timpani instruction literature with a focus on timpani technique. It begins with an historical account of the origins of modern timpani. What follows is a look at the development of technique through documented timpani instruction beginning with Johann Ernst Altenburg’s treatise from 1795. Based on material examined in a literature survey of instructional texts from the twentieth and twenty-first centuries, an examination of basic timpani technique and symphonic repertoire is presented in relation to discussions with four professional timpanists. Ian Bernard (Former Principal Timpanist of the National Arts Centre Orchestra), Tom Greenleaves (Leipzig Gewandhaus Orchestra), Brian Jones (Dallas Symphony Orchestra) and Benedickt Leithner (Deutsche Oper Berlin) all comment on timpani instruction literature, discuss ways it could be enhanced, and share their opinions on technique. Conclusions are drawn challenging the efficacy of timpani instructional literature with particular emphasis on lacunae. In a brief appendix, selected material from violin and trumpet literature is discussed in relation to timpani literature. A second appendix offers new suggestions for technical development related to orchestral timpani parts.

A paran is a composed drum piece for the North Indian pakhavaj or tabla drums, and it is also choreographed for kathak dance. Paran refers specifically to a type of pakhavaj composition whose structure and compositional attributes are greatly varied. When applied to tabla or kathak, the term refers to a piece that is either directly borrowed from, or meant to imitate, the pakhavaj. Notwithstanding, it is notoriously difficult to define a paran precisely, especially those varieties found in tabla and kathak dance. Moreover, there are many, often contradictory opinions as to what these pieces are, largely because they display attributes that overlap with other types of composition. In this dissertation I discuss previous scholarly attempts to define the paran genre, various performers’ opinions on the subject, the technical execution of these pieces on the tabla, and the social trends that have contributed to the development of parans as they are performed on tabla or in kathak dance. I also analyse several compositions that I learned on the tabla in order to gain some sense of the structural, aesthetic, and compositional attributes of these pieces.

A Rough Journey is a single movement for orchestra with an approximate length of 14 minutes. The orchestra consists of piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 tenor trombones, bass trombone, tuba, timpani, percussion (2 players), piano and strings. The piece is inspired by Alfred Schnittke's musical language and features a variety of elements representing different styles. The harmonic language for instance, consists of pure triads (mostly augmented triads) in both tonal and atonal textures, triads with added dissonances as well as clusters. Although for the most part the piece does not follow a traditional harmonic language, I introduce unstable tonal centers occasionally to strengthen the tonal aspect of the music in contrast with its contemporary textures. The composition includes a few monograms as the main thematic materials which include B-A-C-H and D-S-C-H. However, I add extra notes to these motives to make them slightly longer and more unique. For example, I almost always end the B-A-C-H with the starting note, making it B-A-C-H-B. The Shostakovich motive is also extended to DS-C-H-(B flat-A flat-G). These motives are developed and transformed as the piece progresses, and appear with various rhythms. Dodecaphony is another compositional technique which is used in my work. I use "quasi dodecaphonic" rows against other materials as one of the musical layers. Piano is one of the instruments that features this particular technique by playing all twelve notes in a variety of forms. In addition to tone rows with consecutive notes, I also use dodecaphonic approach in a macro level which is a more unique way of using the technique. For example, the first section of the piece features the two discussed main monograms starting from each and every note of all twelve pitch classes, exploring a vast spectrum of notes at the very beginning. At the same time, I make allusions to traditional harmonic progressions by creating triadic structures in this imitative texture. The pivot note F# is introduced against the discussed texture and maintains its prominence throughout the composition. This pivot note serves as the ending point of some sections, including the string introduction.

Organ music in Latvia has a long history spanning over seven centuries of organ building and organ music making; however, national music traditions were not established until the end of the 19th century and the beginning of the 20th century. The scope of this dissertation is to provide an overview of Latvian organ music, to define what features of the musical and social-historical contexts of the Republic of Latvia have contributed to the development of organ music in the country, and to provide practical information for organists and anyone interested in Latvian organ music. The research divides into four chapters. In Chapter One, “Latvian Organ Studies”, the existing sources of information on Latvian organ music such as books, research papers and scores are reviewed. Other sources of information such as library collections, Internet resources and organizations are listed. The second chapter, “The ‘Language’ of Latvian Organ”, explores the two key components of the voice of Latvian organ – Latvian organ music, both solo and collaborative literature, and Latvian organs. The third chapter is entitled ”A Performer’s Analysis of Selected Organ Compositions”. In order to establish the voice of Latvian organ music three major organ works are examined: Fantasia in g (1902) by Alfrēds Kalniņš (1879-1951), Variations on the Name B-A-C-H (1969) by Marģeris Zariņš (1910-1993) and Te Deum (1991) by Pēteris Vasks (1946). Each analysis begins with the composer’s biography, followed by information on the composer’s organ oeuvre and the piece. Structural and harmonic analysis, as well as performance suggestions that include registration, tempo and articulation issues are provided. Chapter Four, “Summary and Recommendations”, concludes the dissertation. Four appendices contain comprehensive lists of Latvian organ works, both solo and collaborative literature, and list additional resources.

As the title of the work suggests, Burn brings to mind the qualities, characteristics and properties of fire: its volatile, destructive and unpredictable nature, and its often-overlooked sublime and evanescent states. Although I did not set out to programmatically depict the element in Burn, fire provides a metaphor for the compositional process. My objective was to compose a work that is harmonically and motivically rich, and where colour and character are of absolute importance. In turn, the work is explosive and unrelenting, with contrasting moments of subtler music. The complex and volatile personality of fire takes form right from the dramatic and combustible opening of Burn, through to the kaleidoscopic and mercurial textures of its developmental sections, its slow but catastrophic middle section, and its remorseless ending. And like the prodigiously agile nature of this element, I wanted to write a work that is engaging and virtuosic for its players. Burn is a single-movement work cast in three dramatic sections. The opening, spanning from mm. 1-24, establishes the musical material and sets the tone for the work. The music of the introduction gives way, at m. 25, to a developmental section, where varied forms of the introduction appear as structural delineators: mm. 68-71 to close the first part of the development, mm. 98-106 and mm. 131-136. The outer sections of Burn, mm. 1-136 and mm. 188-291, are fast and furious, colourful and nimble, and are similar to each other in character and content. The contrasting middle section, mm. 137-187, gives way to a different music, one that is slow and intense but shares motivic and harmonic attributes with the outer sections. The music climaxes at the return of the Tempo Primo, mm.166-187, with the defining motif of the outer sections superimposed at its original speed over the broad music of the middle section. Burn closes at the end of the third section with a varied return of the introduction.

This dissertation examines and critiques timpani instruction literature with a focus on timpani technique. It begins with an historical account of the origins of modern timpani. What follows is a look at the development of technique through documented timpani instruction beginning with Johann Ernst Altenburg’s treatise from 1795. Based on material examined in a literature survey of instructional texts from the twentieth and twenty-first centuries, an examination of basic timpani technique and symphonic repertoire is presented in relation to discussions with four professional timpanists. Ian Bernard (Former Principal Timpanist of the National Arts Centre Orchestra), Tom Greenleaves (Leipzig Gewandhaus Orchestra), Brian Jones (Dallas Symphony Orchestra) and Benedickt Leithner (Deutsche Oper Berlin) all comment on timpani instruction literature, discuss ways it could be enhanced, and share their opinions on technique. Conclusions are drawn challenging the efficacy of timpani instructional literature with particular emphasis on lacunae. In a brief appendix, selected material from violin and trumpet literature is discussed in relation to timpani literature. A second appendix offers new suggestions for technical development related to orchestral timpani parts.