Master of Music / Department of Music / Frank C. Tracz / This document contains historical, theoretical and lesson plans of the selected literature for the Graduate Conducting Recital of Allen Brockmeier. The conducting recital was held in the auditorium of Wichita County High School in Leoti, Kansas, Tuesday, May 8, 2007 at 7:30 PM with performers from the Wichita County High School Concert Band. Selections included “Down a Country Lane,” by Aaron Copland, transcribed for band by Merlin Patterson; “Korean Folk Song Medley,” by James D. Ployhar; “Yellow Mountains,” by Jacob de Haan; and “The Washington Post,” by John Philp Sousa, edited by Frederick Fennell. Analytical methods are based upon the Blocher/Miles Unit Studies from the Teaching Music through Performance in Band Series along with the Tracz concept of macro-micro score analysis.

Master of Music / Department of Music / Craig A. Weston / Igor Stravinsky used a compositional technique that researchers have termed cut-and-paste. During the compositional process, Stravinsky would write notes on carbon paper, then cut the lower parts out to paste them into other sheets of paper with music on them. This paper examines a few key ways this fits into the compositional process for Symphonies of Wind Instruments (1920, rev. 1947). In an original work, Whither No One Knows (a chamber work for flute, clarinet, marimba, piano, violin, viola, and cello) several similar cut-and-paste compositional processes were used. These include melodic cut-and-paste, ostinato creation, layering, rhythmic diminution, and extension. These techniques are illustrated and examined. The full score of Whither No One Knows (2009) is included.

Master of Music / Department of Music / Craig B. Parker / The purpose of this edition of the Sonate da chiesa for theorbo and organ from the Intavolatura di tiorba, opera prima (1669) of Giovanni Pittoni is to make available a clear, modern notation of the theorbo part, which appears in the score in Italian lute tablature, and to place the works within their performance context. This edition enables a keyboardist to read the solo theorbo part to help keep the ensemble together and to help create a continuo realization. Under usual circumstances a continuo player can read the part of the soloist and can use it to instruct how to realize the accompaniment. With tablature, however, the keyboardist is at a disadvantage, since most – practically all – do not read tablature. The accompanying text reveals how the works were used and how the continuo is to be realized, and suggests answers to the problems associated with continuo realization for bass instruments in a solo role. This score is not intended to make the music more accessible to the soloist, since theorbists are already skilled at reading tablature. Additionally, recreating the tablature was unnecessary, since the original source (or facsimile) is easily read. In addition, errors have been identified, and possible answers and solutions are provided.

Master of Music / Department of Music / Frank C. Tracz / This document contains historical, theoretical and lesson plans of the selected literature for the Graduate Conducting Recital of Margaret Saarinen. The conducting recital was held in the Performing Arts Center, Victor Valley College, in Victorville, California, Thursday, May 15, 2008 at 7:30 P.M. with performers from the College Band of Victor Valley College. Selections included Fortress Variants, by Elliot Del Borgo; Reflections, by James Swearingen; Equinox, by Ed Huckeby; and Procession of the Nobles (Rimsky-Korsakov) arranged by Andrew Balent.

Master of Music / Department of Music / Steven Maxwell / This report is intended for teachers to use when preparing euphonium solo literature with their students. The solos selected for this report encompass a wide variety of styles and technical abilities, with each solo studied in four sections: Historical Background, Theoretical and Technical Considerations, Suggested Practice, and Educational Gains and Values. The solos studied in this report include Conqueror by Leonard B. Smith, In the Hall of the Mountain King by Edvard Grieg, Allerseelen by Richard Strauss, Pearl by H.A. Vandercook, Andante et Allegro by J. Ed. Barat, Andante et Allegro by J. Guy Ropartz, and Morceau Symphonique by Alexandre Guilmant.

Master of Music / Department of Music / Frank C. Tracz / This report contains lesson plans, historical information and a theoretical analysis of the literature performed in the Spring Concert of the Sedan Jr./Sr. High Concert Band under the direction of Roselyn Sweaney. The recital was held on Tuesday, April 28, 2009 in the “New Gym” of the Sedan Jr./Sr. High School. The recital featured performances by the following ensembles: 5th Grade String Ensemble, 5th Grade Band, 6th Grade Band, 5th & 6th Grade Bands joined for 2 selections, Jr./Sr. High Concert Band. The 5th Grade String Ensemble played Lightly Row, This Old Man, French Folk Song, Bingo and The William Tell Overture. The 5th Grade Band played Downtown Blues, Sounds of Beale Street, Barbara Ann and Hard Rock Blues and the 6th Grade Band played Brave New World, Sir Lancelot, Percussion On Parade and Surprise Symphony. The 5th & 6th Grade Bands joined together to play Soul Swinger. The Jr./Sr. High Concert Band performed Crestwood by Nancy Seward, Shaker Variants by Elliot Del Borgo, Rock ‘N’ Roll Explosion! arranged by Jerry Nowak, America, The Beautiful arranged by Dale Casteel, Miss Liberty March by Karl King, arranged by James Swearingen. Lauren Miller also performed a trumpet solo, Aria by George Golterman. Lauren had received a “I” for her trumpet solo at State Music Festival. The concert was directed by Mrs. Rosie Sweaney and by ½ time teacher, Miss Trish Roudybush. This was Miss Roudybush’s first year of teaching, following her student teaching and implementation of the string program at Sedan during the 2007-08 school year.

Master of Music / Department of Music / Dale Ganz / Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s. Although Simone is remembered for the lyrics she sang and the emotions she evoked, not enough credit is given to her as an interpreter of song. Simone had an incredible talent at finding the true message of a song and exposing it to her audience. Rather than jazz musician or activist, this thesis will focus on Simone as a gifted interpreter.

Master of Music / Department of Music / Frank Tracz / This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master's in Music degree. It contains theoretical, historical, and rehearsal analyses for Sonata No. 13 by Giovanni Gabrieli as arranged for brass octet by Glenn Smith, movements II. Andante and III. Minuet & Trio from Serenade No. 12 in c minor by Wolfgang Amadeus Mozart as edited by Frederick Fennell, and Prelude, Siciliano and Rondo by Sir Malcolm Arnold as arranged for full symphonic band by John P. Paynter. Prelude, Siciliano and Rondo was performed by the Kansas State University Wind Ensemble on February 15, 2012 in McCain Auditorium on the Kansas State University campus. Sonata No. 13 was performed by members of the Kansas State University Brass Ensemble on April 18th, 2012 in McCain Auditorium. There was no formal performance or rehearsal for Serenade No. 12 in c minor. The analytical methods employed in this report include the Unit Study approach used in the Teaching Music Through Performance in Band book series and the Tracz method of macro-micro-macro graphical score analysis.

Master of Music / Department of Music / Amy Rosine / This report examines the sacred works of four composers that were intended for performance in a secular environment, rather than for any portion of a liturgical service. It will discuss the theoretical, stylistic and performance considerations of each work, as well as biographical information about each composer, their compositional style, and how the work was initially developed. These works include the Biblické písně, Op. 99 of Antonín Dvořák, selections from the Möricke Lieder and Spanisches Liederbuch of Hugo Wolf, Maurice Ravel’s Deux mélodies hébraïque, “Oh, Sweet Jesus” from Gian Carlo Menotti’s’ the Saint of Bleecker Street and the quartet from his Amahl and the Night Visitors.

Master of Music / Department of Music / Frank Tracz / The following report contains the research and analysis of three musical compositions prepared for effective rehearsal and performance for the Graduate Conducting Recital. The repertoire selected includes Hats Off to Thee by John Zdechlik, performed by the Kansas State University Brass Ensemble on April 18th, 2012; Mercury Rising by Nathan Daughtrey, performed by the Kansas State University Percussion Ensemble on April 3rd, 2012 and Suite Française by Darius Milhaud, performed by the Kansas State University Concert Band on April 25th, 2012 all under the direction of Sarah Bernard-Stevens. The report comprises extensive research and theoretical analysis compiled to effectively rehearse and conduct the above-mentioned works.