Since 1950, wind band repertoire has experienced accelerated change and growth. There has been a shift from orchestral transcriptions, in which wind instruments frequently have been used formulaically, to original compositions for wind band that explore new timbre possibilities. This study analyzes selected band pieces composed since 1950, paying particular attention to the use of timbre. Specific developments that are discussed, in addition to the change in band instrumentation, are the new emphasis on percussion, and the exploration of new instrument combinations and their resulting timbres. This study primarily focuses on Symphony in B-flat for Band (1951) by Paul Hindemith, Music for Prague 1968 by Karel Husa, and " ... and the mountains rising nowhere" (1977) by Joseph Schwantner. These pieces represent the efforts of renowned composers whose music is considered significant in band repertoire. Hindemith's Symphony in B-flat conforms to the standard instrumentation of the period, as dictated by the American Bandmasters Association in 1945. Husa's Music for Prague 1968 reflects considerable expansion of instrumentation, and expands the role of the percussion section. Schwantner's " ... and the mountains rising nowhere" marks a deliberate nullification of the standard instrumentation for which Hindemith and Husa composed. Even though these composers have continued to make traditional use of form and harmony, their experiments have made the band's instrumentation more flexible than that of the pre-1950 era. These composers have exploited expanded percussion writing and new combinations of instruments. The transition from a pre-determined instrumentation dictated by external influences (Hindemith), through an expansion of that standard (Husa), to a music that is freed from any instrumentation limitations (Schwantner) reflects increasing composer interest in timbre as a primary compositional element. Composers continue to experiment with the instrumentation of the band, excluding traditional instruments and adding others. They have created great flexibility in the size and make-up of wind band instrumentation and generated music that places timbre in a position of high priority.

The primary purpose of this study was to compare the effects of icon-based listening outlines and language-based listening outlines on the degree of liking scores and musical knowledge scores of nonmusic majors enrolled in music appreciation courses. A secondary purpose was to examine interactions between the methods of instruction and the students' age, gender, teacher, and primary language with the dependent variables of degree of liking and musical knowledge scores. One-hundred and ninety-seven university undergraduates enrolled in six intact music appreciation classes served as subjects for the twelve week study. Three instructors, each teaching two intact music appreciation classes, taught both methods. The study used a pretest/posttest two group experimental design to answer fourteen research questions. The results indicated that degree of liking scores and musical knowledge scores significantly improved between the pretests and posttests regardless of method of instruction. Results also revealed a significant interaction between method and time of test for both degree of liking and musical knowledge. Students using icon-based listening outlines showed a greater increase in degree of liking scores and musical knowledge scores from pretest to posttest than the students using language-based listening outlines; however all increases were slight. Results also revealed significant interactions among teacher, primary language, and musical knowledge scores and among teacher, method of instruction, and musical knowledge scores.

This paper is a comparative study of the effectiveness of two methods of teaching a structured introductory art appreciation course for ninth grade students.

Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The purposes of this study were to (1) present a survey of social and cultural backgrounds in the American colonies during the seventeenth and eighteenth centuries, the years of the nation's birth, and (2) investigate and document the attitudes toward music and the musical activities of such representative American colonial statesmen as George Washington, Benjamin Franklin, Francis Hopkinson, Thomas Jefferson, and John Quincy Adams. / 2031-01-01

Abstract not available

This thesis is concerned with conventions of pictorialism, viz. the surface of an artwork or the plane of denotation (in my case paper, canvas or wood); and iconic imagery and the depiction of perceptual space that is connotated by marks, colours and forms upon that surface. Most importantly this thesis is concerned with the relationship between these elements and the deconstruction of them. That the reconstruction of the deconstructed language can create expressive iconic structures that perhaps contain conflicting information and elements, but are simultaneously single and self-contained perceptual models of seeing the world, and the things in it, in another way; is a major focus. The thesis is embodied in the paintings and drawings which are documented in the exegesis that follows.

No description available.

This thesis addresses numerous key points on the application of the margin of appreciation principle in relation to Article 9 (2) of the European Convention on the Protection of Human Rights and Fundamental Freedoms ('Convention').1 In general terms, the margin of appreciation doctrine means that the State is allowed a certain measure of discretion, subject to European supervision, when it takes legislative, administrative, or judicial action in the area of a Convention right.2 The margin of appreciation is given to Contracting States to allow variation amongst them in terms of interpretation of the rights guaranteed.

This thesis addresses numerous key points on the application of the margin of appreciation principle in relation to Article 9 (2) of the European Convention on the Protection of Human Rights and Fundamental Freedoms ('Convention').1 In general terms, the margin of appreciation doctrine means that the State is allowed a certain measure of discretion, subject to European supervision, when it takes legislative, administrative, or judicial action in the area of a Convention right.2 The margin of appreciation is given to Contracting States to allow variation amongst them in terms of interpretation of the rights guaranteed.

No description available.