The French Revolution and the Industrial Revolution brought impact in both politics and economics that cause the rise of middle classes and changing environment in the music society. Under the influence of the new environment, the business of music publishers grow rapidly, and publishing music scores became a part of composers¡¦ major income. The chamber music and works for solo instruments are the most popular genres that middle classes and bourgeois are more interested during the classical period. The study focuses on the relationships between music publishers, composers, and public amateur. The thesis consists of three chapters, in addition to the introduction and conclusion. Chapter one contains the overview of the background of the society and musical environments in the late eighteenth century in Germany and Austria. Chapter two describes the music publishers in Germany and Austria, with emphasis on two leading publishers, Artaria and Breitkopf & Härtel. The third chapter focuses the discussion of how publishing process effects the composers¡¦ writing. By the end of the eighteenth century, due to the changing of the social and musical environments, music publishers were developed rapidly. Bourgeois are the major consumers, and the publication of scores depended on the needs of the amateur, that publishers gained their taste through the newspaper advertisement. The chamber music and works for solo instruments are the most selling items among the popular genres. Because there are different economic background from Haydn, Mozart and Beethoven, their publishing process are not the same. After discharging from the Esterházy, Haydn started publishing his works. He, however, still remained part of payments from the Esterházy, and didn¡¦t depend on publishers entirely. Haydn, sometimes tried to sell the same work several times. Mozart and Beethoven didn¡¦t get paid from the court, they had to promote their works to publisher. Beethoven¡¦s publishing process is different from Haydn, and Mozart, he had forced the publisher stop to publish the pirate edition, and got more money by quoting at the publishers. Furthermore, between the choices of art and commercialism, they have a significant influence on the music of the Romantic era.

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Thesis (D.M.A.)--Boston University

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Alison, the protagonist, is a 21-year-old cello student from Northwest Ohio who studies at the Cincinnati Conservatory of Music. Although she comes from a conservative Methodist upbringing, Alison has turned away from her beliefs and entered into a polyamorous relationship with Luke, a graduate student at the University of Cincinnati, and his wife Cheryl. Through this relationship, Alison has been able to explore her nascent bisexuality and enjoy the affection she has been denied by her reticent mother and absent father. While the members of the triad hold lofty principles about openness and trust, the practice of that relationship—and its ever-shifting unwritten rules—fail to live up to their ideals.

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Classical music performers use instruments to transform the symbolic notationof the score into sound which is ultimately perceived by a listener. For acoustic instruments, the timbre of the resulting sound is assumed to be strongly linked to the physical and acoustical properties of the instrument itself. However, rather little is known about how much influence the player has over the timbre of the sound - is it possible to discriminate music performers by timbre? This thesis explores player-dependent aspects of timbre, serving as an individual means of musical expression. With a research scope narrowed to analysis of solo cello recordings, the differences in tone quality of six performers who played the same musical excerpts on the same cello are investigated from three different perspectives: perceptual, acoustical and gestural. In order to understand how the physical actions that a performer exerts on an instrument affect spectro-temporal features of the sound produced, which then can be perceived as the player's unique tone quality, a series of experiments are conducted, starting with the creation of dedicated multi-modal cello recordings extended by performance gesture information (bowing control parameters). In the first study, selected tone samples of six cellists are perceptually evaluated across various musical contexts via timbre dissimilarity and verbal attribute ratings. The spectro-temporal analysis follows in the second experiment, with the aim to identify acoustic features which best describe varying timbral characteristics of the players. Finally, in the third study, individual combinationsof bowing controls are examined in search for bowing patterns which might characterise each cellist regardless of the music being performed. The results show that the different players can be discriminated perceptually, by timbre, and that this perceptual discrimination can be projected back through the acoustical and gestural domains. By extending current understanding of human-instrument dependencies for qualitative tone production, this research may have further applications in computer-aided musical training and performer-informed instrumental sound synthesis.

Thesis (M.A.)--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. / 2031-01-01

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