Thesis (D. Mus. Arts)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 151-155).

A critical edition of Georg Philipp Telemann's Missa sopra Christ lag in Todesbanden (TWV 9:3) / text

"Jug Blues & Fat Pickin'" / text

The purpose of this study was to develop a comprehensive and carefully detailed approach to score preparation which would be adaptable to all kinds of music. As a result of reviewing selected approaches to score preparation and general musical analysis techniques, a Comprehensive Approach to Score Preparation (CASP) based upon three levels of deductive analysis was created. These levels are described as Level I--Basal Structure Analysis; Level II--Review of: Supplementary Information; and Level III--Detailed Structural Analysis. The sequence of Levels was based upon (1) the importance of formulating appropriate conducting gestures and (2) the most efficient method of learning an extended musical work.Level I, Basal Structure Analysis, explores the score in terms of musical elements that may be translated directly into gesture without further study of structural comparisons. Level II, Review of Supplementary Information, surveys the historical and stylistic background of the work and the composer. The final stage of the CASP process, Level III--Detailed Structural Analysis, identifies the individual components of the musical structure as each relates to the larger structure and to the conductor's emotive interpretation.Conclusions1. The musical experience effects various modes of emotional energy in appreciative listeners as well as non-appreciative listeners, and musical scores should be interpreted on the basis of emotional energy.2. The elements of the conductor's musical interpretation are transmitted to the players and to the audience by means of the conductor's personality.3. The musical elements of articulation, dynamics, and tempo are the most important determinants of variations in musical interpretations.

Thesis (Ph. D.)--Florida State University, 2007. / Advisors: Kimberly VanWeelden and Clifford K. Madsen, Florida State University, College of Music. Title and description from dissertation home page (viewed Mar. 12, 2008). Document formatted into pages; contains viii, 72 pages. Includes bibliographical references.

Thesis (D. Mus. Arts)--University of Washington, 2008. / Vita. Includes bibliographical references (leaves 122-131).

Thesis (Ed.D.)--Teachers College, Columbia University, 1971. / Typescript; issued also on microfilm. Sponsor: Charles W. Walton. Dissertation Committee: J. Marion Magill. Includes bibliographical references.

Thesis (Ph. D.)--University of Iowa, 1984. / Includes bibliographical references (leaves 95-99).

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Welborn Young; submitted to the School of Music. Title from PDF t.p. (viewed May 11, 2010). Includes bibliographical references (p. 137-143).

In this study I will research and reflect on the conductor's role during the process of preparation for a first performance. I will present differences between two kinds of working processes: one where the conductor is working with a contemporary composer on a piece of music that is going to be performed for the first time in contrast to one where he or she is working with traditional repertoire or with music already performed. Throughout the process I will also focus on the dialogue between the conductor and the composer. The work consists of three parts. The first part is an overview of the process and its phases from the conductor's point of view. I go through the process and introduce some key points and challenges associated with it. In the second, practical part of my work I adduce a case of my own as an example of the experiences related to working with a composer in the process of première preparation. In the third part I suggest one solution for facilitating a better dialogue between the conductor and the composer.