Inaug.-diss.--Berlin. / Cover title. "Die bisherige Literatur des Devonshire-Dialektes": p. [7]-35. "Kapitel I-IV." " ... Kommt hier nur der erste Teil der ganzen Arbeit zum Abdruck. Diese wird in der Palaestra erscheinen."

No description available.

Inaug.-diss.--Berlin. / Cover title. "Die bisherige Literatur des Devonshire-Dialektes": p. [7]-35. "Kapitel I-IV." " ... Kommt hier nur der erste Teil der ganzen Arbeit zum Abdruck. Diese wird in der Palaestra erscheinen."

Thesis (Ph. D.)--Bryn Mawr College. / Photocopy lacks illustrations. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [178]-189).

Thesis (Ph. D.)--University of Wisconsin-Madison, 1940. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [i]-xiii).

Thesis (M.A.)--Boston University, 1932. This item was digitized by the Internet Archive.

Frederick Fox's contributions to contemporary music are substantial, including eighty-three compositions written between 1966 and 1998. These include pieces for orchestra, wind ensemble, choir, solo instruments, and a variety of chamber ensembles. This study serves as a complete annotated bibliography of Frederick Fox's eight compositions which feature the saxophone in a prominent role, all of which were written between 1979 and 1998. They include a piece for unaccompanied solo alto saxophone, Hear Again in Memory (1991), two works for alto saxophone and piano, Annexus (1980), and When the Thunder Speaks (1998), a saxophone duet, Visitations (1982), two saxophone quartets, 3 Diversions (1987) and The Avenging Spirit (1989), a saxophone quartet with solo alto saxophone, S.A.X. (1979), and a chamber piece for soprano and alto saxophone accompanied by piano and two percussionists, Shaking the Pumpkin (1986). In addition, an analysis of Fox's first composition for saxophone, S.A.X. for Solo Alto Saxophone and Saxophone Quartet, offers an insight into the compositional style of the composer. A complete listing of all of Fox's compositions, formal schemata of selected saxophone compositions, and a discography of his recorded saxophone compositions are included as appendices.

No description available.

Thesis (M.A.)--Ohio State University, 1974. / Includes bibliographical references (leaves 92-95). Available online via OhioLINK's ETD Center.

Prussian King, Frederick the Great was one of the most powerful rulers in Europe of the eighteenth century. He was not only an outstanding leader, but also an excellent flute player and music patron as well. The purpose of the study is to examine his contributions as a music patron, composer, and performer. The research focuses on his flute compositions and the musical environment that he created in Berlin. The thesis consists of four chapters, in addition to the introduction. Chapter one is an overview of the Prussian court and Frederick the Great. Chapter two discusses the musical patronage of Frederick the Great and musical activities at the court, including concerts, the enterprise of the Berlin opera house, and court musicians. Chapter three centers on detailed style analysis of King¡¦s flute compositions to which the significant musical characteristics are examined. The last chapter consists of the summary and conclusion. The enthusiasm of Frederick the Great for music based on his loving for flute playing. As a ruler for a nation, music patron, performer, and composer, the King was not only heightened the standard of musical culture for Prussia, but also created an important Berlin school for flute in the history of music. The musical characteristics of King¡¦s flute compositions present the transitional styles between the Baroque and Classical period, in which the refined structure of the flute instrument reflects its features. The compositions of the King provided a vast literature for flute repertoire in the eighteenth century.