Thesis (M.M.)--University of Wisconsin--Madison, 1967. / Description based on print version record. Includes bibliographical references.

Thesis--Florida State University. / Includes bibliographical references (leaves 118-124).

Thesis (M.M.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Charles Tomlinson Griffes (1884-1920) is one of the most important American impressionists in the twentieth century. This study focuses on the piano solo work Roman Sketches (Op.7) which Griffes composed during 1915-16, and it is the most representative work in his impressionistic styles. This work includes four pieces, which are The White Peacock, Nightfall, The Fountain of the Acqua Paola, and Clouds. Griffes quoted the four poems as forwards from the poetry Sospiri di Roma of the Scottish poet William Sharp (1855-1905) which mainly described the natural scene. Griffes integrated many musical elements of the Impressionism in Roman Sketches, such as whole-tone scales, pentatonic scales and exoticism. The first chapter in this study introduces the life of Griffes and characteristics of his piano works, and also emphasizes about how his works were affected by impressionism. The second chapter contains the historical background and the harmonic and melodic materials in Roman Sketches. Interpretative point of view about literary connection between music content and the poetry of Sharp is also discussed in this chapter.

Thesis (M.A.)--Eastern Illinois University, 1966. / Includes bibliographical references (leaves 96-98).

The lecture recital was given July 18, 1977. The lecture began with the performance of the Three Preludes and a discussion of these final works in relation to the composer's last period of composition which included the Sonata for Piano. After the biographical foundation was laid, the Sonata for Piano was detailed concerning form and compositional techniques. All works were performed from memory. In addition to the lecture recital, three public recitals were performed. The first solo recital, performed on August 11, 1975, consisted of works by Schubert and Liszt-Busoni. The second recital, a chamber recital, performed March 29, 1976, consisted of solo and chamber works of Messiaen. The final solo recital, performed on August 1, 1977, consisted of works by Clementi, Satie, and Rubinstein. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation.

Il s 'agit ici, de mettre en place des méthodologies de détermination des modèles électriques des machines à griffes, en régime permanent et transitoire. Une description de l'alternateur à griffes et de son principe de fonctionnement sera présentée dans le premier chapitre. Ensuite, dans le deuxième chapitre, une analyse fine sera réalisée sur les méthodes d'identification actuellement en vigueur sur les alternateurs de grande puissance en régime permanent. A l'issue de cette analyse, on adaptera ces méthodes aux alternateurs à griffes. Le troisième chapitre consistera en l'étude de la machine en régime transitoire dans le but essentiel de pouvoir évaluer les pertes fer notamment dans le rotor massif. Ceci permettra d'élaborer une méthodologie de séparations des pertes tant en essais qu'en simulations par éléments finis. Dans un quatrième chapitre nous développerons des axes d'améliorations des performances de la machine.

Thèse d'exercice : Médecine : Nancy 1 : 2003. / Titre provenant de l'écran-titre.

In the Fall of 1919, the Boston Symphony, under Pierre Monteaux, and the Philadelphia Orchestra, led by Stokowski, premiered works cf Charles T. Griffes. The performances met with phenomenal success. A reviewer in the Boston Globe found Griffes' music to exhibit "genuine originality and power of a sort that entitles its composer to be judged by the same standard as men like Ravel, Rachmaninoff and Stravinsky, not by that usually applied to..works by unfamiliar Americans." The following Spring Griffes died at the age of thirty-five. Most sources agree that American composition suffered a great loss in the early death of Charles Griffes. His music has gained critical prestige and has won a small but significant position in the orchestral and solo repertoire in the concert hall as well as in the teaching studio. Griffes' creative life spans the first two decades of the twentieth century. He was a pianist and over half of his compositions were for solo piano. In addition, many of his orchestral works are transcriptions of piano pieces. And yet, except for The White Peacock and the Sonata, his piano works are almost unknown and rarely performed. This study seeks to trace the influences contributing to Griffes' general style, and explore the technical components characteristic of that style as they relate to his piano music. Its purpose is to create an interest in the study and performance of this important source of twentieth century American piano music.

This document is the result of the research done in preparation for the two thesis-recitals given in partial fulfillment of the requirements for the degree of Master of Music Performance. The recitals and the document are devoted to selected art song composers from Great Britain, the United States, and Canada. The purpose of the research was to obtain a historical and stylistic understanding of the repertoire to be performed in the thesis-recitals. The methodology used for the elaboration of this document included review of relevant literature, score analysis, listening to recordings by major performers, and the preparation for performance itself. The first chapter is focused on the fact that Great Britains most distinguished composers have been influenced by musical practices from the European continent. John Dowland, Henry Purcell, Benjamin Britten, and the composers from the so-called British Musical Renaissance are taken into account. The second chapter is dedicated to three major figures in art song composition in the United States: Charles Griffes, Samuel Barber, and Ned Rorem. The chapter highlights the fact that these composers share two important features: their styles have roots in musical practices of continental Europe and today they are considered among the most truly American voices. The third chapter focuses on Jean Coulthard, Violet Archer, and R. Murray Schafer as examples of how Canadian composers have used the European artistic heritage in the process of creating their own styles. The document concludes that, in addition to creativity and personal artistic values, two other factors seem to have been important in allowing this group of composers to become models of the national voice of their own countries: a strong awareness of musical and literary heritage and an open acceptance of foreign influences.