With the exception of the music of Aram Khachaturian, the output of Armenian composers has been largely overlooked. This small Middle-Eastern country with a population of almost four million and an intriguing history indeed has a rich musical heritage. From its roots in sacred music and folksong, Armenian music has evolved into a unique blend of national elements and Western art music. Although it remains largely undiscovered, there is an entire repertoire of works in this aesthetic. The Trio for clarinet, violin, and piano by Khachaturian has long been a standard in the clarinetist's repertoire. This project brings to light lesser-known works of other Armenian composers. After providing a brief history of Armenia and her music (Chapter 2), this document presents an annotated bibliography of works using the clarinet (Chapter 3). Because there are a significant number of Armenians living outside their homeland, composers considered for this bibliography include all those of Armenian descent: those born,schooled, and presently living in Armenia, as well as those born to one or both Armenian parents residing in other countries. The bibliography includes works for unaccompanied clarinet, clarinet and piano, clarinet and orchestra, and chamber music for up to seven players. Each annotation includes the composer's name, dates, title of the work and its movements, date of composition, instrumentation, publisher and date of publication (in the case of published works), source from which the score can be obtained (in the case of unpublished works and works that are no longer published), duration of the work, and any recordings that are commercially available. Specific information about each piece, such as its dedication, first performance, historical background, musical characteristics, and performance practice issues is provided when available.

This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.

Lung Man Wai. / Thesis submitted in: December 2005. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references. / Abstracts in English and Chinese. / Abstract --- p.ii / Acknowledgements --- p.v / "Figures, Tables, and Examples" --- p.viii / Romanization --- p.ix / Abbreviations --- p.x / Chapter Chapter I --- Introduction --- p.1 / Chapter a. --- Related Studies --- p.10 / Chapter b. --- The Model --- p.17 / Chapter c. --- Methodology --- p.19 / Chapter d. --- Chapter Summary for the Thesis --- p.20 / Chapter Chapter II --- "Musicians, Service Seekers and Agents" --- p.23 / Chapter a. --- Training Backgrounds of Musicians --- p.25 / Chapter b. --- "The Network of Musicians and the ""Key Musicians""" --- p.33 / Chapter c. --- Discipline --- p.39 / Chapter d. --- Summary: How Can Musicians Obtain More Gaidong Performing Opportunities? --- p.45 / Chapter e. --- "Money vs. Dignity, Professional Ethics, and Competitions" --- p.46 / Chapter f. --- Service Seekers and Agents --- p.49 / Chapter Chapter III --- The Music of Gaidong --- p.56 / Chapter a. --- Repertoire --- p.57 / Chapter b. --- "Collections of Pieces - The Gaidong ""Fake Books""" --- p.67 / Chapter c. --- Choices of Music --- p.78 / Chapter d. --- Combinations of Instruments --- p.89 / Chapter e. --- Performance Practice and Improvisation --- p.92 / Chapter Chapter IV --- "Venue, Occasion and Audience" --- p.105 / Chapter a. --- Venue: Outdoors vs. Indoors --- p.107 / Chapter b. --- Occasion: Center of Attention vs. Background Music --- p.109 / Chapter c. --- The Role of the Host --- p.111 / Chapter d. --- The Audiences --- p.115 / Chapter e. --- Requests for Songs by Audience Members --- p.117 / Chapter Chapter V --- Influence from the Environment -Two Case Studies and the Impact of the Twelve Girls Band --- p.124 / Chapter a. --- "Case Study One: Chinese New Year Celebration at Hong Kong International Airport,2004" --- p.125 / Chapter b. --- Case Study Two: The Standard Chartered Bank Board Visit Staff Dinner --- p.129 / Chapter c. --- Other Examples of Gaidong Affected by the Twelve Girls Band --- p.139 / Chapter d. --- The Twelve Girls Band --- p.144 / Chapter e. --- Other Environmental Factors --- p.149 / Chapter Chapter VI --- The Model: The Ecology of Gaidong --- p.155 / Chapter a. --- Mutualism and Competition --- p.160 / Chapter b. --- The Extended Model --- p.161 / Chapter Chapter VII --- Conclusion --- p.164 / Appendix 1 List of Gaidong Performances in which the Author Participated --- p.170 / Appendix 2 Contents of the Gaidong Po --- p.175 / Appendix 3 Contents of the Blue Score --- p.181 / Appendix 4 Contents of the MLCO Gaidong Score Album --- p.183 / Appendix 5 Music Pieces Used in Gaidong: The Combination of Contents of Three Gaidong Scores --- p.184 / Appendix 6 Selected Scores from the MLCO Gaidong Score Album --- p.192 / Appendix 7 Agenda for Standard Chartered Bank Staff Dinner gaidong (Case Study2) --- p.196 / Appendix 8 Selected Scores Used in the Standard Chartered Bank Staff Dinner gaidong (Case Study2) --- p.198 / Appendix 9 A Copy of the Audience Members' Handwritten Requests for Gaidong No.84 --- p.200 / Character List and Glossary --- p.201 / References Cited --- p.205 / Websites --- p.210 / Supplementary Materials: / Chapter a. --- The Blue Book Scores / Chapter b. --- The Gaidong po Scores

This documents aims at the identification of the sources of influence upon the styles of selected 20th century Chinese composers. Personal influences are reflected as well as those general influences specific to the different stylistic periods discussed. Most important, however, is the description of the methods by which these composers employ contemporary compositional devices to project musical gestures that are uniquely Chinese: elements of culture which are fundamentally programmatic and intimately related to the lives of the Chinese people. The introduction of Western music and musical instruments to China in the early 17th century and cultural exchanges with Japan served to gradually westernize the musical environment and training. The establishment of decidedly Western schools was accomplished at the beginning of this century, with the founding of Peking University and Shanghai National Conservatory. Music theory was taught, as well as history and composition, but with an emphasis on the practices of the 18th and 19th centuries. Compositions from this period reflect Western techniques from these eras, with some use of the pentatonic scale. In the 1930's, nationalism arose, a mirroring of the 19th-century European nationalistic trends. This philosophical conception has remained essentially unchanged to the present, as composers have aimed to utilize Western techniques to create artistic works and compositional styles which are uniquely Chinese. The musical works examined are limited to works for piano solo, as it is believed these are often more immediately revealing of compositional techniques and stylistic idioms.

No description available.

No description available.

The three recitals consisted of performances of original eighteenth, nineteenth and twentieth century solo works for trombone with the exception of Lyric Suite for Euphonium and Piano by Donald White, Divertimento for Trumpet, Trombone and Piano by Boris Blacher, and Dialogue and Dance for Trombone and Tuba by Newel Kay Brown. The premiere performance of Straight As An Arrow for B-flat-F Trombone and Prepared Tape by Ronn Cox and Dean Crocker was also included. After presenting a brief biography and discussing Gordon Jacob's (1895-1984) stylistic influences, the lecture continues with a Tonal, Motivic and Formal analysis of his three works for solo tenor trombone: Concerto for Trombone and Orchestra, Concertino for Trombone and Wind Orchestra, and the Trombone Sonata. Tonality, modality, polymodality and free association of pitches are elements that are present at one time or another in these compositions. Jacob's inclination for using the folk song style is evident in his writing, especially in the slow movements. Introductions, transition areas, and secondary themes, with tonally ambiguous harmonies and instrumental concepts of melodies, create a tension that is released by the return to tonality in the areas that follow. Treatment of rhythmic and melodic motives helps produce the special quality found in Gordon Jacob's compositions. Over half the themes in the works being investigated are built around motivic development. Neoclassicism results from the use of forms rooted in earlier centuries, but the choice of key centers gives these forms a new life. Jacob's composition of absolute music, as well as his use of the older compositional techniques of parallel harmonies and slow introductions, reflect neoclassical practices. The performance of Jacob's pieces is facilitated by his use of musical materials idiomatic to the instrument.

The purpose of this study was to design a rehearsal method for presenting the historical and theoretical aspects of selected works for concert band. 1. 'What systematic approach can be designed for studying the historical aspects of a musical work? 2. What systematic approach can be designed for studying the theoretical aspects of a musical work? 3. What compositions can be used to demonstrate historical and theoretical elements? 4. What rehearsal method can be devised by applying the systematic approaches for studying historical and theoretical aspects to the selected works?

The purpose of the present study is three-fold in its nature: (1). To determine, by means of interviews and questionnaires, the attitudes of school administrators toward the various aspects of the instrumental music program; (2). To interpret these attitudes in the light of modern music education; (3). To make recommendations for the improvement of the instrumental music program with respect to the findings of the study.

Orientador: Marcos Fernandes Pupo Nogueira / Banca: Lia Vera Thomás / Banca: Sidney Molina / Resumo: Os escritos estéticos dos autores do Frühromantik (Primeiro Romantismo), surgidos a partir das duas últimas décadas do século XVIII, constituíram a base do pensamento do Romantismo musical alemão. De vital importância dentro desta nova concepção estética foi o entendimento da música instrumental como a manifestação mais nobre das artes, algo que ia contra o preceito que vigorara até então, segundo o qual a música sem voz possuía pouco valor, por ser incapaz, apenas por meio de sons, de imitar o mundo físico e despertar sentimentos nos ouvintes. Paralelamente a esse processo, o piano - cujos primeiros modelos bem sucedidos surgiram entre 1698 e 1730 - ganhou maior repertório no último quarto do século XVIII e, ao mesmo tempo, passou a ser utilizado como substituto de formações instrumentais maiores, em reduções de sinfonias e óperas. Este trabalho trata da importância que os fenômenos de valorização da música instrumental, da formação da linguagem do piano e da utilização deste instrumento enquanto redutor da orquestra exerceram no aparecimento do Lied em princípios do século XIX, um gênero híbrido entre música e poesia e entre música vocal e música instrumental, que se contrapôs à tradição da canção estrófica setecentista. Mais especificamente, esta pesquisa investiga em qual medida a composição da parte do piano do ciclo de canções Winterreise (1827) de Franz Schubert foi realizada sobre a idéia de evocação de sonoridades de outros instrumentos, tomando por base similaridades de escrita entre determinadas passagens da obra de Schubert e aquelas retiradas de obras sinfônicas e de câmara, do próprio Schubert e de outros compositores que representaram grandes influências suas, especialmente Haydn, Mozart e Beethoven. / Abstract: The aesthetic writings by Frühromantik (Early Romantic) authors, which appeared during the last decades of the eighteenth century, became the basis of German musical conception of Romanticism. Fundamentally important that new aesthetic idea was the undestanding of instrumental music as the noblest manifestation of arts, which was against the old precept that music without singing was worthless, as it was incapable of imitating the physical world and reviving the listener's sentiments. Simultaneously, the repertoire for piano - which early successful model appeared between 1698 and 1730 - was substantially increased during the last quarter of the eighteenth century and, at the same time, gradually started to be used as a substitute for larger instrumental groups, and reductions of symphonies and operas. The present work discusses how the phenomena of instrumental music valorization, piano idiom formation and its use as a substitute for an orchestra (piano reduction) influenced the advent of Lied at the beginning of the nineteenth century - a hybrid genre between music and poetry - and between vocal and instrumental music, in opposition to the eughteenth century strophic song tradition. More specifically, this research examines how much of the piano accompaniment of Fraz Schubert's song cycle Winterreise (1827) was based on the idea of the evocation of the sonorities of other instruments, using as evidence stylistic similarities between some of the passages from Schubert's works and those extracted from symphonic and chamber pieces - by both Schubert himself and other composers, notably his major influences: Haydn, Mozart and Beethoven. / Mestre