Inaug.-Diss.--Cologne. / Lebenslauf. "Verzeichnis der im Druck erschienenen Klavierwerke F. v. Hillers": p. 89-92. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1950. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [207]-211).

Thesis (M.M.)--University of Wisconsin--Madison, 1955. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 122-127).

Inaug.-Diss.--Berlin. / Lebenslauf. "Literaturverzeichnis": p. 76-81.

Among various forms of art, music (and instrumental music in particular) is said to be the least descriptive art form, owing to its limitation with respect to hetero- referentiality--the ability to refer to things outside itself. However, in view of the impreciseness current in the definition of musical description itself, as well as a lack of case studies in understanding the modes of representation of descriptive music, there remain some questions about the fundamental nature and the potential of music as a medium of description. These questions will be raised and explored in this dissertation. It is particularly interesting that, while description is distinguished from narration in literary studies, in the past musicologists have often treated the two categories as one; thus, I posit that this ambiguity might blur our understanding of some aspects of the medial nature of music. By looking at semiotic features of music, I study how these features operate in delivering descriptive content through the analysis of programmatic music of various types. Their roles in developing the descriptive potential of music are also explored here. Building on theoretical studies by Werner Wolf, and the concepts of semiologists such as Ferdinand de Saussure and Charles Sanders Peirce, I discuss three musical cases: Franz Liszt’s piano work, Sposalizio (inspired by Raphael’s Lo Sposalizio della Vergine), Ottorino Respighi’s Trittico Botticelliano (inspired by three of Sandro Botticelle’s paintings), as well as Sergei Rachmaninov’s The Isle of the Dead, Op. 29 (inspired by Arnold Bocklin’s Die Toteninsel). The research presented here seeks to reveal how musical signs describe the elements of the painting, as well as how they gradually acquire their own symbolic meaning that, in turn, ultimately allows them to transcend the visual images, and operate to present the inner content of the painting, as expressed by either the painter or the composer towards the pictorial artwork.

The aim of this study is to examine the correspondences of style, technique and aesthetic in poetry and music as it pertains to the musical thought and works of composers centered in Berlin 1740-1760. With the trend toward rational enquiry, the re-affirmation of the Aristotelian theory of imitation, and a return to the ideal of a union of the arts, 18th-century theorists and composers were once again preoccupied with the consanguinity of the "sister" arts of poetry and music. In particular, analogies were made between their materials of expression and the methods by which they achieved their ultimate goal of the imitation of human passions. The "problem" of textless music--i.e., its lack of semantic content--became a primary issue for aesthetic discussion and led to a re-evaluation of music's intrinsic qualities as a medium of expression. Berlin composers working in mid-century were especially susceptible to such aesthetic developments. Led by writer/critics Lessing, Nicolai, and Mendelssohn, a unique literary renaissance characterizing the city was generating wide-spread critical debate on matters concerning the significance and meaning of art. Two major points of discussion among the literati were 1) that since classical times the arts of poetry and music had strayed too far apart, and 2) that music especially needed the support and cognitive power of a poetic text to remain a viable artistic medium. The consequences of these ideas on Berlin composers is immediately apparent in the development of the lied. In this new musical genre which achieved great popularity in Berlin, expression through text and music were considered synonymous as composers worked to close the gap between the two in their technique and methodry. However, the impact of these aesthetic beliefs is not as easily discernible in the instrumental music of mid-eighteenth century Berlin. While it was undisputed that musical tones in themselves contained some indeterminate expressive force, the rationalists' demand for concrete meaning in art led composers to develop and assess their music in terms of poetic criteria. An analysis of their works will illustrate that poetic structure, technique, and materials of expression assumed a primary role in the creation of their art. This study hopes to clarify the relationship between poetry and music through an examination of mid-eighteenth century Berlin's lied aesthetic, and selected instrumental works by J.J. Quantz and C.P.E. Bach composed in Berlin during this period. / Arts, Faculty of / Music, School of / Graduate

The purpose of this study is to determine the general style characteristics of the works for solo trumpet by Alan Hovhaness, viz., Khrimian Hairig, Overture to Avak, Prayer of Saint Gregory, and Haroutiun. The musical elements of form, melody, harmony, tonality, rhythm, texture, and counterpoint are examined objectively in order to determine the essential features of the music. Further consideration is given to the idiomatic use of the solo trumpet in these compositions. Each composition is examined separately, the conclusions and generalizations of the style features being reserved for the final chapter.

The modern music educator is constantly working to improve his methods of teaching in the public schools. Whatever his principal interest may be or wherever his principal ability may lie he desires to remain cognizant of the activities of those who are working alongside him in the system of public education. This same teacher is as much interested in the choral program if he is an instrumentalist as would the choral teacher be in the band or orchestra program of the school in which he is teaching. / Typescript. / "August, 1955." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music Education." / Advisor: Robert L. Briggs, Professor Directing Paper. / Includes bibliographical references (leaves 28-29).

No description available.

Thesis (M.Mus.)-- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: Of an inter-disciplinary nature, this thesis examines certain pertinent psychological aspects with regard to one-on-one instrumental teaching at the tertiary level. It is apparent that this area has not been the focus of much investigation. However, in recent years, together with research into new, forward-thinking philosophies in music education, there has been an examination of some psychological aspects pertaining to instrumental teaching by researchers such as Mackworth-Young (1990), Kennell (2002), and Creech & Hallam (2003). Although most researchers have focused primarily on students of school-going age, more recently attention has begun to be given to tertiary level instrumental teaching. There are many ways to approach one-on-one instrumental teaching. There is no doubt that these have been tried and tested, and, in their own way, have been successful. They range from the traditional to the master-apprenticeship model, the latter most commonly used in university music departments. While it is not the purpose of this thesis to discuss pedagogical principles per se, the researcher proposes a student-centred model based on humanistic trends in psychology, with particular reference to Rogers. This model emphasises the importance of the teacher/student relationship and a holistic view of students. In addition, the developmental stage of university students is investigated in order to provide more insight and understanding of students’ place in the life cycle. Such psychological knowledge can equip teachers with skills, which would assist them to deal with sensitive issues that may be beyond their common sense and expertise. Consequently, the application of these psychological principles to instrumental teaching at the tertiary level is investigated by examining both the teacher/student relationship and a student-centred approach in the studio. A student-centred focus is one where the teacher has a facilitative function. Such a teacher leads students to be proactive and to be full participants in their own learning process. Consequently students would develop critical thinking and problem-solving skills. At the same time they would learn how to take responsibility for their actions. In such a milieu they are given the freedom to express themselves without fear of reprisal, and are made aware that they are valued and accepted unconditionally as unique individuals. This kind of environment should encourage the development of both cognitive and affective aspects of their personalities while simultaneously being conducive to optimal learning and to the maximising of their full potential at this stage. This researcher believes that the student-centred approach offers a more humanizing view than the traditional view of teaching. It is not the intention of the researcher to reject other styles of teaching, since it is fully appreciated that there are diverse views, which have their merit and should be recognised. However, there is a need to investigate whether student-centred teaching can be used exclusively, or whether it can offer an alternative to more conventional approaches, working independently of or perhaps complementarily to these. / AFRIKAANSE OPSOMMING: Hierdie tesis is van interdissiplinêre aard en eksamineer daarom pertinente psigologiese aspekte met betrekking tot individuele (een-tot-een) instrumentale onderrig op tersiêre vlak. Klaarblyklik het navorsing nog nie veel op hierdie terrein gefokus nie. In die onlangse verlede is navorsing egter wel gedoen oor nuwe, progressiewe musiekopvoedingsfilosofieë, onder andere in verband met psigologiese aspekte van instrumentale onderrig, deur navorsers soos Mackworth-Young (1990), Kennel (2002), en Creech & Hallam (2003). Hoewel die meeste navorsers primêr op studente van skoolgaande ouderdom gefokus het, is daar meer onlangs begin om aandag te skenk aan instrumentale onderrig op tersiêre vlak. Individuele instrumentale onderrig kan op baie maniere geskied. Ongetwyfeld is hierdie metodes deeglik beproef en is hulle, in eie reg, suksesvol. Dit sluit uitgangspunte in wat strek vanaf die tradisionele- tot die meester-vakleerlingmodel. Laasgenoemde is die model wat oorwegend in musiekdepartemente van universiteite gebruik word. Omdat die primêre doelstelling van hierdie tesis nie die bespreking van pedagogiese beginsels as sodanig is nie, stel die navorser 'n studentgesentreerde model, gebaseer op humanistiese tendense in die sielkunde met besondere verwysing na Rogers, voor. Dié model beklemtoon die belangrikheid van die dosent/studentverhouding asook 'n holistiese siening van studente. Daarbenewens word die persoonlike ontwikkelingsfaktore van universiteitstudente ondersoek met die oog op verkryging van insig in en begrip van die plek wat die studentfase in die lewenssiklus beklee. Sielkundige kennis van dié aard kan dosente vaardighede bied wat kan help om doeltreffend om te gaan met sensitiewe kwessies wat dalk buite die grense van ouderwetse gesonde verstand en vakkennis val. Gevolglik word die toepassing van hierdie psigologiese beginsels op instrumentale onderrig op tersiêre vlak nagespoor deur 'n ondersoek na die dosent/studentverhouding en 'n studentgesentreerde benadering in die onderrigstudio. 'n Studentgesentreerde pedagogiese fokus behels dat die dosent 'n fasiliterende funksie moet verrig. So 'n dosent lei studente om pro-aktief te wees en om volledige deelnemers in hul eie leerproses te word. Studente sal gevolglik kritiese denke en vaardighede in probleemoplossing ontwikkel. Terselfdertyd leer hulle verantwoordelikheid vir hul aksies aanvaar. In so 'n milieu word aan hulle vryheid van selfuitdrukking, sonder vrees vir vergelding, gebied en raak hulle bewus daarvan dat hulle, as unieke individue, onvoorwaardelik aanvaar en waardeer word. Hierdie soort omgewing behoort die ontwikkeling van beide die kognitiewe en affektiewe persoonlikheidsaspekte aan te moedig terwyl dit terselfdertyd bevorderlik is vir optimale leer en die maksimale ontplooiing van hul volle potensiaal op hierdie stadium. Hierdie navorser glo dat die studentgesentreerde benadering 'n meer humaniserende gesigspunt bied as dié van die tradisionele onderrrigmodel(le). Die navorser beoog nie om ander onderrigstyle te verwerp nie, want daar is waardering vir die feit dat diverse merietedraende sienings bestaan wat erkenning verdien. Tog bestaan die behoefte om na te vors of studentgesentreerde onderrig eksklusief gebruik kan word en of dit 'n alternatief kan bied vir meer konvensionele benaderings waarmee dit òf onafhanklik òf dalk komplimenterend in verhouding kan staan.