Thesis (D.M.A.)--University of North Texas, 2001. / Includes 8 concert and recital programs (1997-2001). Accompanied by recital, recorded Sept. 6, 2001. Includes bibliographical references (p. 100-107).

Thesis (Ph. D.)--Ohio State University, 1942. / Includes bibliographical references (leaves 362-398). Available online via OhioLINK's ETD Center.

No description available.

Master of Music / Department of Music / Frank Tracz / The following report is a comprehensive analysis of two works for wind band and one work for brass ensemble, prepared by Adam Ladd. The report was completed during the Spring semester of 2014 and culminated with live performances of each piece by the Kansas State University Concert Band and Brass Ensemble with Adam Ladd conducting. Audio and video recordings of the conducted performances can be found within the K-State Research Exchange database. The following report includes three comprehensive Unit Studies or Teacher Research Guides in the format that is described in the Teaching Music Through Performance in Band book series. The report also includes three Tracz Analysis Grids in the format that is found in The Art of Interpretation of Band Music. The examined pieces are as follows. Toccatta for Band, by Frank Erickson, Mutations from Bach, by Samuel Barber, and Nobles of the Mystic Shrine, by John Philip Sousa, arranged by Philip Sparke.

This dissertation provides a guide to John Philip Sousa's operetta El Capitan through investigating its historical significance, compositional distinctives, and performance practice. Chapter one introduces the nature and scope of the work by presenting a statement of the problem, the need and significance for the study, and its delimitations.The historical section of this document traces the genesis and process of the actual composition of the work, including identifying pieces borrowed from other Sousa works as well as consideration of Sousa's sketchbooks and other sources for compositional techniques. This section also presents a synopsis and performance history of the operetta, as well as biographies of the composer, lyricist, librettist, and major stage performers.The second part of the dissertation explores Sousa's compositional techniques and how harmonic, melodic and rhythmic considerations advance the plot of the operetta and illuminate character motivation. A comparison is made between the original and published scores for discrepancies.The performance guide includes interviews with key personnel involved in the 1973 Minnesota Opera production of El Capitan. This section closes with an appraisal of the strengths, weaknesses, and potential for successful revival of the work.The appendices provide information on El Capitan in print and recording, the original libretto, copies of programs from significant productions of the operetta, a partial listing of performances of the work between 1970 and 1994, and a description of the roles by voice type. The appendix also includes a transcription of the stage directions found in a stage manager's guide to El Capitan located in the Tams-Witmark collection at the University of Wisconsin. / School of Music

The colorful history of Mormon polygamy has many interesting stories to tell, and one of the most interesting is that of Rev. Dr. J. P. Newman's debate with the Mormon Apostle Orson Pratt on "Does the Bible Sanction Polygamy?" This debate was held at the New Tabernacle in Salt Lake City, Utah, on August 12, 13, and 14, 1870. Newman was the Chaplain of the United States Senate and one of the foremost preachers of Washington, D.C. His appearance in Salt Lake City to debate the question of polygamy was a national topic. Probably never before, nor since, has so much been said in such a short time by non-Mormon presses on a question respecting Mormonism. And never before, as far as the author has been able to discover, has a chaplain of the Senate engaged in a public debate of such wide-spread interest.

For over one hundred years, the music-going public has reflected on the life and influence of America's “March King,” John Philip Sousa. His popularity as a bandleader was unprecedented, and his reputation as an entertainer captivated the imagination and intrigue of a nation. Sousa's fame was attained through the high standards showcased by his unparalleled concert organization, the Sousa Band. He is interminably linked to the march, and for his seventy-seven years he proved to be its prolific and outspoken champion. Sousa's songs, however, were among his favorite works, and their presence on concert programs reinforced a variety of programming that was the hallmark of his success. The Sousa Band served as a cultural and musical ambassador, and annual transcontinental tours brought music to people where they lived. Sousa's songs were highly anticipated concert features, and were presented by soprano soloists known as the “Ladies in White.” A chamber winds instrumentation, rather than employment of the full-forces of the Sousa Band, allowed for an appropriate musical balance between instruments and voice. The “Forgotten Songs of John Philip Sousa Project” involved the research, editing, and performance of songs housed in the Sousa Archives for Band Research at the University of Illinois. Three songs discussed in this study, “Maid of the Meadow,” “The Snow Baby” from The Bride Elect, and “I've Made My Plans for the Summer” have been edited and performed in their intended setting for chamber winds and soprano. The songs in the Sousa collection resonate with a quintessential essence that recalls an American spirit and artistry that are closely linked with John Philip Sousa and his legendary band.

Questa tesi si occupa di percorrere il percorso di evoluzione del King Lear attraverso due secoli e mezzo di adattamenti teatrali e riscritture. Prende in esame gli adattamenti di Nahum Tate, David Garrick, George Colman, John Philip Kemble, Edmund Kean e William Charles Macready. La tesi propone anche l’analisi del melodramma di W.T. Moncrieff nonché i burlesques di John Chalmers, Joseph Halford e C.J. Collins, e Frederick Marchant. / This doctoral thesis focuses on the evolution of the story of King Lear through two centuries and a half of theatrical history. The research is concentrated on the adaptations proposed by Nahum Tate, David Garrick, George Colman, John Philip Kemble, Edmund Kean and William Charles Macready. The analysis also takes into considerations some rewritings such as the melodrama written by W.T. Moncrieff and the burlesques produced by John Chalmers, Joseph Halford and C.J. Collins, and Frederick Marchant.