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The Kod

This document uses historical research and performance practices in choral music to reveal the meaning of Mozart’s Missa Brevis in C, K. 220. The focus of this research compares the development of Mozart’s composition to the Hungarian Twentieth-century composer, Zoltan Kodaly’s, setting of the Missa Brevis written for choir and organ. The author gives a detailed analysis of both compositions, which further explains the influences and musical nuances of the 18th century Catholic church music. In addition to preparing a choral performance for K. 220, other missa brevis by Mozart are briefly discussed and organized by origin, performing forces, difficulty level, and duration. This analytical approach ultimately reveals that Mozart’s K. 220 serves as a festive and unified model of choral excellence throughout the history of sacred choral music. INDEX WORDS: W.A Mozart, 1756-1791, Missa brevis, K.220, Zoltan Kodaly, 1882- 1897, Spatzenmesse, Masses, Eighteenth- Century church music, Thesis (M.Mu), Choral Conductor’s analysis, Georgia State University, College of Arts and Science

This document uses historical research and performance practices in choral music to reveal the meaning of Mozart’s Missa Brevis in C, K. 220. The focus of this research compares the development of Mozart’s composition to the Hungarian Twentieth-century composer, Zoltan Kodaly’s, setting of the Missa Brevis written for choir and organ. The author gives a detailed analysis of both compositions, which further explains the influences and musical nuances of the 18th century Catholic church music. In addition to preparing a choral performance for K. 220, other missa brevis by Mozart are briefly discussed and organized by origin, performing forces, difficulty level, and duration. This analytical approach ultimately reveals that Mozart’s K. 220 serves as a festive and unified model of choral excellence throughout the history of sacred choral music. INDEX WORDS: W.A Mozart, 1756-1791, Missa brevis, K.220, Zoltan Kodaly, 1882- 1897, Spatzenmesse, Masses, Eighteenth- Century church music, Thesis (M.Mu), Choral Conductor’s analysis, Georgia State University, College of Arts and Science

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Zoltán Kodály’s String Quartet No. 1 in C Minor is one of his earliest compositions. Kodály composed this as a tonal work, emulating the style used by nineteenth century composers. Kodály creates highly polyphonic textures and a complex harmonic language within the C minor tonality. Although this piece is considered tonal, Kodály deviates from the prototypical norms of tonal composition. As in most tonal music, harmonic progressions tend to support the overall tonal syntax. This includes chords, chord progressions, and key areas. The goal of this thesis is to categorize harmonic progressions in the first movement of Kodály’s String Quartet. In order for harmonic progressions to take place at the level of the chord, harmonic function must be present. I will break down the function of each chord by using Daniel Harrison’s scale degree theory from his book Harmonic Function in Chromatic Music. Some harmonic progressions follow a prototypical model that was utilized in common practice music. There are also chords in harmonic progressions that have an altered function—yet are still considered harmonic—which I will call “quasi-harmonic.” Lastly, some progressions are purely linear, and therefore the function is discerned on the macro level.

Within the framework of education of Music Technology for 16-18 year olds there exists a lack of thorough teaching and learning resources sufficient for a broad understanding of the basics of audio and electronic synthesis. This PhD submission outlines the role of the composer in the classroom in addressing this fundamental issue through the development of a curriculum containing pedagogic composition and interactive software. There will be a discussion of the principles of pedagogic methodologies developed by various composers and of the current model of learning provided in Music Technology Alevel. The programming tools used to develop the software are investigated, as well as an exploration into the current learning psychology that informed the curriculum development. This submission consists of a written thesis that accompanies a set of compositions and a multimedia DVD, which includes the software for the CuDAS curriculum. Within this software is contained a presentation of a series of interactive tutorials alongside compositions in the form of scores, recordings and interactive exercises. There is also include written supporting documentation and sound files of techniques and recordings from contrasting genres of music history.

The submission focuses on the performance of violin works that incorporate elements of folk music. It investigates some of the ways in which traditional folk melodies are utilised in violin repertoire and considers the implications for performance. It recognises that when performing music inspired by folk idioms the classical violinist often needs to adopt a different set of technical and musical objectives relevant to the cultural origin of the work. The submission takes the form of two CD recordings with a supporting exegesis. The exegesis discusses those aspects of the performances that stem from the cultural traditions to which the repertoire is related. Due to the broad nature of this topic my investigation was confined to selected works that stemmed from English and Hungarian traditional music. The exegesis examines the relevance of the research and the application of these discoveries in performance. The main focus is the incorporation of traditional Hungarian characteristics in the performance of Bartók’s Rhapsody No 2 for Violin and Piano, and Kodály’s Duo for Violin and Violoncello, Op 7. Discussion then moves to Vaughan Williams’s The Lark Ascending and the differences required to recreate the sound of the traditional English fiddler. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2007

This study examined the Kodaly approach to music teaching and investigated four different approaches to teaching first graders in elementary school to sing on pitch, echo (clap) rhythms, audiate tonal patterns, and audiate rhythm patterns. The approaches were the Kodaly approach, the traditional approach, and two eclectic approaches. One emphasized some of the techniques of the Kodaly approach, and the other emphasized some of the techniques of the Orff approach. The sample for this study consisted of one hundred twenty-one students in five classes from four different elementary schools. Two instruments were utilized: the standardized Primary Measures of Music Audiation (PMMA) by Gordon and the Individual Performance Test (IPT) designed by the investigator. The PMMA had two sections of forty examples each and measured the child's ability to audiate tonal and rhythmic patterns. This test was administered to the children as a group and they recorded their answers on an answer sheet. The IPT was tape recorded and administered individually by the investigator and assistants. It had two sections, rhythm and tonal. The children matched pitches and clapped the rhythms they heard. Responses were tape recorded and evaluated. Pretests were given shortly after the school year began and post-test were given eight weeks later. A completely randomized analysis of covariance was used to analyze the data. It was hypothesized that there would be no difference in the achievement of the children in the different classes to perform the selected skills. Findings revealed that the approach to music teaching does make a difference in the musical achievement of first-graders and their abilities to echo rhythms, match pitches, and to audiate rhythm patterns. The approach to music teaching does not make a difference in the musical achievement of the subjects and their abilities to audiate tonal patterns.