François Couperin (1668-1733) was one of the earliest French Baroque composers to merge the Italian style into the French tradition. He had great influence on the development of French Baroque music from the end of the seventeenth century until his death. Couperin's four Concerts Royaux and the ten Concerts Nouveaux (published in 1722 and 1724) were written for the enjoyment of Louis XIV. Those suites were popular in the court before they were published, as they were requested to be performed every Sunday during the years 1714 and 1715 to give pleasure to the king. Rittrato dell'amore is the ninth suite out of the fourteen suites. The purpose of this study is to provide a performance guide and a practical edition of François Couperin's Neuvième Concert Ritratto dell' amore. It also contrasts Italian style and French tradition in the Baroque period, and how Couperin blended both styles together in his Neuvième Concert. In addition, this dissertation summarizes the general principles of Baroque performance practice that one may encounter in Neuviéme Concert, including notes inégales (unequal notes), ornamentation, over-dotting, and other issues. It is especially important for one to understand the performance style of French Baroque music in order to perform these works appropriately, since its notation did not adequately notate rhythmic expectations as traditionally understood and the realization of ornamentations in this period and style is highly specific. The tradition was indeed lost in terms of aural transfer and has been reconstructed through published scholarly work in the last century that is based on treatises of the time. Ongoing scholarly and artistic work should bring us ever closer to the ideals of the period.

The transcriptions of Franz Liszt (1811-1886) and Anton Rubinstein (1829-1894) on Beethoven's "Marcia alla turca" serve as unique examples within the area of transcription since each of these important virtuosos transcribed the movement with drastically different results. Liszt's Capriccio alla turca (1846) is built on Beethoven's thematic materials although it is presented with a greatly embellished accompaniment providing countermelodies, expanded passages, and vigorous rhythmic features. In contrast, Rubinstein's Turkish March (1848) attempts to capture Beethoven's original (1811) as closely as possible adhering to the form and harmonies. Each composer's approach served to showcase new pianistic innovations capturing orchestral sonorities at the piano previously unimagined. This dissertation offers musical insight for two less well-known works from significant pianist-composers which should receive further attention. Additionally, this research provides greater documentation for the compositions of Rubinstein, supplementing the historical accounts of his abilities as a performer. Examination and comparative analysis of each transcription not only illuminates the creative approaches each composer employed in creating his transcription, but also serves pianists wishing to perform these neglected works.

Anhand von drei Untersuchungen, die jeweils als eigenständige Artikel in Fachzeitschriften publiziert wurden, werden unterschiedliche Aspekte der Rolle der Familie auf das Partnerwahl- und Partnerschaftsleben bei türkischstämmigen Personen untersucht. In einem ersten Artikel werden die Determinanten einer familiären Einflussnahme auf die Partnerwahl untersucht. Hierzu werden Hypothesen zum Einfluss des Bildungsgrades, der ethnischen Zusammensetzung des sozialen Netzwerkes und des Geschlechts untersucht. Ein weiterer Artikel untersucht, wie sich die familiäre Einflussnahme auf die Partnerwahl auf die spätere Partnerschaftsqualität auswirkt. Der dritte Artikel hat die familiären transnationalen Netzwerke als Untersuchungsgegenstand. Dabei wird analysiert, wie ein familiäres Netzwerk, das sich über mehrere Nationalstaaten spannt, auf die Wahrscheinlichkeit einer transnationalen Partnerschaft auswirkt.

Presen work deals with Maria Montessori pedagogy and its application in religious education. The goal of the study is to introduce the basic principles of Montessori-pedagogy and point out the use of those principles within the frame of religious education. The theoretical part is concerned with biography of Maria Montessori, her work, antropological background and the basic principles of Montessori pedagogy. Further, it discusses the issues of her work that are either implicitelly or explicitelly related to religious education. Beside this, the practical part of the thesis introduces the work of Italian catechist Sofia Cavaletti, who was inspired by Montessori pedagogy. In 60´s of the last century, Sofia Cavaletti managed a catechetical centre in Rome. She established atriums in several parishes in Rome, in which the methods of Montessori pedagogy were utilized. Subsequently, Godly Play method is mentioned in present work. The method was developed by Jeron W. Berryman, an american theologist and priest of episkopal church, who was inspired by the work of Maria Montessori as well as by the work of Sofia Cavaletti.

Master of Music / Department of Music / Frank C. Tracz / This report contains lesson plans as well as a theoretical and historical analysis of the literature performed in the Graduate Conducting Recital of Veronica Kongs. The recital was held in the Satanta Junior/Senior High School Auditorium in Satanta, Kansas on Tuesday, May 8, 2007 at 7:00 p.m. The recital featured performances by the Junior High and High School Concert Bands. Literature for the Junior High Concert Band included Korean Folk Rhapsody arranged by James Curnow and Riders on the Southern Front by Roland Barrett. The Junior High/High School Concert Band literature consisted of For Thy Courts Above by Ed Huckeby and Of Dark Lords and Ancient Kings by Roland Barrett. This report utilizes two analytical methods, the Larry Blocher/Richard Miles Unit Study model used in the Teaching Music through Performance in Band Books and the Frank Tracz approach of macro-micro score analysis.

In the case of Concerto for Orchestra, Béla Bartók transcribed one of his most emblematic orchestral compositions to his own solo instrument, the piano. This transcription's primary function was to suffice for ballet rehearsal accompaniment for the choreography to be introduced alongside a performance of the orchestral work. György Sándor, Bartók's pupil and pianist, prepared the original manuscript for publication. Logan Skelton, pianist-composer, used this published edition as a point of departure for his own piano arrangement of the same work. György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.

Anhand von drei Untersuchungen, die jeweils als eigenständige Artikel in Fachzeitschriften publiziert wurden, werden unterschiedliche Aspekte der Rolle der Familie auf das Partnerwahl- und Partnerschaftsleben bei türkischstämmigen Personen untersucht. In einem ersten Artikel werden die Determinanten einer familiären Einflussnahme auf die Partnerwahl untersucht. Hierzu werden Hypothesen zum Einfluss des Bildungsgrades, der ethnischen Zusammensetzung des sozialen Netzwerkes und des Geschlechts untersucht. Ein weiterer Artikel untersucht, wie sich die familiäre Einflussnahme auf die Partnerwahl auf die spätere Partnerschaftsqualität auswirkt. Der dritte Artikel hat die familiären transnationalen Netzwerke als Untersuchungsgegenstand. Dabei wird analysiert, wie ein familiäres Netzwerk, das sich über mehrere Nationalstaaten spannt, auf die Wahrscheinlichkeit einer transnationalen Partnerschaft auswirkt.:1 Forschungsgegenstand und Aufbau der Synopsis .............................................................1 2 Partnerwahl im familialistischen Kontext ............................................................................3 3 Partnerwahl nach dem westlichen Liebesideal .................................................................. 7 4 Bildung und andere Determinanten des Partnerwahlmodus ............................................10 5 Partnerwahl im Migrationskontext .................................................................................. .12 6 Partnerwahlmodus und Partnerschaftsqualität ............................................................. ..16 7 Familiäre Netzwerke und transnationale Partnerschaften ............................................... 19 8 Zusammenfassung und Ausblick ...................................................................................... 27 9 Literaturverzeichnis ..........................................................................................................30

Artie Shaw's Interlude in B-flat is unknown to many in the classical clarinet world and remains unperformed by clarinetists, despite its historical importance as one of the earliest Third Stream compositions, the earliest composition of its type in the clarinet repertoire. This prompts the question, why? This document explores four possible reasons for the marginalization of Interlude in B-flat. First, Shaw's historical narrative typically places him within the jazz world and not the classical world. Classical clarinetists may assume a Shaw composition will require a jazz background and experience beyond their abilities, namely improvisation. Second, the instrumentation, string quartet plus jazz combo, is atypical, making it difficult to program. Third, jazz and classical educational worlds do not necessarily overlap or interact, and neither has taken ownership of this Third Stream composition. Lastly, manuscripts, recordings, and other materials for Interlude in B-flat are limited and not readily available. Because Artie Shaw is not only a significant American clarinetist but also an important composer within the Third Stream narrative, Interlude in B-flat should be known and performed. This project aimed to promote the understanding and accessibility of this important and unknown composition to the classical clarinet world by providing an accessible arrangement of the work for clarinet and piano.

Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano reduction to represent the orchestration more faithfully and help pianists work with their soloists more easily. Based on the work of Martin Katz, a prominent collaborative-pianist, I establish four principles for creating a new piano reduction. After scrutiny of the deficiencies of existing piano reductions, I suggest solutions for making the passages in question practical and bringing out the leading voices clearly so that the soloist can join in as easily as playing with an orchestra. To aid in reflecting the orchestral texture that Martinů created, I include abbreviated instrument names in many passages to help pianists to understand how to create balance. I have changed some passages completely to make the sound closer to the orchestral texture. All changes and suggestions are based on the orchestral score and its layout. This simplified and practical piano reduction should help pianists have more enjoyable and more successful collaborations with their soloists.

While he was composing his important orchestral tone poem Finlandia in 1899–1900, Jean Sibelius (1865–1957) made his own piano arrangement of it. The purpose of this study is to compare the piano arrangement and orchestral version and to see further the similarities with Sibelius's other piano compositions from the same time period (1899-1904). Through this study I have found compositional patterns, which are typical for the composer and defined his composition style for piano during his "Kalevala-Romantic" phase. Sibelius's piano style was characterized as unpianistic and bulky by some. However, through my research I can show that with an analysis of certain harmonic structures, subtle use of pedal and correct voicings, his piano texture is indeed very thoughtful and transparent with a clear focus on counterpoint while remaining pianistic and comfortable to play. In order to fully understand the idiosyncrasies of the two versions of Finlandia, a detailed comparative analysis of the piano and orchestral scores is necessary. For this purpose, I primarily used the printed scores of both the piano and orchestral versions. In addition, the manuscript of the piano version of Finlandia was consulted as an important resource. From the orchestra manuscript, only one page has been found. The analysis focuses on the comparison between the textures of both versions, the score and the piano arrangement. I also applied the results of the comparison to the other scores of Sibelius's piano compositions from that time period to show his consistency in his use of the described arrangement techniques. With using the orchestration possibilities of the piano Sibelius's writing allows the instrument to stand completely on its own using all the possibilities of the piano sound while maintaining a highly pianistic texture. The goal of my research is to provide insight to understanding Sibelius's early piano style, introduce some performance practice ideas appropriate to this period, and highlight his smaller-scale works such as the character pieces and songs of this period.