This study traces the development of violoncello bowing technique in France, Austria and Germany between the years 1785-1839. Using evidence obtained from contemporary violoncello methods, periodical reviews, iconographic materials, diaries, letters, musical manuscripts, first-edition performance repertoire, and first-hand research at the Library of Congress, Smithsonian Institute and University of California at Berkeley, the technical methodology of each school is examined. By this process, diverse qualities in the playing manner of J. P. Duport, J. L. Duport, Janson, Tricklir, Breval, J. H. Levasseur, Lamare, Hus-Desforges, Baudiot, Norblin, Vaslin and Franchomme, and that of A. Kraft, Ritter, Romberg, N. Kraft, Dotzauer, Lincke, Bohrer, Merk and Kummer are discernible. Such divergences in bowing technique form the basis of dissimilarities present in French and Austro-German violoncello performance of 1785-1839, a circumstance occasioned by a variety of contributing factors. These issues are segregated for investigation. Following the Introduction, Chapters 1 and 2 provide background information regarding the development of the instrument, bow, and bowing techniques before 1785. Chapter 3 discusses design modifications that occurred to the instrument and bow between 1785 and 1839. Chapters 4 and 5 present the biographies of each of the violoncellists examined, while Chapter 6 discusses the influence of performers from the French violin school and the musician interaction brought about by the French Revolution and subsequent wars. Analysis of the varying performance characteristics of the French and Austro-German schools begins with Chapter 7, this chapter and Chapter 8 surveying the performance methodology of each of the violoncellists included in this study. Chapters 9 and 10 assess the consequential relationship of performance technique to performance repertoire and Chapter 11 summarizes the findings of the accomplished research. These findings detail differences in the performance methodology of the French, Austrian and German violoncello schools in the period 1785-1839. The variants evinced include the manner in which the bow and instrument were held, the type of bowing techniques incorporated into the performance repertoire of each nationality and the method of their execution, the way in which the violoncello's varying sonorities were exploited, and the regard for sound quality and volume by performers of each school. / Subscription resource available via Digital Dissertations only.

This study traces the development of violoncello bowing technique in France, Austria and Germany between the years 1785-1839. Using evidence obtained from contemporary violoncello methods, periodical reviews, iconographic materials, diaries, letters, musical manuscripts, first-edition performance repertoire, and first-hand research at the Library of Congress, Smithsonian Institute and University of California at Berkeley, the technical methodology of each school is examined. By this process, diverse qualities in the playing manner of J. P. Duport, J. L. Duport, Janson, Tricklir, Breval, J. H. Levasseur, Lamare, Hus-Desforges, Baudiot, Norblin, Vaslin and Franchomme, and that of A. Kraft, Ritter, Romberg, N. Kraft, Dotzauer, Lincke, Bohrer, Merk and Kummer are discernible. Such divergences in bowing technique form the basis of dissimilarities present in French and Austro-German violoncello performance of 1785-1839, a circumstance occasioned by a variety of contributing factors. These issues are segregated for investigation. Following the Introduction, Chapters 1 and 2 provide background information regarding the development of the instrument, bow, and bowing techniques before 1785. Chapter 3 discusses design modifications that occurred to the instrument and bow between 1785 and 1839. Chapters 4 and 5 present the biographies of each of the violoncellists examined, while Chapter 6 discusses the influence of performers from the French violin school and the musician interaction brought about by the French Revolution and subsequent wars. Analysis of the varying performance characteristics of the French and Austro-German schools begins with Chapter 7, this chapter and Chapter 8 surveying the performance methodology of each of the violoncellists included in this study. Chapters 9 and 10 assess the consequential relationship of performance technique to performance repertoire and Chapter 11 summarizes the findings of the accomplished research. These findings detail differences in the performance methodology of the French, Austrian and German violoncello schools in the period 1785-1839. The variants evinced include the manner in which the bow and instrument were held, the type of bowing techniques incorporated into the performance repertoire of each nationality and the method of their execution, the way in which the violoncello's varying sonorities were exploited, and the regard for sound quality and volume by performers of each school. / Subscription resource available via Digital Dissertations only.

This study traces the development of violoncello bowing technique in France, Austria and Germany between the years 1785-1839. Using evidence obtained from contemporary violoncello methods, periodical reviews, iconographic materials, diaries, letters, musical manuscripts, first-edition performance repertoire, and first-hand research at the Library of Congress, Smithsonian Institute and University of California at Berkeley, the technical methodology of each school is examined. By this process, diverse qualities in the playing manner of J. P. Duport, J. L. Duport, Janson, Tricklir, Breval, J. H. Levasseur, Lamare, Hus-Desforges, Baudiot, Norblin, Vaslin and Franchomme, and that of A. Kraft, Ritter, Romberg, N. Kraft, Dotzauer, Lincke, Bohrer, Merk and Kummer are discernible. Such divergences in bowing technique form the basis of dissimilarities present in French and Austro-German violoncello performance of 1785-1839, a circumstance occasioned by a variety of contributing factors. These issues are segregated for investigation. Following the Introduction, Chapters 1 and 2 provide background information regarding the development of the instrument, bow, and bowing techniques before 1785. Chapter 3 discusses design modifications that occurred to the instrument and bow between 1785 and 1839. Chapters 4 and 5 present the biographies of each of the violoncellists examined, while Chapter 6 discusses the influence of performers from the French violin school and the musician interaction brought about by the French Revolution and subsequent wars. Analysis of the varying performance characteristics of the French and Austro-German schools begins with Chapter 7, this chapter and Chapter 8 surveying the performance methodology of each of the violoncellists included in this study. Chapters 9 and 10 assess the consequential relationship of performance technique to performance repertoire and Chapter 11 summarizes the findings of the accomplished research. These findings detail differences in the performance methodology of the French, Austrian and German violoncello schools in the period 1785-1839. The variants evinced include the manner in which the bow and instrument were held, the type of bowing techniques incorporated into the performance repertoire of each nationality and the method of their execution, the way in which the violoncello's varying sonorities were exploited, and the regard for sound quality and volume by performers of each school. / Subscription resource available via Digital Dissertations only.

This study traces the development of violoncello bowing technique in France, Austria and Germany between the years 1785-1839. Using evidence obtained from contemporary violoncello methods, periodical reviews, iconographic materials, diaries, letters, musical manuscripts, first-edition performance repertoire, and first-hand research at the Library of Congress, Smithsonian Institute and University of California at Berkeley, the technical methodology of each school is examined. By this process, diverse qualities in the playing manner of J. P. Duport, J. L. Duport, Janson, Tricklir, Breval, J. H. Levasseur, Lamare, Hus-Desforges, Baudiot, Norblin, Vaslin and Franchomme, and that of A. Kraft, Ritter, Romberg, N. Kraft, Dotzauer, Lincke, Bohrer, Merk and Kummer are discernible. Such divergences in bowing technique form the basis of dissimilarities present in French and Austro-German violoncello performance of 1785-1839, a circumstance occasioned by a variety of contributing factors. These issues are segregated for investigation. Following the Introduction, Chapters 1 and 2 provide background information regarding the development of the instrument, bow, and bowing techniques before 1785. Chapter 3 discusses design modifications that occurred to the instrument and bow between 1785 and 1839. Chapters 4 and 5 present the biographies of each of the violoncellists examined, while Chapter 6 discusses the influence of performers from the French violin school and the musician interaction brought about by the French Revolution and subsequent wars. Analysis of the varying performance characteristics of the French and Austro-German schools begins with Chapter 7, this chapter and Chapter 8 surveying the performance methodology of each of the violoncellists included in this study. Chapters 9 and 10 assess the consequential relationship of performance technique to performance repertoire and Chapter 11 summarizes the findings of the accomplished research. These findings detail differences in the performance methodology of the French, Austrian and German violoncello schools in the period 1785-1839. The variants evinced include the manner in which the bow and instrument were held, the type of bowing techniques incorporated into the performance repertoire of each nationality and the method of their execution, the way in which the violoncello's varying sonorities were exploited, and the regard for sound quality and volume by performers of each school. / Subscription resource available via Digital Dissertations only.

This study traces the development of violoncello bowing technique in France, Austria and Germany between the years 1785-1839. Using evidence obtained from contemporary violoncello methods, periodical reviews, iconographic materials, diaries, letters, musical manuscripts, first-edition performance repertoire, and first-hand research at the Library of Congress, Smithsonian Institute and University of California at Berkeley, the technical methodology of each school is examined. By this process, diverse qualities in the playing manner of J. P. Duport, J. L. Duport, Janson, Tricklir, Breval, J. H. Levasseur, Lamare, Hus-Desforges, Baudiot, Norblin, Vaslin and Franchomme, and that of A. Kraft, Ritter, Romberg, N. Kraft, Dotzauer, Lincke, Bohrer, Merk and Kummer are discernible. Such divergences in bowing technique form the basis of dissimilarities present in French and Austro-German violoncello performance of 1785-1839, a circumstance occasioned by a variety of contributing factors. These issues are segregated for investigation. Following the Introduction, Chapters 1 and 2 provide background information regarding the development of the instrument, bow, and bowing techniques before 1785. Chapter 3 discusses design modifications that occurred to the instrument and bow between 1785 and 1839. Chapters 4 and 5 present the biographies of each of the violoncellists examined, while Chapter 6 discusses the influence of performers from the French violin school and the musician interaction brought about by the French Revolution and subsequent wars. Analysis of the varying performance characteristics of the French and Austro-German schools begins with Chapter 7, this chapter and Chapter 8 surveying the performance methodology of each of the violoncellists included in this study. Chapters 9 and 10 assess the consequential relationship of performance technique to performance repertoire and Chapter 11 summarizes the findings of the accomplished research. These findings detail differences in the performance methodology of the French, Austrian and German violoncello schools in the period 1785-1839. The variants evinced include the manner in which the bow and instrument were held, the type of bowing techniques incorporated into the performance repertoire of each nationality and the method of their execution, the way in which the violoncello's varying sonorities were exploited, and the regard for sound quality and volume by performers of each school. / Subscription resource available via Digital Dissertations only.

Master of Music / Department of Music / Frank C. Tracz / The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Matthew S. Bradford. The recital, performed by the Clay Center Community High School Band, was given in the Martyn/Snodgrass Auditorium of Clay Center Community High School on Monday, January 29, 2007 at 7:30 PM. The repertoire included Yorkshire Ballad by James Barnes, La Virgen De La Macarena arranged by Charles Koff, Provenance by Robert W. Smith, Nessum Dorma arranged by George Hattendorf, and Brighton Beach March by William Latham. This document contains theoretical and historical analysis, and outlines the procedures of planning and performing the graduate conducting recital.

Master of Music / Department of Music / Slawomir Dobrzanski / This Master's report encompasses analysis of the four works performed on November 14th, 2007 for the author's Master's recital. The analysis was based on the author's experience with the pieces. Many sources were utilized to discuss composers' biographies and background information of the works. The compositions are Ludwig van Beethoven's Piano Sonata in F major, Op.10, Franz Schubert's Sonata in A major, D. 664, Fryderyk Franciszek Chopin's Nocturne in F sharp major, Op. 15, and Sergei Prokofiev's Piano Sonata No.3 in A minor.

Master of Music / Department of Music / Kelvin T. Kerstetter / CHRISTOPHER ROBERT NICHOLS 138 Years of the Clarinet: Program Notes for a Master's Clarinet Recital of Works by Reger, Smith, Donizetti, Muczynski, and Schumann (Under the direction of Tod Kerstetter) This study provides a stylistic and structural analysis of Max Reger's Sonata in B-flat for clarinet and piano, Op. 107, William O. Smith's Five Pieces for Clarinet Solo (1959), Gaetano Donizetti's Primo Studio for solo clarinet (1821), Robert Muczynski's Six Duos for flute and clarinet, Op. 24, and Robert Schumann's Soiréestücke for clarinet and piano, Op. 73. This study contains five chapters, one devoted to each piece. Chapters include the composer's biographical information, harmonic and structural analyses, performance considerations, date of completion, premiere, dedication or commission information, and publication information. INDEX WORDS: Clarinet, flute, piano, woodwind, chamber music, Donizetti, Muczynski, Reger, Schumann, Smith, performance.

Master of Music / Department of Music / David A. Littrell / This document contains an overview of the music performed in my graduate cello recital. Included is biographical information about the composers, historical background, theoretical analysis, stylistic and technical considerations. The recital was given at 5:45 p.m., April 28, 2008, in All Faiths Chapel, Kansas State University with pianist William Wingfield. Program: Sonata in F Major for Piano and Violoncello, Op. 5, No. 1, by Ludwig van Beethoven, Concerto in B-flat Major for Cello and Piano, by Luigi Boccherini, ed. by Friedrich Grützmacher, and Suite No. 3 for Unaccompanied Cello in C major by Johann Sebastian Bach. Also included is an in-depth look at the Suite for Unaccompanied Cello in C-sharp Minor, which was performed by David Littrell at a recital given at 5:45 p.m., May 6, 2008 in All Faiths Chapel, Kansas State University. This recital featured works by Michael V. Inman. Program: Short Pieces for Trumpet, Bass and Percussion, Elegie for Anyone, Matrix I, and Suite for Unaccompanied Cello in C-sharp Minor.

Master of Music / Department of Music / Frank C. Tracz / The following report is research and analysis of major wind band literature for the Graduate Conducting Recital performed by the Kansas State University Wind Ensemble on March 13th, 2011 under the direction of Lyle Sobba. The repertoire for the concert was comprised of the following pieces: Funeral March for Brass Choir by Edvard Grieg, Dance Mix by Rob Smith, and An Original Suite by Gordon Jacob. This examination, through thorough research and theoretical analysis, is a compilation of the documents created to effectively rehearse the compositions. The report also contains documents pertaining to the planning and executing of the Graduate Conducting Recital.