Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Jack F. Masarie; submitted to the School of Music. Title from PDF t.p. (viewed Jul. 20, 2010). Includes bibliographical references (p. 81-87).

Military music in Sweden in early modern times is an understudied area of research. Shawm and oboe playersat Swedish regiments during the reigns of Charles XI and XII have previously not been the focus of aconfined study. This study aims to highlight these musicians and their place within Sweden’s musical life ofthe period. The study comprises five sections looking at different aspects of the shawm and oboe players work andlife within the military. Theses aspects include employment, work assignments, education, instruments, andrepertoire. Information on these topics was collected from various contemporary sources, e.g. muster rollsand letters to and from the regiments. The study takes the viewpoint that military music was an integral partof noble culture and identity. The study shows that these shawm and oboe players were an important part of Swedish musical lifeand highlights these musicians’ ties to the noble officers. Likewise, it suggests that shawm and oboe playersin Europe were important for the spread and dissemination of music and musical instruments.

No description available.

published_or_final_version / abstract / toc / Music / Master / Master of Philosophy

Thesis (Ph. D.)--Florida State University, 1994. / Typescript. Includes musical score (p. 293-337): Kleine Serenade für Militärorchester (1926) by Ernst Pepping, edited by John C. Carmichael (1990). Includes vita and abstract. Includes bibliographical references (p. 362-391).

The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai's nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China's musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.