<p>This thesis examines aesthetics, sonic characteristics, and performance practices of zydeco music as heard in south Louisiana today. The first chapter describes the roles of instruments in a zydeco band, focusing specifically on the importance of the kick drum and the snare drum. It also details the evolution of the modern zydeco sound and how certain instruments, their modifications, and their timbres came to characterize the style especially prevalent among a group of artists who play for zydeco trail rides. The second chapter examines the tempo of modern zydeco music through quantitative analysis of musical recordings. This chapter also elucidates the use of beat patterns and drumming techniques within the genre, providing evidence for a current preference for the boogaloo beat over the on-the-one and the double beats. The third chapter discusses sonic goals and values of the sound engineer in zydeco music in live performance. This chapter also includes analysis of the frequency spectrum profiles of live zydeco recordings which depict how sound reinforcement practices, instrument modifications, and playing techniques discussed in the thesis are manifested in these performances. Research methods employed for this thesis include interviews with zydeco musicians, empirical analysis of live musical recordings, and examination of spectrograms.

<p> Mozart&rsquo;s concert aria <i>Ch&rsquo;io mi scordi di te</i> K. 505 bridges the genres of piano concerto and opera seria aria by combining elements of sonata rondo, sonata concerto, and ritornello. Mozart&rsquo;s experimentation with Classical form emerging in the late eighteenth-century is characterized by unique transitions and retransitions, surprising modulations to secondary keys, and polarization of tonic and dominant tonalities. K. 505, a two-tempo rondo for soprano with piano obbligato, is the only one of its type in Mozart&rsquo;s oeuvre and shares many of the same ritornello form and dialogue between the soloist and the orchestra found in Mozart&rsquo;s piano concerti. Composed as a duet for himself, an accomplished pianist, and his close friend Nancy Storace, a highly regarded opera singer, as part of her farewell concert in Vienna, K. 505 highlights their virtuosic abilities celebrating artistic kinship. </p><p> After establishing the historic contexts for its composition, this study applies the theories and models developed by James Hepokoski and Warren Darcy (2006), Martha Feldman and Rosa Cafiero (1993), John Irving (2003), and Simon P. Keefe (2001) in order to analyze K. 505 as a work in a composite genre utilizing compositional techniques later associated with more conventional applications of sonata-form. K. 505 is one of several compositions rooted in Mozart&rsquo;s tonally adventurous <i>Idomeneo</i> (1781/1786). An analytical comparison of K. 505 with related works&mdash;the concert aria <i> Non piu tutto ascoltai&hellip;non temer amato bene</i> K. 490 for soprano and violin obbligato, a replacement aria in the revised <i>Idomeneo</i> (1786) and the Viennese piano concerto no. 25 in C Major K. 503 (1786) demonstrate how Mozart&rsquo;s syncretic genres played a part in the creation and expansion of the maturing conventions of sonata-form in the late eighteenth-century. </p><p>

Thesis (Ph.D.)--Boston University / The threefold problem was to determine (1) the characteristics of style of English brass ensemble music, (2) the significant stages of the developmental of the brass instruments, and (3) the contribution made by the medium to English musical culture. The methods of historical inquiry were employed for the first part of the study which traces the development of the English brass instruments and ensemble practices. The methodology used for the second half of the dissertation which is devoted to the stylistic analysis of selected English brass compositions, was as follows: The brass music selected was examined on the basis of three aspects of musical style: overall form, internal structure and sonority [TRUNCATED]

Scholarship concerning the importance of understanding audiences and venues for music has developed a great deal over the last two decades. This thesis examines one element of this research: the importance of the venue as a space for culture. The Royal Albert Hall, a world-famous but little- understood venue, acts as case study for this text. Through a mixed-methods approach, this thesis seeks to answer four questions concerning the relationship between a public space and the events it hosts in the case of the RAH explicitly: What factors have affected the identity of the RAH as a public venue? How have these changed during the Hall's existence? How do these factors affect the events which the Hall hosts? Does a space affect what happens inside it? These questions will allow us to gain a deeper understanding of how a fixed cultural space can be repeatedly reshaped by multiple, often overlooked, factors as well as the extent to which these factors can affect the identity of a venue.

In recent decades, the pianism of Robert Schumann's compositions has increasingly gained recognition. What was previously seen as dense and mid-keyboard centric is now recognised as ground-breaking in terms of sonorous invention, informed by an intimate understanding of the instrument and its playing techniques. Yet, as pianist Schumann has received little credit, primarily due to a short-lived and relatively unsuccessful career. This thesis aims to explore this seeming paradox. I shall argue that Schumann developed rarely discussed concepts of imagined sound and tactile feedback during his days as aspiring pianist (1828-1831), and that these became integral to the pianistic style of his earliest published compositions. Following a general overview of the historical and biographical contexts for this study, I will trace Schumann's piano practice to establish his overall artistic aims and the primacy of sonority in this regard. This leads to an investigation of his ideals of tone to locate Schumann within prevailing schools of piano playing and of piano making around 1830. Acknowledging his comprehension of playing mechanics, I observe that during an 1831 crisis which preceded his much-debated hand injury, his technique suffered from a series of insurmountable issues relating to the right hand. Disabled as performer, Schumann realised his virtuoso aspirations in his capacity as composer. Two case studies featuring the Abegg Variations op. 1 and Papillons op. 2 demonstrate his use of sound-audible and imagined-to elevate the mechanical virtuosity of piano playing into a virtuosity of the imagination. Not only does this demonstrate a transfer of sound concepts from performance to composition; it offers a timely reassessment of Schumann's pianistic merits and presents new interpretational paths for future performances of his piano music.

No description available.

<p> American composer Charles Ives was first and foremost a bandsman. Having been raised in the band world by his father, his first works were for band. Though only four of Ives's original works for band survive, many of his other works have been transcribed or arranged for band. Among these <i>"Country Band" March</i> is unique. Originally written between 1904-05 for theater orchestra, this work chronicles the events, circumstances, and realities of Ives's experience in the "band world." Ives's use of polymeter, polytonal passages, and multiple layers of rhythm, pitch, texture, distinguishes it as among the first of Ives's instrumental works to do so. Additionally, these characteristics provide considerable performance challenges for conductors and their ensembles. This study provides an overview of <i>"Country Band" March </i> including historical context, stylistic considerations, and rehearsal strategies. An exploration of the historical context will allow the conductor and ensemble member to understand the 19th-century band and thus more accurately perform the nuances Ives uses to portray these "country bands." It will also inform the conductor's ability to make accurate stylistic choices. A discussion of significant performance challenges and possible solutions to these challenges allows a more diverse level of ensembles to perform the work. Thus,<i> "Country Band" March</i> will be appreciated by more conductors and ensembles as among the best works for band.</p>

There are fifty-one instrumental pieces by Philips, many of which occur in versions for ensemble, keyboard and lute. The sources have a wide geographical and chronological span. This research is based upon an extensive first-hand examination of the sources of Philips's instrumental music, and a detailed comparative study of the textual variants of each piece. The thesis divides into three parts. In the first, a biographical chapter relates Philips's instrumental music to the changing nature of his employment. Then the main sources of his instrumental music, the manuscripts copied by Francis Tregian, are discussed at length. The remaining keyboard sources are considered, followed by consort and lute sources. In Part 2 the technique of intabulation is shown to be central to Philips's keyboard style. A distinction is made between arrangements made by Philips of his own works, those made by him of other composers' works, and settings of his music made by others. A case study of the 'Dolorosa Pavan' is used to illustrate how widely Philips's music was disseminated, and allows us to establish a stemma of sources which helps us to elucidate - and improve - our understanding of their inter-relationships. A second case study attempts to establish the origins of the pavan dated by Tregian to 1580: the original 'model' on which the keyboard piece is based has not survived. The thesis ends with an attempt to place Philips's instrumental repertory in the context of his contemporaries, using Philips's music as a 'touchstone' to refer to relationships (mostly stylistic) with other composers. Part 3 comprises transcriptions of Philips's instrumental pieces. The texts of each source for a piece are given in parallel with the minimum of editorial adjustment: Part 3 is intended to be a reference tool, not an edition.

Thesis (Ph.D.)--Boston University / Very little is known to date of the musical life in America during the transitionary period extending from roughly the last quarter of the eighteenth century through the first quarter of the nineteenth century. Musical life in New England would seem to have started with psalmody in the eighteenth century and then have skipped to public school music in the late 1830's, with a few native composers and itinerate singing masters bridging the two eras. However, the larger communities bordering the whole eastern seaboard developed an urbane society which readily sought to emulate English Continental musical life. Salem, during this transitionary period, was the second largest community in Massachusetts and one of the major seaports in America. As a direct result of maritime commerce, Salem became one of the wealthiest towns in America; and, as such, experienced a sophisticated society which actively supported a musical life, equal in quality to almost any in America. It was the purpose of this dissertation (1) to present a detailed picture of the musical life in Salem, Massachusetts, from the years 1783 to 1823; (2) to identify the significant musical events, personalities, and musical organizations existing during this period, and by so doing; (3) to emphasize a facet of musical performance during this period of American History. [TRUNCATED]

Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01