This study is concerned with the understanding as a way to enjoyment of the anti-literal in modern art.1 The work of art is regarded as the locus of various cultural factors--a live product of the vital energies of its age and itself a source as well as a reflection. The analysis of these cultural factors lays no claim to completeness. It seeks merely to indicate in simple language the layman can understand, conditions, forces, and stimuli in the artist's milieu which are potential motivations of his artistic idiom2 and through the examination of those influential factors, to try to discover why the artist chose the anti-literal idoms.

Thesis (Ph.D.)--University of the Witwatersrand, Faculty of Arts, School of Music,1958 / The tribes that fall under the Northern Sotho or Pedi language group are found in the area more or less bounded by Middelburg, Pilgrims Rest, Malopene, the Blaauwberg and Hamanskraal . No print can adequately describe the vital panorama of Pedi life. In surveying the musical practices of the Pedi I soon realised that their music was not an isolated entity but an integral unit of their whole pattern of living, both socially and ceremonially. It is from this essentially ' alive' standpoint, rather than as a scientific analysis of scale systems, etc., that I approached the subject of Pedi music. [Abbreviated Abstract. Open document to view full version] / WS2016

The lecture was given on April 23, 1979. The discussion consisted of an exploration of the history and derivation of the Baroque idiomatic technique for trumpet to which Handel was heir. Consideration for Baroque performance practice is included along with stylistic and formal analyses of the trumpet arias that were performed. Four works were rendered; they were selected on the basis of their adaptability to the recital situation. The first recital was presented on April 24, 1970, and included solo works of Giuseppe Torelli, Geoffrey Robbins, Marcel Poot, Halsey Stevens, and Fanfares Liturgiques by Henri Tomasi which featured Mr. Morley as conductor of a sixteen member brass choir. The second recital, on February 18, 1971, featured solo works by von Oskar Bohme, Roger Goeb, Robert Weast, Merrill Ellis, and the Septet fur Biasinstrumente by Paul Hindemith. The third recital included solo works of Paul Hinderoith, Kent Kennan, Georges Enesco, and Marcel Bitsch, and was presented on August 16, 1973. All of the recitals were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.

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No description available.

Crescent City Tableaux is an original omposition in three movements for wind ensemble that portrays aspects of the city of New Orleans. The fifteen-­‐minute composition uses musical quotation and jazz-­‐influenced styles within an essentially tonal idiom to create a musical tribute to that city. The first movement, “Jackson Square,” introduces melodic and rhythmic motives and sets the tone for the rest of the piece. The second movement, “‘I understand that somewhere it has rained,’” addresses the sadness and anger caused by Hurricane Katrina. The thirdmovement, “Second Line,” celebrates the brass band and Mardi Gras Indian traditions of New Orleans. The accompanying document provides a review of relevant literature for the wind ensemble and symphony band, an analysis of Donald Grantham’s J’ai été au bal and the third movement of Michael Daugherty’s Lost Vegas, and a discussion of the music that is quoted in the work. Analytical essays on each of the three movements discuss structural features, motivic processes, and compositional techniques. / School of Music

This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for accomplishing this. Liszt also frequently transcribed pieces of a particular composer in order to promulgate them by featuring them in his recitals. The Schubert lieder fall into this category. Liszt did not drastically alter the original in these compositions. Indeed, in the cases of "Liebesbotschaft" and "Das Wandern," very little alteration beyond the incorporation of the melody into the piano accompaniment, occurs.Godowsky, in contrast, viewed the transcription as a vehicle for composing a new piece. He intended to improve upon the original by adding his own inspiration to it. Godowsky was particularly ingenious in adding counterpoint, often chromatic, to the original. Examples of Godowsky's use of counterpoint can be found in "Das Wandern" and "Gute Nacht." While Liszt strove to remain faithful to Schubert's intentions, Godowsky exercised his ingenuity at will, being only loosely concerned with the texture and atmosphere of the lieder. "Gute Nacht" and "Liebesbotschaft" are two examples that show how far afield Godowsky could stray from the original by the addition of chromatic voicing and counterpoint. Godowsky*s compositions can be viewed as perhaps the final statement on the possibilities of piano writing in the traditional sense. As such these works deserve to be investigated and performed.

The purpose of this study was to develop a guide to help teach commercial music style imitation, Styles selected were ragtime, dixieland, Whiteman, Goodman, Miller, bop, Berry, Presley, Motown, hard rock, horn band, soft rock, straight ahead big band, Ellington, Basie, country rock, bluegrass, Country-Western, Mantovani, Boston Pops, and Love Unlimited Orchestra. Melody, harmony, rhythm, voicing, instrumentation, form, special effects, performance techniques, electronic alteration, and articulation were discussed for each style. A table summarizing each discussion, and an arrangement and recording of the same melody in each style were included, The guide appears successful, judging from commercial writers' estimations, The work will probably aid writers, performers, researchers, and publishers. Similar works could be done on other commercial and ethnic styles.

The problem with which this investigation is concerned is that of comparing the medieval musical traditions of two of the world's most influential religions. The similarities are discussed in two major categories: the comparison of liturgical texts and ritual, and the comparison of the music appearing in each ritual. This study has one main purpose. That purpose is to demonstrate how, through musical traditions, each religion has developed through the influence of the other. Samples of the liturgies from the musical portions of the services were obtained from prayer books and references dealing with those religions. Investigations of English translations from the Latin and Hebrew revealed a close identity between the two, not only in scriptural uses, but also in prayers and responses. Musical examples demonstrating similar elements in Hebrew and Christian worship were found in the extensive research of A. Z. Idelsohn and Eric Werner. Due to the dispersal of world Jewry, the best examples of Hebrew medieval music were obtained from the most isolated Jewish communities, such as those of Yemen, Musical similarities included modes, melodic formulas, and hymns and songs. This report concludes that the musical portions of the services of Christianity and Judaism in the Middle Ages were strikingly similar, and their subsequent musical development was strongly influenced by their coexistence.

American Indian music and dance traditions unilaterally contain the following three elements: singing, dancing, and percussion instruments. Singing and dancing are of the utmost importance in American Indian dance traditions, while the expression of percussion instruments is superfluous. Louis W. Ballard has composed a piece of music for percussion ensemble which was inspired by the music and dance traditions of American Indian tribes from across North America. The controversy that this presents is relative to the fact that there is no American Indian tradition for a group comprised exclusively of percussion instruments. However, this percussion ensemble piece, Cacega Ayuwipi, does exhibit the three elements inherent to all American Indian music and dance traditions. Cacega Ayuwipi is consistent with American Indian traditions in that the audience must see the instruments, watch the movements of the percussionists, and hear the percussive expressions in order to experience the musical work in its entirety. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection