Thesis (M.M.)--University of Rochester, 1934. / Typewritten. Bibliography: p. 162-167. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/3127

Thesis (M.M.)--University of Michigan, 1940.

Thesis (M.M.)--University of Michigan, 1940.

Thesis (Ph. D.)--Eastman School of Music, University of Rochester, 1965. / Typescript. Vita. Includes bibliographical references (pt. 1, leaves 181-184).

Thesis (M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 53-55).

<p> The concept of emergence, and/or emergent properties, is one that has gained resurgence within the realm of various branches of science and the humanities. Emergence is an idea that explains to/for us how dynamical systems, complexes of elements, bodies, and even concepts, begin to exhibit properties and behaviors that are at least seemingly greater than the sum of their parts- how irreducible, novel, complexities arise from constructs of fundamental entities. I argue that in some music of 20th and 21st century American experimentalists, we have music that is under-theorized and lacking in an appropriate contextualization in regards to emergent properties within music. I claim that a careful distinction between indeterminate forms and emergent properties is needed to further develop how we think about these works, and examine them in light of more recent philosophical and aesthetic developments. This paper does not aim to lay out a fully ontology or metaphysics of what emergence is in general, but rather works towards a working definition of a kind of emergence present within the music of various American experimental composers (John Bischoff, Tim Perkis, Chris Brown, David Tudor), and how to apply such a definition of emergence to an aesthetic framework of understanding live electronic music.</p><p>

<p> Absolute pitch (AP) is also referred to as Perfect Pitch. AP possessors are able to identify pitch in any kinds of sound without a reference point. However, Absolute Pitch may hinder possessors in music studies because it can confuse their brain. It is significant to understand that Absolute Pitch is not purely an advantage for possessors. While Absolute Pitch has great impact on possessors, it may bring negative phenomenon to them, which could decrease their learning ability. </p><p> This project&rsquo;s purpose is to examine whether Absolute Pitch is a benefit or challenge in music studies. I will begin my project with archival research to provide background information and facts of Absolute Pitch. It will explain how Absolute Pitch is beneficial and challenging for musicians. Five hypotheses are suggested in the project: (1) Absolute Pitch possessors perform excellently in music dictation. (2) Absolute Pitch possessors value special tone quality. (3) Possession of Absolute Pitch is not always useful and accurate. (4) Absolute Pitch possessors have different perspectives in hearing intervals. (5) Absolute Pitch possessors have difficulty at transposing music.</p><p>

<p> Piano Etudes of Fr&eacute;d&eacute;ric Chopin (1810&ndash;1849) and Franz Liszt (1811&ndash;1886) remain important concert repertoire and indispensable technical studies for serious pianists to this day. Along with their musical inventiveness, the technical requirement is often novel, with new figurations, extreme range as well as extended passages calling for considerable endurance. </p><p> The element of endurance has not been singled out for examination in the literature. To rectify, this paper takes a closer look at the virtuosic etudes from three collections: Chopin's Etudes Op. 10 and Op. 25, and Liszt's 12 <i>Transcendental Etudes</i> (1852) for an analysis of passages requiring endurance, and introduces the Endurance Rating (E.I.) as a factor of duration and strain. </p><p> It is hoped that the conclusion regarding endurance will elucidate the differences and similarities between etudes of Chopin and Liszt, determine the role of endurance in contributing to technical difficulty, and assist pianists in choosing appropriate works that would reduce the risk of injury from excessive strain.</p><p>

Thesis (M.A.)--University of Adelaide, 1987. / Includes bibliographical references (leaves 206-220).

<p> This project report analyzes Eric Whitacre&rsquo;s choral piece <i> When David Heard</i>, a work about grieving the loss of a son, alongside psychologist Elizabeth K&uuml;bler-Ross&rsquo;s five stages of grief. The paper serves to better understand the lamentation of King David in Whitacre&rsquo;s piece by seeing where each of the five stages fit into the process of grief throughout the piece. </p><p> The analysis observes Whitacre&rsquo;s variety of musical devices such as tonal clusters, intermittent silences, and polyrhythms, as a means to describe the stages of grief that David is experiencing. By understanding these different stages of grief within the piece, one can conduct or sing the performance of this piece with better understanding of this grief.</p><p>