“The Art of Phrasing” is a chapter from Arban’s Complete Celebrated Method for the Cornet (published in 1864) that contains a selection of 150 melodies from Classical and early Romantic works. This section of Arban’s method was necessary for a new generation of cornet and trumpet players to learn melodic phrasing and style. A larger part of the trumpet solo repertoire was written for the clarino register or composed in fanfares due to the limitation of the valveless trumpet. The newly chromatic cornet grew to be a prominent solo instrument in symphonies and wind bands by the mid 19th century, and Arban's “Art of Phrasing” instructed players in musical style. Due to today’s vast number of musical genres, it is unlikely that present day students will be exposed to the melodies of “The Art of Phrasing.” With advancements in music streaming technology and with increased accessibility to countless recordings via the internet, trumpet players are able to access recordings of the melodies. However, there are errors and omissions in the chapter that prevents students from finding recordings with ease. This dissertation presents a new compilation of melodies organized by musical period from medieval to modern day, complete with proper title, composer name, chronological information, genre, and location within the selected work. In order to help students distinguish between musical styles, a brief description of characteristics from each musical period is provided, including information on the function of music in society, performance practice, and compositional trends in rhythm, melody, harmony, and expression.

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The purpose of this investigation is to delineate the characteristics of the jazz rhythmic quality known as swing, and to illustrate these characteristics through transcription and analysis of improvisatory musical examples from model jazz recordings. The meaning of the term swing is explored through examination of publications addressing jazz rhythm, resulting in a compiled list of the characteristics of swing. Two studies follow which investigate the rhythmic techniques of jazz performance in relation to these characteristics. In the first study, five improvisations by jazz masters Oscar Peterson, Wynton Kelly, Wynton Marsalis, and Marcus Roberts are transcribed and analyzed. In the second study, excerpts from a contemporary jazz recording by the University of Texas Faculty Jazz (On The Cusp, 2007) are transcribed and analyzed for the purposes of measuring timing features, including steadiness of beat, rhythmic asynchronies between instruments, and swing ratios. Findings support the compiled characteristics of swing rhythm, and also suggest generalities regarding how jazz musicians interpret time feel, such as accompanying instrumentalists exhibiting a closely synchronized time feel, soloists frequently playing behind the beat of accompanying rhythm sections, and soloists performing eighth notes that are often more even than the eighth notes of accompanying ride-cymbal patterns. / text

In this thesis I investigated how four student conductors made musical meaning from their scores in rehearsals with their peers and the mediating role that verbal language played in that process. Rosenblatt's (1978, 1994) transactional theory of the literary work provided a framework for conceptualizing the performed musical work as a musical event. Halliday's (1975, 1978, 1985) social theory of language use, particularly his notion of 'register' served as the framework for interpreting the intended meanings of conductors' utterances during rehearsals, and for understanding the dialogic nature of language use. Vygotsky's (1962, 1978) socio-psychological theory of the interdependence of thought and language framed my interpretation of the kinds of learning that might take place when student conductors use verbal language to shape performances of musical works. / I transcribed 12 videotaped practica, analyzed the transcripts, and interpreted the function and focus of the student conductors' utterances. The findings revealed that the students selected formal and expressive elements for attention, that they used proposals and appraisals to shape these elements in a variety of rehearsal contexts, that they used verbal language to explain, explore, and clarify their musical thinking within and beyond rehearsals. / I concluded that the student conductors built up the sense of the musical work with the players by selectively attending to the musical elements they deemed to be musically valuable, and that their verbal language served a mediating function for them both as shapers and as learners of musical ideas. Although there were qualitative differences how they engaged with their scores, and in their use of verbal language, the processes by which they engaged in construction and comprehension of musical meanings were the same and their verbal language played the same role. / The study led to the postulatation of three socially situated theoretical constructs that are relevant to a general theory of music teaching and learning: a construct of a transactional theory of the musical work, a construct of a 'rehearsal register' and a construct of the interconnectedness of verbal language and the formation of musical concepts and musical knowledge.

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Digitized by Kansas Correctional Industries

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Despite the many innovative contributions made toward the improvement of violin playing and teaching in the twentieth century, there is an abundance of pedagogy and musical literature which continues to propagate "old school" thinking. Many editions of violin music from the late nineteenth and early twentieth centuries are still in print and do not present to student violinists the technical or aesthetic possibilities now considered by recognized artists. Consequently, these flawed versions of the repertoire hinder the development of aspiring violinists.Whether or not an edition is good, editorial notations reflect the violinistic idiosyncracies and peculiarities of individuals and should thus serve only as sources for reference and study. This is because the violinist's perception of and reaction to music would suffer compromise if he were to be unduly influenced by the editings of others. Therefore, it is for the good of his musical growth that he experiment with and discover which interpretive ideas and combinations of bowings and fingerings ultimately bring performances of compositions closest to his conception of them.Although numerous volumes have been written on performance techniques for violin, they usually do not address matters specifically related to deciding bowings and fingerings for given passages of music. Thus, by default, the major texts on editing music for violin might be said to be the books of Carl Flesch, Elizabeth. Green, and I. M. Yampolsky. None of these writings, though, presents both bowing and fingering in a complete and logical sequence of principles and supporting rationales. Conse4uantly, there has been a substantial need for a single volume which thoroughly covers such material in a style suitable for classroom use or for individual study.This presentation of principles for editing violin music is a comprehensive distillation, simplification, and clarification of the beliefs and concepts of others, combined-with those of the author. Systematically grouped and prefaced by rationales, the principles are enunciated in separate chapters on bowings and fingerings and are illustrated by excerpts selected from the violin literature.The author hopes that this approach to editing will facilitate the learning of good editorial practice in violin music and will challenge violinists to continuously seek better bowings and fingerings.The violinist must frequently make alterations in the printed bowing of notes to accommodate the mechanics of playing the instrument and to attain the desired nuance (subtle variation) involving tempo, rhythm, phrasing, dynamics, and tonal coloring. These changes are implemented by the transfer, deletion, or addition of slurs.Bowings considered conventional or "standard" are classified under (a) The Down-Bow Penchants dynamic, tonic, and agogic accents; resolutions; and dynamic gradations; (b) Uniformity of Articulations chords and successions of identical strokes; (c) Compensational Bowings: retaken, combined, and divided strokes; (d) Linked Bowings; for dynamic constancy and bow distribution; (e) Division of Prolonged Strokes: long slurs and long, sustained notes; (f) Oscillation between Strings; rapid alternation and slurred string crossings; (g) Pizzicatos use of the index and middle fingers and thumb."Optional" bowings, which are personal and not essential for efficient performance, are listed as (a) Phrase Accommodation, (b) Melodic Profiling by Slurring, Reslurring, or Separating, and (c) Pulse Dilution.Well chosen fingering reduces or eliminates unnecessary physical tensions, permits velocity of movement with greater accuracy, and promotes maximum expression. As with bowings, fingerings are distinguished by two types: "standard" for efficiency of mechanics and "optional" for personal expression.Principles of standard fingering are grouped in the following sections: (a) Positions, (b) Chromatic Passages, (c) Interval Congruity, (d) Determining Which Positions to Use, (e) Shifting: semitone, contraction, extension, open string, natural harmonic, and alternate finger shifts plus melodic fifths and reduction of shift spans or shift frequencies, (f) String Crossing, and (g) Sequential Patterns.Optional fingerings include (a) Exclusion of the Fourth Finger, (b) Regulation of Timbre, and (c) Portamento.

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