published_or_final_version / abstract / Music / Master / Master of Philosophy

Photocopy of typescript. / Digitized by Kansas Correctional Industries

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Typescript (photocopy). / Digitized by Kansas Correctional Industries

No abstract available. / Dissertation (MMus (Performing Art))--University of Pretoria, 2006. / Music / unrestricted

A study of selected chance and indeterminate piano pieces was made with a two-fold purpose: (1) to provide an intermediate stage between the composition and performance of the selected works and (2) to illustrate the diverse ways spontaneity may be invoked. The investigation centered on three points: (1) the problems the performer might encounter in examining the pieces, (2) implications of the instructions and (3) possible realizations of the score. While each score examined showed a slightly different approach to chance or indeterminacy, the pieces within the two categories were seen to exhibit common features. Generalizations were made in three broad areas: (1) the instructions in the scores, (2) the notation and (3) possible solutions. The instructions in the indeterminate scores were found to be relatively straightforward; the performer is made aware of his choices or alternatives and manner of performance is discussed. Instructions in chance works are less explicit; the performer is not directed to any one solution. Some explanation of the notation is given and the performer is led to discover how extensive his freedoms are. Indeterminate works on the whole are found to use traditional notation. The notation may be altered in some way, but retains a resemblance to its traditional source. Chance notation is very diverse, but three general categories exist: (1) works using traditional notation, (2) works using traditional and non-traditional (graphic) notation and (3) works using only graphic notation. The possible solutions of indeterminate works are concerned with either the juxtaposition or the metric relationship of material. The degree to which the choices are guided varies in the works discussed. Possible solutions of the chance works involve interpretation of notation and various ideas presented in the instructions. The performer must respond in an individual way, drawing on his own ideas. In general, analyses of the works illustrated some features that might be expected in other chance and indeterminate works. / Arts, Faculty of / Music, School of / Graduate

No description available.

This dissertation proposes a strategy for training indigenous youth ministers in Singapore as a means to reach and disciple Singaporean youth. Chapter 1 defines the problem of Singaporean Baptist youth ministry and argues that current needs could be met by training indigenous youth ministers. Chapter 2 provides the historical and cultural background of Singapore. The characteristics of the church in general, as well as the Baptist church specifically, are explored. Chapter 3 analyzes the major global changes currently directing the shape of youth cultures worldwide. I assert that, in the same way that Singaporean youth are greatly influenced by the practices and lifestyles of the indigenous adults, they are also affected by ubiquitous global forces. Chapter 4 is entirely focused on youth culture in the Singaporean context. Singaporean youth culture is compared and contrasted with characteristics of both global youth culture and indigenous adult culture. Chapter 5 explores the history of youth ministry in Singapore. There is consideration of both church-based and parachurch youth ministries. The Baptist church's missed opportunities to reach out to youth and their current desire to take the necessary steps for student evangelism are highlighted. Chapter 6 proposes the missiological principles necessary for the justification of a cross-cultural youth ministry training program. Subjects discussed include the use of buildings, the strategy of multiplication, problems of dependence upon foreign leadership, and the importance of implementing a cross-cultural approach to reach youth. Chapter 7 proposes specific strategies to train indigenous youth ministers in Singapore on an informal basis. After the strategies of Youth Ministry International and Sonlife are examined, specific methods of informal training through the Singapore Baptist Convention are discussed. In chapter 8, I present a model of formal training that could be established at the Baptist Theological Seminary of Singapore. The model includes mandatory internships and a list of classes necessary to make up an undergraduate youth ministry major. Chapter 9 contains the conclusion of the dissertation. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

published_or_final_version / Music / Master / Master of Philosophy

The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositional "chain reaction" occurs. / Chapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types. / Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.