Many musicians, artists and other creative thinkers often struggle with organizational skills in preparation for events that require detailed planning, notably recital preparation. Musicians often find themselves ill-prepared and must reschedule the event, recycle music that they do not wish to perform, or ultimately perform at a lower standard. Currently, there is no standardized, established model for pianists or other types of musicians to guide them in setting up a recital and successfully executing all of its parts from start to finish. This study, through discussion of the employment of project management principles, aids artists in putting together a performance successfully. Specifically, it explored the planning and execution of all facets of the performance. This study sought to present a guide on the basic steps in planning a successful recital using the established methodology of a business model and applying it to piano performance. The purpose of this study was to demonstrate how project management principles can be applied to recital preparation, planning and execution. The study addressed the returning performer; however, aspects of this study can be used by the student and seasoned professional alike. Results of the study generated an integrated project plan, illustrating the project life cycle of piano performance.

Not so far as the forest -- Reverie -- Insert coin here / text

Master of Music / School of Music, Theatre, and Dance / Anna Wytko / The saxophone is a versatile instrument utilized in a variety of musical styles. Paul Creston’s Concerto for Alto Saxophone and Orchestra, Claude Debussy’s Rhapsodie pour Orchestre et Saxophone, and Edison Denisov’s Sonate pour Saxophone Alto et Piano are among some of the most important, original works for saxophone. The saxophone can also effectively be utilized in music from earlier time periods. For example, the saxophone is capable of producing tonal colors that closely mirror tonal colors associated with string instruments. These parallels make transcriptions of the Six Suites for Solo Cello by Johann Sebastian Bach particularly effective when performed on saxophone. This master’s report, presented as extended program notes, includes biographical information about the composers, a stylistic overview of the selected works, and thoughtful performance considerations.

The twentieth century has seen a tremendous growth in the use of the trombone and percussion instruments in chamber music. Stravinsky, in his L'Histoire du Soldat (1917) and Milhaud, in his La Creation du Monde (1927), helped lay the foundation. Two other works, Ionization (1931) by Edgar Varèse and Toccata (1942) by Carlos Chávez are the first of numerous works for percussion ensemble which have since been composed. So many developments of percussion instruments and their music are being made that many consider the twentieth century to be the "Age of Percussion". The trombone family (alto, tenor and bass) has experienced growth in literature and technical advancements but not quite to the degree of the percussion instruments. The development of the trombone choir by Emory Remington at the Eastman School of Music has led to its increased popularity in recent decades. The multiple trombone jazz groups of J. J. Johnson and Kai Winding in the 1950's and Urbie Green in the early 1960's have aided in the development of music written for the trombone. It has only been in the last two decades that music of the genre to be discussed here has been explored. Some of the earliest works that fit this category are Porter D. Henry's Suite for Trombone and Percussion and Vinko Globokar's Vibone for trombone and vibraphone, both of which date from 1963. Since that time, more than 90 works have been composed for one or more trombones and percussion instruments or for small mixed ensembles in which these instruments play a major role. The International Trombone Association and the Percussive Arts Society have done a great deal to advance both the literature and development for the trombone and for percussion. The following document will analyze performance problems involved in a number of representative works from the literature. It will also provide a listing of compositions for trombone and percussion alone or in a chamber music setting of up to five performers.

This document explores some music of the Baroque era. Specifically, it is concerned with eighteenth century musical articulation, ornamentation, and the type of flute in use at that time, which we now call the baroque flute. The term articulation refers to the entire subject of how a note is begun, the type of articulation syllable used, and how notes are grouped together. In the Baroque period melodies were embellished with certain standard ornaments. The proper performance of these ornaments was the subject of much discussion and writing. At the end of this document the reader will find a selected bibliography which includes some of these writings. There are many types of ornaments. This study will be concerned with some of them: the trill, mordent, appoggiatura, grupetto, messa di voce, and flattement. Vibrato at that time was considered to be an ornament, and will be included as such.

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In order to understand the aesthetics of any musical form, one must first of all make the effort to appreciate the culture which produced it. For this reason, this paper contains a lengthy, although necessarily cursory, outline of the historical development of the Estonian nation. This historical perspective will hopefully acquaint the reader with the cultural background of the Estonians: one of the oldest, yet unfortunately one of the most unknown civilizations of North-Eastern Europe. Although there exist a few renditions of the history and music of this country devoid of propaganda, there is very little in the English language dealing with the historical development, and next to nothing on the music. The most authoritative texts are therefore written in the Estonian language, and for this reason the following paper is based totally on my translation of these sources.

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