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This thesis explores Stravinsky's effect on the role of the conductor, employing a combination of score analysis, performance analysis, aesthetics and historicism. Stravinsky is widely regarded as one of the most influential composers of the Twentieth Century, and this now 'mythic' influence is perceived by many to have transformed the conductor's work. I investigate how true this assumption is, and whether The Rite of Spring in particular is responsible for any developments. The compound methodology allows for the study of rhythm, structure, harmony, instrumentation, hermeneutics and staging. My seven case studies (The Firebird, Petrushka, The Rite of Spring, Les Noces, Apollo, Stravinsky Violin Concerto, and Agon) are all ballets, which also places spotlight on a commonly neglected genre in music. This allows for the consideration of choreography - an additional influencing factor that is bypassed in most musicological and conducting literature. Moreover, the study of Stravinsky's ballets, as they span the composer's entire career, can serve as a useful lens through which to view the composer's repertoire as a whole. Therefore the findings of the thesis can be indicative of Stravinsky's broader influence on the conductor. The conclusions drawn were that although it is impossible to refute Stravinsky's overall impact on the conductor's work (particularly in relation to his comtemporaries), there are numerous overrated areas of impact. Furthermore, The Rite of Spring is not solely responsible for these changes. In fact, it overshadows the challenges present throughout Stravinsky's repertoire, which manifest themselves in the innovative choreography, instrumentation, rhythm and anti-interpretative devices.

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During the past two years (1974-76) the writer has become increasingly aware of the need for a method of assisting conductors with the score preparation of "new" band literature. Because this literature often represents the modern composer's efforts to explore non-traditional compositional techniques, the development of a new or at least expanded approach to analysis, aimed directly at the conductor's task of preparing a score for rehearsal (and performance) seems to be in order.Most recent approaches to analysis have been developed by theorists whose microscopic examination of music, sometimes complicated with new terminology, does not necessarily assist the conductor in his efforts to Formulate musical interpretations. Furthermore, the education of most conductors today emphasizes a background heavy with more traditional musical concepts. With these two points firmly in mind, the author has attempted to expand the more traditional concepts of harmony, melody, rhythm, dynamics, timbre, and texture, and subsequently incorporate them in the development of an analytical method that specifically serves the conductor's task of score preparation as related to more contemporary band literature.Essential to the process of developing this analytical method was understanding and defining the goal of the conductor in the task of score preparation. To this end, the writer examined the published views of several well-known conductors. All of these authors seemed in agreement: in order to present a musical work, the conductor must have a broad view of the work so as to understand the logic of its progression, from beginning to end. Seemingly then, score preparation should serve to uncover and enhance this broad view. The writer's analytical method assumed this purpose: to assist the conductor in the discovery and development of this broad view. For the purpose of identifying this goal, the writer developed the term "macro-view".In the course of developing his analytical approach, the writer has introduced his concept of melodic rhythm, a term coined to cover the composite temporal (linear) effect caused by relationships among musical elements such as melody, rhythm, dynamics, timbre, and texture. It is for the expressed purpose of enhancing accessibility to the concept of motion and repose in "atonal" band literature to those who are seemingly more familiar with the concept of phrase and cadence associated with more traditional melodies that the author has chosen the term melodic rhythm.In the view of this writer, the primary concern of descriptive analysis is the discovery of melodic rhythm(s), accomplished through a relatively microscopic investigation of the score. The author suggests that the information uncovered in this process be collected in a systematic fashion for later use. To assist in this collection of information the author has developed a "Descriptive Analysis Chart".Chapters III through VI are demonstrations of the author's analytical method and represent a variety of atonal band literature. Included within these chapters are Geometrics No. 4 by Martin Mailman, Study in Textures by Gunther Schuller, Spectrum by Herbert Bielawa, Statement by Brent Heisinger, and Stargazing by Donald Erb. (Composer comments on the analysis presented are included as Appendix C.)The writer's approach to score preparation is founded on his belief that inherent in all music, regardless of style, period, or medium, is the apperception of motion and repose. Furthermore, it is through the auditory sensation of motion and repose that the unity of a piece becomes comprehendable. Upon completing an analysis according to the guide lines presented in this dissertation, the conductor can proceed with the presentation of a unified performance of an "atonal" band work.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 215-225).

Title from PDF of title page (University of Missouri--Columbia, viewed on March 1, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Wendy Sims. Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4031. Adviser: William Moersch. Includes bibliographical references (leaves 133-139) Available on microfilm from Pro Quest Information and Learning.

As opportunities to perform as a soloist diminish, more pianists consider chamber and orchestral playing as an alternative solution. By so doing, ample performance opportunities are introduced. Although most university music programs offer ensemble courses for pianists and have begun to offer degrees with an emphasis in accompaniment, their curriculum lacks instructions specifically designed to train and prepare pianists for playing in large ensembles, especially wind bands. This dissertation addresses the difficulties, which one might encounter in large ensemble collaboration, and recommends useful suggestions for acquiring functional skills to solve these difficulties. Pianists can attain professional status by acquiring the functional skills presented in each chapter. The goal of this study is to provide pedagogical support and direction for novice pianists in the larger ensemble collaboration.