Contemporary Etudes for Harp consists of twelve etudes dealing with two major areas. The primary area of concern is to expose the harpist to many of the compositional techniques used in twentieth-century harp music. A second concern deals with the way sounds can be produced on the harp as well as the involvement of the performer in producing sounds. Problems involved in the notation of these special effects are also addressed in these twelve etudes.Etudes I, II, III, IV, VII, IX, and X deal more specifically with compositional techniques that are frequently found in twentieth century harp music. Modality, polytonality, the use of synthetic scales, quartal harmony, non-traditional use of traditional harmony and scales, and mixed and changing meters are included in these chapters.Less-commonly used techniques are found in Etudes V, VI, VIII, XI, and XII. These deal with the use of sounds and silences and their durations, graphic notation, and a simple introduction into aleatoric music. Emphasis is also placed on pitch selection and organization through the use of a pitch class set and serialism.The level of the etudes ranges from medium to difficult and presupposes that the harpist would be capable of achieving an undergraduate degree in harp performance. The length of the etudes ranges from 2 1/2 minutes to 4 minutes. Some of the problems which contribute which contribute to the difficulty to these etudes are the use of rapid pedal changes, three-note pedal glissandos, using a tuning fork to change pitches on a given string, interpreting graphic notation, maintaining a musical sense of direction within a given time frame, and dealing with rapidly changing time signatures. The harpist must also make choices in the order in which events are to occur in the aleatoric piece. In the final etude using graphic notation, singing is required by the harpist.Because new compositional techniques and special effects are continually being introduced, this study is not intended to be all encompassing. It is instead intended to be used for score study and to provide musical studies which clearly demonstrate the specific techniques included in each other.

Discussion in this document is divided into three main areas. Chapter One is an introduction, describing the scope, purpose, and procedures of the document. Chapter Two discusses the evolution of the viola and violin to 1800, emphasizing viola design, luthiers, theoretical writings, and literature for the viola. Further discussion of writing for the viola during the first half of the nineteenth century is provided in Chapter Five.Chapter Four provides a brief analysis of the famous violin etudes of this period, placing emphasis on their tranferability to the viola. The analysis is prefaced by a discussion of the value of etudes and the technical differences between violin and viola. The writer concludes that, although the violin etudes do not speak directly to all the peculiar technical problems of the viola, their thoroughness and progressiveness make them useful study material for violists.The main emphasis of this document is on Chapters Three and Five. Chapter Three discusses the early viola methods written between 1780 and 1800. Included are methods by Corrette, Cupis, Woldemar, Gebauer, and an anonymous English tutor. As the modern application of these methods to technical study was found to be impractical, emphasis was placed more on their historical importance.Chapter Five provides an analysis of the viola etudes and methods written during the first half of the nineteenth century. Included are works by Martinn, Kayser, Praeger, Bruni, Hoffmeister, Cavalini, Rolla, Blumenthal, Campagnoli, Casimir-Ney, Garaude, and Giorgetti. Each of these works was compared to the violin etudes on the same technical level.The writer did not find the same technical progression and thoroughness in the viola etudes that was found in the violin studies. However, several of the etudes were deemed useful technical studies for the violist. These viola etudes often placed more emphasis on tone development and unusual fingerings and positions. Of particular note were the etudes of Cavalini, Rolla, Blumenthal, Giorgetti, Campagnoli, and Casimir-Ney. The writer has included an appendix of selected viola etudes, chosen for their usefulness and variety.

The topic commonly referred to as trombone technique consists of four separate but related components. Those are Breathing and Air Support, Embouchure Control and Flexibility, Slide Precision and Timing, and Articulation. Regardless of the difficulty of the music to be performed, or of the trombonists’ skill level, mastery of these fundamental components is essential to successful performance. Throughout the twenty years that I have practiced, studied, and taught trombone performance technique, I have identified several technical deficiencies that seem to be common among many trombonists, myself included. I believe these deficiencies may be traced to flaws in the four fundamental components mentioned above. This dissertation seeks to explain the four fundamental components, identify the common deficiencies related to each component, and offer a method of addressing these deficiencies. There are three parts to this project. The first is the written element, the second consists of musical exercises, and the third element is an audio recording demonstration of the musical exercises. Contained within the written element, are the results of a survey conducted to determine the validity of the concepts of the four fundamental components. This dissertation project provides a clear and concise explanation of the four fundamental components of trombone performance technique. It also identifies common technical deficiencies. Furthermore, it prescribes a practical, systematic approach to eliminate these deficiencies through the development of necessary fundamentals. / Introduction -- Literature review -- Discussion of four technical components and common deficiencies -- Discussion of survey results -- Discussion of musical exercises -- Conclusion. / School of Music

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Thesis(M. Mus.) -- Stellenbosch University, 1994. / ENGLISH ABSTRACT: The purpose of this study is to investigate the relationship between developing the voice and freeing the voice. The ultimate aim of developing the singing voice is expression through the medium of sound. For this to happen, a singer's voice has to function free and resonant. Every song demands certain expressive qualities, and the singing instrument should be able to react to a wide range of impulses. The singing instrument should be freed to enable optimal functioning, while authentically conveying powerful emotions. Developing and freeing the voice is a psycho-physical process. A person's psycho-physical functioning is manifested in body posture. As it were, the body conforms to a person's predisposition and muscle use. Muscle condition, muscle use and the singer's psychological state of mind influence the way in which sound is produced. Sensory perception, the body and breathing in balance, and the use of the body as singing instrument is discussed in chapter two. During the teaching of singing it is imperative that singers develop free habits and expectations. A process of releasing the voice is needed, because stressful habits and distorted sound-expectations have become part of the singer's performance. This inhibits expression in sound and causes the singing apparatus to operate ineffectively. The proper balance between effort and result is often disturbed. In chapter three it is pointed out that more attention should be paid to psycho-physical aspects, including psychological hindrances, the mind, motivation and body language. The teacher-pupil relationship and fear can also influence the development of the voice. In the process of freeing the voice, the Alexander technique can contribute to recognition of malfunctioning and tension in the body. A new and expanded approach to teaching and learning is needed - this will enable the singer to fully participate through thought, physical sensing, feeling and intuitive functions during teaching sessions. All these components interact with each other to support the singing process and develop good technical skills. In chapter four activities which can contribute to the freeing process of the voice and psycho-physical development are discussed. Activities used to promote the integration of all components are game playing as aid to singing development, characterisation as tool for personality and emotional development, imagery and imagination, and voice and movement. In the final chapter some conclusions and directives are given for future teaching of singing, with recommendations about areas in which more research is needed, including development of mental concepts in singing, sound and movement, and the role and influence of feeling and emotion during the singing process. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is 'n ondersoek na die verband tussen stemontwikkeling en stembevryding. Tydens sangstemontwikkeling is die uiteindelike doelwit ekspressie - om deur middel van klank uitdrukking te kan gee. Om dit te laat gebeur moet 'n sanger se stem vry en resonant klink. Elke lied stel sekere vereistes ten opsigte van uitdrukking en die sangapparaat behoort te kan reageer op 'n verskeidenheid van impulse. Die sangapparaat moet vry wees om optimaal te funksioneer en kragtige emosies getrou te verklank. Stemontwikkeling en stembevryding is 'n psigo-fisiese proses. Liggaamshouding IS 'n uiting of manifestasie van die mens se psigo-fisiese funksionering. Die liggaam neem as 't ware die vorm van die persoon se ingesteldheid en spiergebruik aan. Die toestand van spiere, die funksionering van spiere en die persoon se psigiese toestand het 'n invloed op die klank. Sensoriese waarneming, die liggaam en asemhaling in balans en die gebruik van die liggaam as sanginstrument word in hoofstuk twee bespreek. In sangonderrig is dit noodsaaklik dat sangers vrye gewoontes en verwagtinge sal ontwikkel. In Bevrydingsproses is dus nodig omdat spanningsvolle gewoontes en verwronge klankverwagtinge deel geword het van die sanger se denkwyse as gevolg van wanbegrippe oor sang. Dit inhibeer klankuitdrukking en laat die sangapparaat oneffektief funksioneer. Die korrekte verhouding tussen inspanning en resultaat is dikwels versteur. In hoofstuk drie word aangetoon dat in sangonderrig meer aandag gegee behoort te word aan psigo-fisiese aspekte, waaronder psigiese blokkerings, die denke, motivering en liggaamstaal. Ook die onderwyser-sanger-verhouding en vrees kan stemontwikkeling beinvloed. In die stembevrydingsproses kan lesse in die Alexandertegniek heelwat bydra tot die herkenning van wanfunksionering en spanning in die liggaam. 'n Nuwe en uitgebreide benadering tot onderrig en leer is dus wenslik, sodat die sanger tydens sangonderrig in sy totaliteit betrek kan word in sy denk-, fisiessintuiglike, gevoels- en intultiewe funksies. Al hierdie komponente werk interafhanklik saam om die sangproses te onderhou en goeie tegniese vaardighede te laat ontwikkel. In hoofstuk vier word aktiwiteite bespreek wat kan help met stembevryding en psigofisiese ontwikkeling. Die aktiwiteite wat integrasie van alle komponente bevorder, sluit in spel as hulpmiddel vir sangontwikkeling, karakterisering as middel tot persoonlikheids- en emosionele ontwikkeling, beeldingspel en verbeelding, en stem en beweging. In die finale hoofstuk word gevolgtrekkings en rigtingwysers vir toekomstige sangonderrig gemaak, met aanbevelings oor areas waaroor meer navorsing nodig is soos denkontwikkeling vir sangers, stem en beweging, en die funksionering en invloed van gevoel en emosie tydens die sangproses.

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There exists a substantial lack of familiarity among flute teachers and music educators with extant publications of pertinent pedagogical flute repertoire at the intermediate level, specifically the concerto. Although readily available, suitable concerti for the important progression of the student from intermediate to the advanced level are often substituted with works too difficult technically and musically. In many situations, introduction and exposure to the concerto genre is virtually overlooked. Therefore, progression from an intermediate to an advanced level is often hampered, and a vital phase in the student's technical and musical development is neglected.This guide to intermediate-level concerti provides a systematic, methodical approach to the teaching of four concerti appropriate technically and musically for the established level of playing. The historical eras Baroque, Classical, Romantic, and Twentieth Century are each represented by one concerto.Chapters II, III, IV, and V provide a description of the concerto's evolution during the particular historical era specified. This examination is followed by a brief biographical sketch of the composer whose work is being discussed. The significance of each concerto in the composer's output is provided when such information is available. A list of all current and accessible editions is provided along with information about individual editors. An editorial paleography is supplied when more than one edition exists. Each of these four chapters concludes with a formal analysis of the concerto under discussion.Chapter VI provides a plan for the teaching and performing of each concerto. This plan is divided into two headings. The first is a didactic analysis of the following technical considerations: alternate fingerings, arpeggiated passages, double tonguing, meter, rhythmic patterns, and trills. Parallel etudes drawn from existing flute literature and original exercises by the writer are supplied. The second major area of discussion within the pedagogical analysis comes under the heading of the following interpretative considerations: articulation, breathing/phrasing dynamics, ornamentation, and tempo.The final chapter of the work includes a summary, conclusions, and recommendations. Three appendices contain moderately easy to intermediate, and intermediate to moderately difficult flute concerti as well as a publisher and agent code list.

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