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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
11

The vocal works of the Wa-Wan Press

Pierce, Laura K January 2010 (has links)
Typescript (photocopy). / Digitized by Kansas Correctional Industries
12

Music style preference : a ranking of musical styles and comparison by age, gender, ethnicity, music training, and rural, suburban, or urban upbringing

Ginocchio, John F. January 2006 (has links)
The purpose of this study was to review the findings of Leblanc (1979) utilizing the most common styles of popular music in today's media. Seven styles of popular music, traditional jazz, and Romantic classical music were ranked in order of preference; subject responses were compared by age, gender, environment of upbringing, and amount and type of music training. The sample consisted of 332 fifth graders and college non-music majors. Subjects completed a Personal Information Form, listened to a recording of 19 musical examples representing the styles being studied, and recorded their preference for each on the Music Preference Inventory.Results indicated an overall decline in preference in comparison to Leblanc (1979). Preference responses indicated that fifth graders and college non-music majors ranked the music styles differently, although both age groups ranked pop rock music among the most preferred styles and country, traditional jazz, and Romantic classical music as the least preferred styles. Females recorded significantly higher overall music preferences than males and differed in their preference for individual music styles. Preferences for individual styles also varied depending on the environment in which subjects were raised. Overall music preference was significantly higher among subjects with more music training, and instrumental biases were found based on specific types of music training.The results of this study strongly suggest that popular music styles are the most preferred music styles. Furthermore, variables such as age, gender, and environment of upbringing influence preference for individual music styles in different ways. However, increased music training and specific types of music training positively influence overall music preference and increase preference for non-popular styles. / School of Music
13

Third symphony : a piece for wind band /

Hendrickson, Robert, January 1900 (has links)
Thesis (M.M.)--Missouri State University, 2008. / "December 2008." Instrumentation: piccolo, flute 1 and 2, oboe 1 and 2, bassoon 1 and 2, clarinet 1, 2 and 3, bass clarinet, alto sax 1 and 2, tenor sax, baritone sax, trumpet 1, 2 and 3, horn 1, 2, 3, and 4, trombone 1 and 2, bass trombone, euphonium, tuba, timpani, chimes, mallets, vibraphone, percussion 1, 2, and 3. Includes bibliographical references (leaves 58-59). Also available online.
14

Latin American polystylism structure and form in Osvaldo Golijov's La pasión según San Marcos /

Skirpan, Richard. January 2004 (has links)
Thesis (M.M.)--Duquesne University, 2004. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 93-96).
15

A study of Krzysztof Penderecki's Credo : how it exemplifies his compositional style at the end of the 20th century /

Meder, Randall Anton. January 1900 (has links)
Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4033. Adviser: Fred A. Stoltzfus. Includes bibliographical references (leaves 135-136) Available on microfilm from Pro Quest Information and Learning.
16

Exploring notions of national style New Zealand orchestral music in the late twentieth century /

Keam, Glenda. January 2006 (has links)
Thesis (Ph. D.)--University of Auckland, 2006. / Title from PDF title page (viewed on Oct. 11, 2006). Includes bibliographical references (p. 269-287).
17

Die Klavierbegleitung im Liede von Haydn, Mozart und Beethoven eine Stilstudie.

Stuber, Robert, January 1958 (has links)
Inaug.-Diss.--Bern. / Vita. Bibliography: p. 124-125.
18

The trumpet as a voice of Americana in the Americanist music of Gershwin, Copland, and Bernstein

Bekeny, Amanda Kriska, January 2005 (has links)
Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Includes bibliographical references (p. 146-152).
19

German galant lute music in the 18th century : a study of the period, the style, central lutenists, ornaments, idiomatic, and problems that arise when adapting lute music from this period to the modern eight-stringed classical guitar /

Farstad, Per Kjetil. January 2000 (has links)
Akademisk avhandling--Philosophie--Göteborg, 2000. / Notices biogr. sur les luthistes et les compositeurs pour luth en Allemagne au 18e siècle p. 297-360. Liste des oeuvres pour luth composées en Allemagne au 18e siècle avec localisations p. 385-474. Bibliogr. p. 484-513.
20

Copland's "Single Vision" and the Piano Sonata: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, B. Bartok, L.v. Beethoven, F. Chopin, F. Liszt, W.A. Mozart, J.P. Rameau, M. Ravel, and F. Schubert

Morris, Gregory W. (Gregory Wayne) 08 1900 (has links)
Difficulties are encountered in any discussion of Copland's style, for his works cover the spectrum from harsh, dissonant works to folk music. To avoid the task of defining a style which encompasses this array of vastly different pieces, a sharp distinction is frequently made between the abstract and popular works. However, Copland has repeatedly objected to such categorization, claiming that he composed from a single vision. A careful examination of his total output proves the validity of his claim. Many common characteristics are found throughout works from all categories and time periods. These traits include a basic economy of materials, emphasis on thirds, consistent method of development, use of declamation, jazz-influenced rhythms, cyclicism, and a slow/fast/slow sequence of movements, as well as within single movements. This document uses the Piano Sonata as a model of Copland's style, for it exemplifies these characteristics more clearly than any other major piece for piano. By making numerous comparisons with other works, Copland's single vision is revealed.

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