The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that stylistically unify the sarabandes as well as those that make each unique. In addition, the author will demonstrate the relationship between analysis and interpretation, using the sixth sarabande as an example. This interpretive process will also take into account the idiomatic nature of the guitar.

MAAS / M.E.R Mathivha Centre for Languages Arts and Culture

Philip Glass' Glassworks (1981) is a six-movement composition for two flutes, two soprano saxophones/clarinets, two tenor saxophones/bass clarinets, two French horns, violas, cellos, and the DX7 electric piano. Glassworks consists of six movements titled "Opening," "Floe," "Island," "Rubric," "Facades," and "Closing." This thesis covers the first movement "Opening." Repetition in musical minimalism confronts traditional prescriptive codes of tonal music and post-tonal music. While challenging the traditional codes, repetition in musical minimalism established new codes for listening to minimal music. This thesis explores the implications of these ideas.

The use of orchestral excerpts from standard music repertoire as a pedagogical means has been adopted by many instrumental pedagogues to train the advanced instrumentalist. This dissertation presents an innovative idea among the excerpt tradition by drawing excerpts from solo, chamber music and orchestral music to function as etudes for the intermediate level cellist. 320 music excerpts are drawn and organized under the headings of different technical categories in order to train the techniques within the context of quality music. The purpose of the dissertation is to introduce the young player to the concept that techniques and musical expression are not two separated entities, rather, techniques serve as a medium to convey the music.

This study focuses on the central role which fugue d'ecole, as defined and taught by the post-revolutionary Conservatoire de Paris, played in re-establishing standards of excellence in organ composition and aiding the development of the French Symphonic Organ School. An examination of counterpoint and fugue treatises by Cherubini, Dubois, and Gedalge reveals the emergence of a specific school fugue form, intended for academic purposes only, as a means to instilling discipline and honing the technical skills required in all forms of musical composition.

In Caught Between Jazz and Pop, I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception. Chapter 1 begins with an examination of current misconceptions about the origins of smooth jazz. In many jazz histories, the origins of smooth jazz are defined as a product of the jazz-fusion era. I suggest that smooth jazz is a distinct jazz style that is not a direct outgrowth of any mainstream jazz style, but a hybrid of various popular and jazz styles. Chapters 2 through 4 contain eight case studies examining the performers of crossover jazz and smooth jazz. These performers have conceived and maintained distinct communicative connections between themselves and their audiences. In the following chapter, the unfair treatment of popular jazz styles is examined. Many early and influential jazz critics sought to elevate jazz to the status of art music by discrediting popular jazz styles. These critics used specific criteria and emphasized notions of anti-commerciality to support their theoretical positions. In Chapter 6, the studio recordings and live performances of smooth jazz are discussed. Critics frequently complain that most smooth jazz recordings feature glossy packaging and pristine studio editing, resulting in a too-perfect product. Although this aesthetic is the result of a unique series of interactions, recordings do not represent the complete musical nature of smooth jazz. Live performances contain important, but typically neglected aspects of smooth jazz. Live performances enable performers to extend solos, interact, and communicate directly to the audience. While recordings are a useful source for musical analysis, smooth jazz, like other styles of jazz, is an improvisatory music that utilizes multiple sites of production and cannot be accurately judged on recordings alone.

This study is concerned with the understanding as a way to enjoyment of the anti-literal in modern art.1 The work of art is regarded as the locus of various cultural factors--a live product of the vital energies of its age and itself a source as well as a reflection. The analysis of these cultural factors lays no claim to completeness. It seeks merely to indicate in simple language the layman can understand, conditions, forces, and stimuli in the artist's milieu which are potential motivations of his artistic idiom2 and through the examination of those influential factors, to try to discover why the artist chose the anti-literal idoms.

Thesis (Ph.D.)--University of the Witwatersrand, Faculty of Arts, School of Music,1958 / The tribes that fall under the Northern Sotho or Pedi language group are found in the area more or less bounded by Middelburg, Pilgrims Rest, Malopene, the Blaauwberg and Hamanskraal . No print can adequately describe the vital panorama of Pedi life. In surveying the musical practices of the Pedi I soon realised that their music was not an isolated entity but an integral unit of their whole pattern of living, both socially and ceremonially. It is from this essentially ' alive' standpoint, rather than as a scientific analysis of scale systems, etc., that I approached the subject of Pedi music. [Abbreviated Abstract. Open document to view full version] / WS2016

The lecture was given on April 23, 1979. The discussion consisted of an exploration of the history and derivation of the Baroque idiomatic technique for trumpet to which Handel was heir. Consideration for Baroque performance practice is included along with stylistic and formal analyses of the trumpet arias that were performed. Four works were rendered; they were selected on the basis of their adaptability to the recital situation. The first recital was presented on April 24, 1970, and included solo works of Giuseppe Torelli, Geoffrey Robbins, Marcel Poot, Halsey Stevens, and Fanfares Liturgiques by Henri Tomasi which featured Mr. Morley as conductor of a sixteen member brass choir. The second recital, on February 18, 1971, featured solo works by von Oskar Bohme, Roger Goeb, Robert Weast, Merrill Ellis, and the Septet fur Biasinstrumente by Paul Hindemith. The third recital included solo works of Paul Hinderoith, Kent Kennan, Georges Enesco, and Marcel Bitsch, and was presented on August 16, 1973. All of the recitals were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.

No description available.