Master of Music / Department of Music, Theatre, and Dance / Frank C. Tracz / This report possesses a detailed analysis of three works, two works for concert band and one for brass ensemble. The works included in this report are Fanfare Héroïque (1944) by Eugéne Bozza, Symphonic Sketch (1994) by Charles Carter, and Tempered Steel 2nd ed. (1997 and 2008) by Charles Rochester Young. Also included in this report is performance information about the pieces above, the author’s thoughts about the role of music education in the American school system, and a section that discusses quality literature for concert ensembles. It is the author's hope that some of this information is used to aid teachers in their study of these works in order to be more effective in the classroom. In order to facilitate this, each analysis includes biographical information about the composer, historical information about the composition, technical information, musical information, an analysis of form, and sample lesson plans with reflections.

No description available.

"The purpose of this paper is to present the life of Hodding Carter, a bibliography of his published books, and an analysis of his contribution as a writer today, as interpreted by reviewers whose criticisms were identified through the Book Review Digest"--Introduction. / Carbon copy of typescript. / "August, 1958." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Sara K. Srygley, Professor Directing Paper. / Includes bibliographical references.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Book Summary: There is a stream that courses through American roots music. Its source is in the Appalachian foothills in a place called Maces Springs, Virginia. It was there that A.P. Carter, his wife Sara, and his sister-in-law Maybelle began their careers as three of the earliest stars of country music. These three didn't just play the music emerging from their hill country upbringing. They helped invent it. The stream these three created turned into a rushing river and moved through several generations of musicians, most notably touching the life of one Johnny Cash who first heard the Carters — including a young June Carter — over the airwaves. It was a wonderful twist of fate when Cash, as a Sun Records artist, first met Mother Maybelle and her girls. the Carter Sisters. and vowed to June that "I'm gonna marry you someday.'' The Winding Stream is an oral history that tells the tale of this important music dynasty. In their own words, family and friends, musicians and historians offer first-hand recollections and insightful observations that illuminate the Carter and Cash contributions to American popular culture.

Democracy development techniques such as international election monitoring have increasingly become commonplace. Monitors are sent to far off locations to scrutinize the electoral processes and determine whether or not they have met the free and fair standards as established by their mandates. The term free and fair however, has become a catchphrase amongst many of those involved in the election monitoring and democracy development fields. The phrase is often interpreted loosely and is rarely clearly defined. Despite the recognition of the terms often differing interpretations, it remains a commonly used standard. The 2005 Ethiopian Elections demonstrate that free and fair, when interpreted differently by international electoral observers, can have consequential results. <p>The thesis provides a political analysis of the Carter Centers and European Unions international election monitoring final reports of the 2005 Ethiopian elections. Following the 2005 Ethiopian elections the Carter Centers and the European Unions electoral observation reports became highly politicized. In the post election period, the two organizations came to different conclusions in regards to the validity of the electoral process. At the core of these differences were the organizations differing conceptions of what constitutes free and fair electoral practices. In the post election period the European Unions and Carter Centers reports have been pitted against one and other as those concerned with the election results seek to make sense of the reports. <p>This thesis is significant because it asks relevant questions about the consequences of differing understandings of free and fair. The thesis seeks to provide insight into international election monitoring and provide recommendations to improve the process.

Democracy development techniques such as international election monitoring have increasingly become commonplace. Monitors are sent to far off locations to scrutinize the electoral processes and determine whether or not they have met the free and fair standards as established by their mandates. The term free and fair however, has become a catchphrase amongst many of those involved in the election monitoring and democracy development fields. The phrase is often interpreted loosely and is rarely clearly defined. Despite the recognition of the terms often differing interpretations, it remains a commonly used standard. The 2005 Ethiopian Elections demonstrate that free and fair, when interpreted differently by international electoral observers, can have consequential results. <p>The thesis provides a political analysis of the Carter Centers and European Unions international election monitoring final reports of the 2005 Ethiopian elections. Following the 2005 Ethiopian elections the Carter Centers and the European Unions electoral observation reports became highly politicized. In the post election period, the two organizations came to different conclusions in regards to the validity of the electoral process. At the core of these differences were the organizations differing conceptions of what constitutes free and fair electoral practices. In the post election period the European Unions and Carter Centers reports have been pitted against one and other as those concerned with the election results seek to make sense of the reports. <p>This thesis is significant because it asks relevant questions about the consequences of differing understandings of free and fair. The thesis seeks to provide insight into international election monitoring and provide recommendations to improve the process.

No description available.

This study proposes a theory of texture for Elliott Carter's song cycle A Mirror on Which to Dwell. Texture is an important structural aspect of much recent music, as is exemplified in Carter's music. The first chapter is introductory and discusses other textural theories, and the concept of auditory streams. It also provides background to Elizabeth Bishop and to the poems that Carter selected for the cycle, and introduces the song cycle as a whole. The second chapter outlines a textural theory based on streaming. Texture is defined as comprising those contextually defined aspects of sound which lead one to perceive music as consisting of distinct streams. Individual streams are defined by properties, behaviours processes. The ways in which streams are combined, and the changes that occur in the streams during the combinations constitute textural behaviours and processes. The third chapter presents the ways in which textural behaviours and processes can function. They can have symbolic functions by representing personae and actions in the text. They can also have musical functions and thus can play a role in the delineation of form. In the fourth chapter each song in the Mirror cycle is analyzed. Songs that are texturally clear are analyzed first, followed by those that are more texturally complex. Because of the close relationship between text and music in these songs, each analysis starts with a discussion of the text before turning to the music. The main textural features of each song are presented, and then the analytical discussion focuses on form and text-setting. In the conclusion an overview of the songs is presented. The songs, although formally diverse, are similar in many respects. In all of them Carter establishes the important streams, some of which have significant symbolic roles, in the opening measures. The songs are characterized by similar textural processes, which help to delineate the form of the songs and to portray musically the meaning of the text. An analysis of these songs using the textural theory presented in this study provides insight into their form and meaning.

Elliott Carter frequently organizes the formal design of his compositions with long-range polyrhythms, such that different parts of the texture move at different, slow tempi, often arranged so that their beats coincide exactly twice, at the beginning and the end of the piece. Many theorists have commented on these tempo ratios, and pointed out how they are manifested, on a smaller time scale, in each instrument’s notated beat divisions. However, building on the work of Link and Roeder, this paper shows that in Esprit Rude/Esprit Doux, Esprit Rude/Esprit Doux II, and Retrouvailles, pieces Carter dedicated to Pierre Boulez, the polyrhythms also guide the interactive behaviour of the instruments. Furthermore, it shows that although these works are all independently complete and coherent, together they can be understood as three movements of a trilogy, whereby the progression from simultaneous melodic parts that run independently of one another in Esprit I to the near-monophonic melody lines in Retrouvailles, as well as the increase in cooperative activity (for example, melody-sharing, and the mutual building of important harmonies) represent a theme of growing reconciliation.