Thesis--Frankfurt am Main, 1975. / Cover title: Künstlerdenkmäler in Frankreich. Vita. Includes bibliographical references (p. [27-61] (2d group)).

Thesis (M.A.)--York University, 2008. Graduate Programme in Music. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45982

published_or_final_version / Music / Master / Master of Philosophy

Among the techniques associated with the theory of musical transformations, network analysis stands out because of its broad applicability, demonstrated by the diverse examples presented in David Lewin’s seminal work Musical Form and Transformation and related articles by Lewin, Klumpenhouwer, Gollin, and others. While transformational theory can encompass a wide variety of analytical structures, objects, and transformations, two particular types of network postulated by Lewin are often featured: the product network and the network-of-networks. These structures both incorporate repetition, but in different ways. This document will propose one possible definition for product networks and networks-of-networks that is consistent with Lewin’s theories as presented in Generalized Musical Intervals and Transformations. This definition will clarify how each of these two network formats may be generated from the same sub-graphs, which in turn will clarify the advantages and disadvantages of each structure for musical analysis, specifically demonstrating how analytical goals shape the choice of network representation. The analyses of Chapters 3 and 4 examine works by contemporary Canadian composers that have not been the subject of any published analyses. Chapter 3 presents short examples from the works of contemporary Québécois composers, demonstrating the utility of these networks for depicting connections within brief passages that feature short, repeated motives. Chapter 4 presents an analysis of R. Murray Schafer’s Seventh String Quartet, demonstrating how these structures can be used to link small-scale events with longer prolongations and motivic development throughout a movement. Chapter 5 demonstrates through a wider repertoire how analytical goals shape the choice of network representation, touching on such factors as continuity, motivic return, and implied collections.

This research briefly analyses and evaluates selected compositions for flute solo and flute and keyboard in terms of compositional techniques , formal, structure, technical difficulties and problems of performance . The works selected for discussion in this thesis are those of South African-born composers and composers of other nationalities who are resident in South Africa. Six compositions for solo flute and sixteen compositions for flute and keyboard by the following composers have been discussed: Robert Clough Stefans Grove David Hoenigsberg Christopher James Dirk de Klerk David Kosviner Bernard Langley Petrus Lemmer Jacques de Vos Malan Norbert Nowotny Hubert du Plessis Walter Swanson Arthur Wegelin Jeanne Zaidel-Rudolph Paul Loeb van Zuilenberg The aim of the research is primarily to discover and promote little known flute compositions by composers resident in South Africa. These works have been graded as to their suitability for either the concert platform or for educational purposes. / Thesis (M.Mus.)-University of Natal, Durban, 1986.

Fred Jewell was one of the leading composers of band and circus music of the early twentieth century. Born in Worthington, Indiana in 1875, he started his musical career at age sixteen as a baritone player in a circus band. He rose to the position of bandmaster for the Barnum and Bailey, Gentry Brothers, Hagenbeck-Wallace, and Sells-Floto Circuses. He wrote dozens of marches and other pieces of music for the circus. Upon returning to Indiana, he began to concentrate on the concert band, writing music in several genre for that ensemble.He relocated to Iowa from 1918-1923, where he established his publishing company and directed the Iowa Brigade Band. He returned to Worthington in 1923, where he became director at the local high school and the President of the Town Council. His publishing business grew during the 1920s, and he was named director of the Indianapolis Murat Temple Shrine Band, one of the nation's leading Masonic ensembles. Frequently in demand as a guest conductor, he joined the American Bandmasters Association and wrote many marches for the educational market. He guided his publishing company through the depression years until his death in 1936.It is as a composer of marches that Jewell is remembered decades after his death. Several of his marches, including "E Pluribus Unum," "Gentry's Triumphal," "The Screamer," and "Quality-plus" have remained in the repertoire of concert bands. Following Jewell's biography, this study includes a chronological discussion of his works, with each piece of music analyzed brieflyas to instrumentation, form, and facts of publication. Jewell's scoring styles and his publishing career are also discussed.An increased interest in the influence of American bands during Jewell's lifetime has stimulated researchers in that area. Jewell, as one of the leading figures of the time, can be thought of as a model typical of enterprising musicians and composers whose careers spanned a wide spectrum, both geographically and in versatility. Their impact on the artistic development of America is just beginning to be recognized. / School of Music

Throughout the history of band music, works by women have received little, if any, acclaim. While some of the reasons for this lack of acknowledgment are grounded in the historical development of the band and the social restrictions of the times, an even greater problem has been the lack of reference sources concerning band works composed by women. Likewise, the works themselves are frequently unpublished. This study compiles a dictionary of American women composers who have written for band during the period from 1865 to 1996 and a catalogue of these works.The introduction presents a brief analysis of the status of the woman composer and her relationship with the historical development of the band tradition. A guide to the use of the dictionary outlines the decisions that were made in the compilation and presentation of the material. The actual dictionary includes entries for more than two hundred women who have composed at least one original composition for band. Each composer is represented by a biographical sketch including education; list of awards, honors, and grants; reference citations; and a catalogue of known band works. The list of works presents as much information as possible including title, year of composition and/or publication, level of difficulty, duration, and availability. Beyond the biographical entries, the 572 compositions for band composed by women are listed in the appendixes in four different formats: alphabetized by title of composition, alphabetized by composer's last name, listed by level of difficulty, and listed by year of composition or publication.Works range in difficulty from those that are intended for use with a beginner band, to compositions that were commissioned by the professional service bands of the United States. It is no surprise that the majority of these works were composed post-1970. The study makes no attempt to evaluate the musical value of any of the cited works, but rather is intended as an initial reference on the subject. It also raises several questions concerning the place of these works in the marketplace and in relation to other creative fields. / School of Music

Among the techniques associated with the theory of musical transformations, network analysis stands out because of its broad applicability, demonstrated by the diverse examples presented in David Lewin’s seminal work Musical Form and Transformation and related articles by Lewin, Klumpenhouwer, Gollin, and others. While transformational theory can encompass a wide variety of analytical structures, objects, and transformations, two particular types of network postulated by Lewin are often featured: the product network and the network-of-networks. These structures both incorporate repetition, but in different ways. This document will propose one possible definition for product networks and networks-of-networks that is consistent with Lewin’s theories as presented in Generalized Musical Intervals and Transformations. This definition will clarify how each of these two network formats may be generated from the same sub-graphs, which in turn will clarify the advantages and disadvantages of each structure for musical analysis, specifically demonstrating how analytical goals shape the choice of network representation. The analyses of Chapters 3 and 4 examine works by contemporary Canadian composers that have not been the subject of any published analyses. Chapter 3 presents short examples from the works of contemporary Québécois composers, demonstrating the utility of these networks for depicting connections within brief passages that feature short, repeated motives. Chapter 4 presents an analysis of R. Murray Schafer’s Seventh String Quartet, demonstrating how these structures can be used to link small-scale events with longer prolongations and motivic development throughout a movement. Chapter 5 demonstrates through a wider repertoire how analytical goals shape the choice of network representation, touching on such factors as continuity, motivic return, and implied collections.

This work examines the life of Raffaello Squarise (1856-1945), an Italian maestro who was a leading musician in the city of Dunedin, New Zealand, from 1889 until his retirement in 1933. Squarise worked as a professional in a predominantly amateur musical environment, and this thesis demonstrates his widely-felt presence and discernible influence in Dunedin�s cultural life, through his activities as a violinist, teacher, conductor, and composer. Furthermore, it illustrates the nature of the active musical culture in Dunedin, through Squarise�s participation in established local practices and the contrast provided by the �otherness� of his Italian ethnicity. The thesis shows that a two-way adaptive process took place between Squarise and the Dunedin community, as each engaged with the unfamiliar culture of the other. The success of Squarise�s musical career in the antipodes, it is argued, was based upon his willingness to adapt to the cultural, intellectual, and musical environment of his adopted home. The method used in this study is that of interpretative biography: it conveys the experience of the individual while emphasizing context through the subject�s interaction with his environment. The sources of the research are mainly archival, and include Squarise�s personal papers, newspapers, the archives of local music organizations, and music ephemera. These are augmented by interviews undertaken with some of the few people (nearly sixty years since his death) who knew Squarise. The thesis is a study of the public more than the private man, but the sources are extensive enough to provide a thorough representation of Squarise�s professional activities.

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF t.p. (viewed Feb. 29, 2008). Directed by Nancy Walker; submitted to the School of Music. Includes bibliographical references (p. 160-176).