This study was conducted to ascertain and report attitudes of faculty-artist piano teachers at NASM-accredited music units with graduate programs concerning the diverse aspects of designing graduate student and artist piano recitals. A second objective was to compare and contrast the principles which govern program-building practices of graduate and artist piano recitals.The study consists of five chapters. Chapter 1 presents background information and the purpose, delimitations, and significance of the study. Chapter 2, a review of related literature, reveals that discontent toward program-building practices began as early as the middle of this century.Chapter 3 delineates the methods and procedures employed to collect the data. Responses collected from the questionnaire are reported in Chapter 4. Four recital types--graduate recitals, faculty-artist recitals, artist recitals in major cultural centers, and artist recitals in outlying areas are examined in terms of program length, format, content, and balance. Chapter 5 provides a summary of the study as well as comparisons and conclusions.It was found that graduate student and artist recitals enjoy few program-design commonalities. Analysis of the data revealed that only four commonalities were shared by all four recital groups: 1) Consider the respective moods of the repertory "Almost Always" or "Often" when determining the construction of a program, 2) a program's format should be chronological "Sometimes," 3) the "First Half" of a recital should be longest, and 4) lengthy works may be placed in "Both Halves" of a program.Respondents gave "Performer's Security" top priority when selecting the opening work for all recital types. Four criteria considered very important when selecting closing works were: 1) Mood, 2) Intensity, 3) Effectiveness, and 4) Performer's Security.Challenging the notion that there is one correct way to design a recital, participants offered a variety of strategies and formats. Finally, lists of suggested opening and closing works, works generally considered difficult for audiences and works composed post-1950 which have found favor with audiences are appended to the study. / School of Music

The encore piece for piano is viewed both as an historical study and an investigation of current programing trends. Data from the New York Times, music reviews and questionnaires completed by distinguished American pianists provided information that was compiled and charted.A study of the years 1920 through 1990 showed a discernible move away from extended encore segments, with a shift toward a single encore offering. Spontaneous rushing of the stage by theaudience and demanded immediate re-hearings of works faded shortly after 1940.Questionnaires revealed present-day artists are most influenced by length and character of the work, as well as the ending program piece in selecting encores. Two additional influences are the desire for contrast in succeeding encores and spontaneity in encore choice. Questionnaire answers reaffirmed that fewer encores are given in the 1990's; also noted were the facts of encores becoming shorter, more substantial, and less virtuosic. An inclusion of lesser-known works from the twentieth century was indicated.Research indicates that selecting the appropriate encore is both an art and a science. The importance of the intuitive art of judging audience response and spontaneity of encore choice is matched only by the role of the analytical in studying past successful encore models and programing an effective encore sequence. A successful encore is determined as much by what precedes and follows its performance as by its own character. / School of Music

Thesis (D. Mus.)--Hochschule für Musik und Theater, Hamburg, 2007. / Includes bibliographical references.

Diss.--Washington, D.C., 1969. / Bibliogr. p. 35-37.

Th. doct.--Paris 1-Sorbonne, 1976. / Sources et bibliogr. f. 138-144 (t.1). Index.

Oratorio festivals were an important cultural feature of nineteenth-century English society. These massive musical events lasted for three or four days and some involved up to 4,000 musicians and 83,000 in the audience. This dissertation advances the hypothesis that the oratorio festivals, and the grand new buildings in which they were staged, coalesced to create a musical monumentalism in a society steeped in the (mainly Protestant) Christian sentiments of the day. In particular, the dissertation contends that a central premise of nineteenth-century musical thought was that the musical value of a performance was directly in proportion to the size of the performing forces and the audience. A framework devised mainly from Stephen Little's definition of monumental art (2004) is used as a critical tool to examine from a new perspective aspects of nineteenth-century oratorios such as 'physical scale', 'breadth of subject matter', and 'ambition to be of lasting significance'. Furthermore, this dissertation argues that a complex ideology of an English musical monumentalism underpinned the concatenation of circumstances that allowed oratorio festivals to flourish at this time. The spectacle of the Crystal Palace in London and the Great Handel Triennial Festivals it housed are contrasted with the provincial festivals, such as those of Bristol, Manchester, Liverpool, Birmingham, and Leeds. The analyses of the latter rely on substantial original material uncovered from rich primary source documents about the provincial oratorio festivals and the buildings in which they were held. Musical scores themselves, including some of Sir Michael Costa's orchestral manuscripts, are also examined as monuments. A comprehensive study of these festivals is well overdue and this study will aim to understand why these events grew to such a mammoth size at this time.

This thesis examines the history of the performance and dissemination of chamber music in Melbourne during the period 1877 to 1901. It explores the role and development of chamber music in concerts held by Melbourne’s leading musical societies and public subscription series, and various concerts featuring local and touring performers. Discussion is placed within an international context and the thesis asks whether local musicians were influenced by contemporary developments in Europe and if so, was the primary influence English or German? / The bulk of the thesis explores the history of some of Melbourne’s musical societies and public concerts and focuses in particular on the repertoire that was performed, methods of program construction, the perceived ‘educational’ value of chamber music and performances within educational institutions. It demonstrates that performances of chamber music flourished during Melbourne’s economic boom of the 1880s, and that although performances declined during the following depression of the 1890s, standards of performance had improved, audiences were better educated and informed about chamber music, and Melbourne was relatively quick to introduce contemporary chamber repertoire. The first chamber works by local musicians and composers were also composed and performed in Melbourne during this period. / The availability of competent musicians was a significant factor and played a role in determining the type of repertoire that was performed. With large numbers of competent pianists and string players, and very few wind players, present in Melbourne during this period, for example, the repertory tended to focus on works for piano and/or strings. The contribution of local and international performers, particularly English and German-born and/or trained instrumentalists, is also considered. English and German musicians not only had an impact on the shaping of the repertory, but also influenced the way that concerts were organized. These influences, however, often overlapped and were not always clearly defined.

This thesis examines the history of the performance and dissemination of chamber music in Melbourne during the period 1877 to 1901. It explores the role and development of chamber music in concerts held by Melbourne’s leading musical societies and public subscription series, and various concerts featuring local and touring performers. Discussion is placed within an international context and the thesis asks whether local musicians were influenced by contemporary developments in Europe and if so, was the primary influence English or German? / The bulk of the thesis explores the history of some of Melbourne’s musical societies and public concerts and focuses in particular on the repertoire that was performed, methods of program construction, the perceived ‘educational’ value of chamber music and performances within educational institutions. It demonstrates that performances of chamber music flourished during Melbourne’s economic boom of the 1880s, and that although performances declined during the following depression of the 1890s, standards of performance had improved, audiences were better educated and informed about chamber music, and Melbourne was relatively quick to introduce contemporary chamber repertoire. The first chamber works by local musicians and composers were also composed and performed in Melbourne during this period. / The availability of competent musicians was a significant factor and played a role in determining the type of repertoire that was performed. With large numbers of competent pianists and string players, and very few wind players, present in Melbourne during this period, for example, the repertory tended to focus on works for piano and/or strings. The contribution of local and international performers, particularly English and German-born and/or trained instrumentalists, is also considered. English and German musicians not only had an impact on the shaping of the repertory, but also influenced the way that concerts were organized. These influences, however, often overlapped and were not always clearly defined.

Thesis (Ph.D.)--University of Melbourne, Faculty of Music, 2009. / Typescript. Includes bibliographical references.

This thesis gives a comprehensive account of the vocal music performed in Edinburgh between 1750 and 1800. One of its aims is to highlight the importance of vocal music to a contemporary audience, an area which has hitherto been neglected in investigations into the musical culture of the city in the eighteenth century. It also attempts to place the Edinburgh Musical Society in the wider context of the vibrant concert and musical culture which developed through the second half of the century. The study attempts to demonstrate the importance of singing, not just within concerts, but as an integral part of many other social and cultural aspects of life, including: gentlemen’s clubs, schools, and the city’s churches. The careers of singers, as impresarios and teachers, and the influence they held over prevailing tastes and culture are examined. In addition to discussing the many foreign musicians active in the city this investigation also traces the impact of native born singers and teachers. It calls into question the assertions made by previous studies which suggested the primacy of instrumental music over vocal music and it attempts to demonstrate that the interest in, consumption of, and participation in vocal music grew over the course of the century. It also attempts to show that vocal music became a dominant influence following the demise of the Musical Society. The information contained in this account has been drawn from previously neglected newspapers and other archival sources, such as diaries, personal letters, the archives of the Musical Society preserved by Gilbert Innes, the Sederunt Books of the Musical Society, the repertoire of the Harmonical Society and published works on music, culture and history. The repertory itself has also been closely examined. By means of this work it has been possible to examine and expand the whole spectrum of musical life in the Scottish capital and thus establish the thriving vocal musical culture which existed at the time.