Cette thèse vise à établir différentes relations et différents liens musicaux, ainsi que des évolutions, dans le cadre de la guerre antique, en d'autres termes, il s'agit d'établir des parallèles entre la musique militaire et d'autres musiques guerrières. Pour ce faire, elle se concentre en priorité sur la musique militaire qui forme le fil conducteur de l'ouvrage. On étudie en particulier beaucoup la musique de trompette, en se posant les questions suivantes : la musique militaire a-t-elle pu être à l'occasion artistique ? A-t-elle pu servir à se détendre ? Quelles sont les constantes et les évolutions de la musique militaire et des instruments de musique militaire au cours de l'antiquité grecque et romaine ? A cette fin, toutes les sources anciennes qui traitent de la musique en général et de la musique militaire sont mentionnées. Les sources historiques et philosophiques sont prises aussi en considération, ainsi que les traités de musique (Aristide Quintilien, Philodème de Gadara). Les instruments sont passés en revue : trompette, aulos et tibia, lyre et orgue hydraulique. Un chapitre est consacré aux musiciens de l'armée et aux guerriers musiciens. Les hymnes delphiques d'Athénaios et de Liménios sont étudiés, ainsi que le fragment épique d'Oslo. / This thesis aims to define different relations and different musical links, and some evolutions as well, in the framework of the ancient war, in other words, it means to establish parallels between military music and other warlike musics. For that, this thesis focuses principally to military music which forms the principal line of the work. We particularly study a lot of trumpet's music, and we answer or define the following questions : had military music been for occasions artistic music? Or music for relaxation? What are the common points and evolutions of military music and military music instruments along greek and roman antiquity?To treat these subjects, all the ancient sources which are concerned by antic music generally and military music particularly are mentioned. Historic and philosophic sources are taken in consideration too, and musicologic books as well (Aristide Quintilien, Philodème of Gadara). Music instruments are studied : trumpet, aulos and tibia, lyre and hydraulic organ. A chapter is dedicated to the warfare musicians. The delphic hymns of Athenaios and Limenios are studied, and the epic fragment of Oslo as well.

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In the winter of 1999, Artistic Director Harriet Vogt decided to retire earlier than had been anticipated by the university. With her retirement just weeks away on March 1, the Dean of the College of Arts and Sciences, Dr. John Miller, asked if I was interested in taking a leave of absence from the Department of Visual Arts and becoming Interim Artistic Director of Fanfare. At the same time I was beginning to look for a possible internship that would take advantage of my professional experience in the arts and the knowledge that I had gained in graduate school at U.N.O. My previous experience with directing presenting and festival organizations had been focused in urban areas where a large sophisticated audience that was accustomed to supporting the arts typicaUy exists. Directing an arts organization in a rural area would present many new challenges.

Cette étude sur les sociétés instrumentales d'Angers, Cholet et Saumur, participe à un vaste programme de valorisation des expressions musicales populaires du dernier tiers de XIXe siècle. Par leur nombre et leur dynamisme, les sociétés de Maine-et-Loire concourent activement à la diffusion de la pratique amateur sous la Troisième République. Il nous a paru nécessaire de situer les sociétés urbaines dans leur environnement général. Le Maine-et-Loire dispose en effet d'atouts indéniables pour s'affirmer comme un haut lieu de l'expression orphéonique. Notre réflexion se poursuit ensuite par une présentation historique et sociologique des principales sociétés instrumentales d'Anggers, Cholet et Saumur. Ces sociétés doivent en particulier leur incroyable vitalité à un engagement républicain. Un examen des pratiques et des répertoires musicaux complète l'ensemble. / This study on the instrumental societies of Angers, Cholet and Saumur, is part of a vast program of valuation of the popular musical expressions of the last third of the 19th century. By their number and their dynamism, the societies of Maine-et-Loire contribute actively to the spreading of the amateur practice under the Third Republic. It seemed necessary to place the urban societies in their general environment. Maine-et-Loire has undeniable assets to assert itself as the centre of the "orphéonique" expression. Our reflection continues then by a historical and sociological presentation of the main instrumental societies of Angers, Cholet and Saumur. These societies owe in particular their incredible vitality to a republican commitment. A study of the musical practises and repertoire complete the whole.

Master of Music / Department of Music / Frank C. Tracz / The following report is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Andrew D. Feyes. The recital, performed by the Kansas State University Symphony Band, was given in McCain Auditorium on the campus of Kansas State University on March 13, 2007 at 7:30pm. The repertoire included Fanfare for La Peri, by Paul Dukas, Concerto for 23 Winds, by Walter S. Hartley, and Incidental Suite, by Claude T. Smith. This examination contains thorough theoretical and historical analyses of the included literature. The report also includes the procedures of planning and performing the graduate conducting recital.

The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones. By applying modern compositional techniques to an older, abstract form, composers have maintained the original aesthetic while allowing for fanfares to be used as concert music. This document adds to the limited body of scholarly writing on modern fanfares.

Essa pesquisa tem como tema central o processo de ensino e aprendizagem musical na FANMOSA - Fanfarra Moreira de Sousa da cidade de Juazeiro do Norte-Ce. Os resultados foram apresentados no Curso de Mestrado Profissional em Artes â PROFARTES, que està vinculado ao Instituto de Cultura e Arte â ICA, da Universidade Federal do Cearà â UFC. O interesse por essa investigaÃÃo se deu por conta da minha condiÃÃo de regente da mesma e a proximidade da minha experiÃncia com a praxologia à frente desse grupo. O objetivo desse trabalho à desenvolver uma anÃlise sobre o processo de ensino e aprendizagem musical na FANMOSA, tendo por base a minha trajetÃria de vida e o processo formativo-musical. A pesquisa tem a histÃria de vida como metodologia principal para essa investigaÃÃo autobiogrÃfica que serà explorada nas narrativas de histÃria de vida e formaÃÃo musical. Para alcanÃarmos Ãxito na pesquisa se fez necessÃrio uma reflexÃo na histÃria de vida, observando aspectos da trajetÃria social, educacional e profissional, identificando elementos no processo de formaÃÃo musical. Na perspectiva de conhecer os agrupamentos de Fanfarras que utilizam em sua formaÃÃo instrumentos de percussÃo e sopro, foi feito uma catalogaÃÃo de dados sobre as origens, organologia, estilos e outros aspectos das fanfarras, observando aspectos culturais, artÃsticos, sociais, histÃricos, campos musicais e principalmente no ensino e aprendizagem, formal, informal e oculto que norteiam as fanfarras nas suas estruturas pedagÃgicas. TambÃm foi feito uma busca em materiais bibliogrÃficos, entidades e documentos sobre as classificaÃÃes, padronizaÃÃes e categorizaÃÃes das fanfarras, a partir dos regulamentos dos seus campeonatos no cenÃrio da musicalidade brasileira. Os resultados apontaram que prÃticas colaborativas, influenciaram na minha histÃria de vida durante toda a minha formaÃÃo musical, como tambÃm a minha histÃria de vida e percurso profissional influenciaram na formaÃÃo musical dos componentes da Fanfarra Moreira de Sousa e com tudo a pesquisa mostrou que a proximidade com a FANMOSA, influenciou tambÃm na minha histÃria de vida e formaÃÃo musical. Observa-se que a minha trajetÃria humana e formativo-musical està diretamente ligada à minha famÃlia, as bandas, as fanfarras e ao processo de ensino e aprendizagem musical na Fanfarra Moreira de Sousa, assim como essas estÃo evidenciadas diretamente na minha histÃria de vida em formaÃÃo e assim construÃda com muito sacrifÃcio e dedicaÃÃo a mÃsica e as fanfarras. / This research is focused on teaching and music learning process in FANMOSA â Fanfare Moreira de Sousa city of Juazeiro do Norte-Ce. The results were presented at the Professional Master in Arts - PROFARTES, which is linked to the Institute of Culture and Art - ICA, the Federal University of Cearà - UFC. Interest in this research took place because of my regente condition thereof and the proximity of my experience with praxologia ahead of this group. The aim of this work is to develop an analysis of the process of teaching and learning music in FANMOSA, based on my life story and the educational-musical process. The research has the story of life as the main method for its autobiographical research that will be explored in the narratives of life story and musical training. To achieve success in research is a reflection on the life history was necessary, noting aspects of social, educational and professional history, identifying elements in the musical training process. From the perspective of knowing Fanfares clusters they use in their training instruments of percussion and wind, a data cataloging was done on the origins, organology, styles and other aspects of fanfares, observing cultural, artistic, social, historical, musical fields and especially in the aspect of teaching and learning, formal, informal and hidden that guide the fanfares in their educational structures. It was also made a search on bibliographical material, entities and documents on ratings, standardizations and categorizations of fanfares from the regulations of the championships in the scenario of Brazilian musicality. The results showed that collaborative practices, influenced my life story throughout my musical training, as well as my life story and career influenced the musical development of the components of Fanfare Moreira de Sousa, and with all research has shown that proximity with FANMOSA also influenced my life story and musical training. Note that my human and formative-musical path is directly linked to my family, the bands, the brass bands and teaching and music learning process in Fanfare Moreira de Sousa, and these are highlighted directly on my life story in training and well built with great sacrifice and dedication to music and fanfares.

Ida Gotkovsky, a student of Olivier Messiaen and Nadia Boulanger, composed for nearly every instrument, voice, and ensemble. Although Gotkovsky's Concerto for Trombone is a monumental work for the trombone it is rarely performed and recordings are scarce. There is a general lack of scholarly attention to the music of Ida Gotkovsky, however, the technical and aesthetic quality of her music merits further examination. Previous studies of Gotkovsky's music focused on the analysis of individual compositions. However, much more can be learned by examining a work within the context of her general compositional output. Gotkovsky's compositional style includes extensive musical self-borrowing. The goal of this project is to demonstrate melodic and textural similarities and differences within her music to inform performance practice and to establish interest in her music. The context in which Gotkovsky reuses her music is significant and can provide additional musical insight. An informed awareness of her extensive use of self-quotation familiarizes the performer with her compositional language in a variety of musical settings. Such familiarity with her musical style leads to an improved and artistically educated performance.

Master of Music / Department of Music / Frank C. Tracz / This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master’s of Music Education degree. It contains information about music education philosophy, what defines quality literature, theoretical and historical analyses, and rehearsal plans for each of the three pieces that were performed on the Graduate Student Conducting Recital on Wednesday, March 11, 2009. Selections performed on the recital included in the document’s analysis portion include Four Scottish Dances by Malcolm Arnold, arranged by John Paynter, Mosaic, Op. 30 by Mario Gaetano, and Celebration Fanfare from “Stepping Stones” by Joan Tower, arranged by Jack Stamp. The analytical methods employed in this document and the rehearsal techniques listed are based on the Blocker/Miles unit studies and macro-micro-macro concepts from the Teaching Music Through Performance in Band book series.

The thesis examines whether Czech and Slovak printed national daily newspapers reveal expressions of patriotism and fanfare in ice-hockey news reports. Sports matches between two nations, which once formed one state, have all the requisites for being more special and prestigious than regular matchups. For this reason, these two events have been selected as suitable for analysis: the final match in the 2000 World Championship between the Czech Republic and Slovakia (5:3) and the 2012 semifinal between the same opponents (1:3). The theoretical part introduces concepts of nation, nationalism, national identity, national symbols, myths, stereotypisation and fanfare. In the empirical part, a discourse analysis is performed for their examination and application on a research sample, which consists of texts from the time of the given matches between the Czech and Slovak national teams. As an assistant method, a quantitative content analysis has been chosen to provide answers to questions concerning the number and location of articles in each country's newspapers. The results of the analysis proved that Czech and Slovak printed daily newspapers frequently reveal expressions of patriotism and fanfare in the period under review, distinctively using the first person of the plural "we" or a tendency...