Originally presented as the author's Thesis (doctoral)--Universität, Leipzig, 2002. / Includes bibliographical references.

The analysis of Arne's six keyboard concertos uses the 1981 Oxford University Press edition of the musical scores. This edition relies totally a set of separate printed on parts that was published by Harrison & Company of London in 1793, and is the earliest known extant material for the concertos; the autograph MSS scores of Arne's concertos are not extant. The analysis first deals with Arne's general structural process, then examines the formal structure of the works in more detail, with particular attention given to the utilization of ritornello format and the influence from the Torelli-Vivaldi tradition. A discussion of the concertos' residual Baroque characteristics as well as several galant traits is included. Considerable attention is given to Arne's excellence in melodic writing, as well as to his fondness for the interval of an octave and to a particular rhythmic kernel. Also included is an analysis of a discarded movement from Concerto No. 1.The analysis of Arne's four symphonies uses the 1973 Oxford University Press edition of the musical scores. This edition relies totally on the set of printed parts from the 1767 John Johnston [London] edition, and is the earliest known extant material for the symphonies; the autograph MSS scores of Arne's symphonies are likewise lost or destroyed. As with the concertos, the analysis of the symphonies first looks at Arne's general structural procedures, then treats individual musical forms, with significant attention given to sonata form. An examination of Arne's remnant Baroque characteristics is included. As with the concertos, a substantial portion of the analysis is given to Arne's melodic writing.A short biography of Arne is included. This chapter discusses other instrumental works of Arne, as well as his more important vocal works. / School of Music

The present study is an attempt to enlarge upon the proposition that the age of Frescobaldi was, like all others, an age of transition, in his case the transition from Renaissance to Baroque. His position within this change is central, both in time and importance. In our first two chapters, the various categories of keyboard works which he enriched will be considered, with their prehistories, his contributions, and analyses of individual pieces. In chapter I the works mainly of instrumental origin will be dealt with, and in chapter ll those of more vocal derivation. In the final chapter, the information thus gleaned will be used to demonstrate his exact position within the transition, particularly with regard to its two most important aspects, the harmonic field and the interaction of vocal and instrumental elements.

Call number: LD2668 .T4 1984 S335 / Master of Music / Music, Theatre, and Dance

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

A networked multimedia system to assist teaching music keyboard skills to a class is described. Teaching practical music lessons requires a large amount of interaction between the teacher and student and is thus teacher intensive. Although there is a range of computer software available for learning how to play the keyboard, these programs cannot replace the guidance of a music teacher. The possibility of combining the music applications with video conferencing technology for use in a keyboard class is discussed. An ideal system is described that incorporates the benefits of video conferencing and music applications for use in a classroom. A design of the ideal system is described and implemented. Certain design and implementation decisions are explained and the performance of the implementation examined. The system would enable a music teacher to effectively teach a music class keyboard skills.

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During his lifetime, Johann Christian Bach (1739--1782) was considered the most famous musician of the Bach family throughout England and Europe. Although his music was highly regarded in the eighteenth century, little scholarly work has been undertaken on the historical and analytical aspects of his compositions. His keyboard compositions are valuable in tracing his musical development since this was the only genre that he wrote throughout his career in Berlin, Milan and London. Previous analyses of Bach's keyboard music have mainly focused on stylistic development, thus neglecting the importance of phrase and larger formal functions. / I adopt William Caplin's theory of formal functions to analyze Bach's solo keyboard sonatas: the Solo in A minor from Berlin (1750--55), three sonatas from the Milan collection (1755), six sonatas from London Op. 5 (1767), and six sonatas from London Op. 17 (1773--4). I demonstrate that Bach gradually refines phrase and thematic functions of the exposition of first-movement sonatas. I examine Bach's use of core technique and subordinate theme-like units in development sections and discuss the reasoning behind different recapitulation strategies. I also compare the sonata forms of the first movement to the second and third movements, and discuss other types of large-scale formal design (theme and variations, minuet and trio, and rondo). / Many sources indicate that Mozart was greatly influenced by Bach, but they remain vague in describing the type and extent of this influence. Building on previous melodic, motivic and stylistic studies, I draw important phrase-structural connections between the music of Bach and Mozart. I discuss the construction of Mozart's early piano pieces (KV 6 through K 284) and demonstrate that he adopts particular phrase-structural and thematic designs similar to pieces from Bach's Op. 5 and 17 collections. Through form functional analysis, I illustrate Bach's development of phrase and thematic structures and provide important phrase-structural evidence of his influence on the music of Mozart.