This is an analysis for Symphonic Portrait: The Patriarch, which is the first in a trilogy of works each depicting one of the Deities in the Holy Trinity. It is scored for symphonic band consisting of piccolo, two flutes, two oboes, E^b clarinet, three B^b clarinets, alto clarinet, bass clarinet, contrabass clarinet, two alto saxes, tenor sax, baritone sax, two bassoons, three B^b cornets, two B^b trumpets, four F horns, three trombones, euphoniums (div.), tubas (div.), string bass, timpani, eight percussionists playing bells, chimes, vibraphone, xylophone, marimba, snare drum, bass drum, three tom-toms (high, medium, low), suspended cymbal, crash cymbals, two tam-tams (large and medium), triangle, tambourine, vibra slap, steel plate, finger cymbals, bell tree, piano, harp, and organ. The music consists of two major parts; the scenario and the main body. Each part lasts six minutes, giving the work a total duration time of about twelve minutes.

A New Song is a sacred contata in four parts written for mixed chorus, soloists, narrator, congregation, and chamber ensemble consisting of organ, brass ensemble, and percussion. It is designed to be performed within the limitations of a church sanctuary. The text is taken from the New American Standard Version of the Bible. The four parts are based on prophecies found in the book of Isaiah and the fulfillment of these prophecies as found in the New Testament books of Matthew, Luke, and John. The texture and orchestration throughout the contata change according to the mood of the text. For practical performance purposes, vocal parts are based on traditional harmonic, melodic, and rhythmic patterns, leaving the more complex patterns to the instrumental parts.

The influence of existing musical trends is evident in almost every composer. Prokofiev entered the musical scene in Russia when Scriabin was the recognized leader in innovation. To understand fully the rapid popularity of Prokofiev one must be aware of the musical forces of his time, the circumstances leading up to them and their influence on Prokofiev. In the latter half of the nineteenth century there began a movement toward nationalism in music. Among the most important of these nationalistic countries were Bohemia and Russia. Composers deliberately drew their inspiration from the musical resources of their native country. From all that is known a native Russian music did not exist before the nineteenth century. The music enjoyed by the upper class and royalty had to be imported. In the eighteenth century this included Italian opera and in the beginning of the nineteenth century, French opera. Pianists such as Field, Mayer and von Henselt were popular as both teachers and performers.

"Concerto for Piano, Winds, and Percussion" is, as the title implies, a piece which features the solo piano in combination with an ensemble of winds and percussion. The instrumentation of the ensemble is two flutes; oboe; two Bb clarinets; Eb alto clarinet; Bb bass clarinet; bassoon; two Bb trumpets; two F horns; two trombones; baritone; tuba; and a percussion section of three players playing timpani, tambourine, xylophone, vibraphone, glockenspiel, chimes, triangle, suspended cymbal, snare drum, bass drum, two bongos, and small woodblock. The major sections of the piece are distinguished primarily by tempo. The fast-slow-fast arrangement of those sections aligns it with the traditional concerto format. The piece is in one movement and is approximately twelve and one-half minutes in duration.

There is often difficulty in determining the most desirable medium to be used in the composition of music. After careful consideration, the writer chose the medium of piano to present the following musical composition. In the initial investigations, it appeared that the vocal idiom might provide a more suitable choice. However, piano teaching rather than work in the vocal field will probably consume a greater part of the writer's time in the future. The writing of a piano composition, then, appeared to be a justifiable decision.

The focus of the compositional approach presented in this folio is the sounding environment. The term sounding environment is used in this context to refer to the whole of our living experience in the world which we might register as relating to sound. It might include everything that is sounding, seemingly sounding, imagined sounding, remembered sounding, sensed as sounding, composed to sound. It includes thus the actual sound environment, all that is sensed or interpreted as sound and imaginary sounds. This dissertation accompanies the seven acousmatic and the two sound installation works included in the folio. It is divided into two parts. In the first part relevant ideas and theories both from the literature of electroacoustic music composition and soundscape composition are discussed while in the second the compositional approach to the sounding environment is presented as applied to the works.

Sinfonia is a two movement work for chamber string orchestra and percussion consisting of at least five violins I, five violins II, five violas, five cellos, three string basses, and three percussionists playing timpani, two suspended cymbals, one small crash cymbal, 2 triangles, tambourine, woodblock, five temple blocks, snare, two tom-toms, 2 glockenspiels, xylophone, and chimes. The first movement is approximately nine minutes long, the second lasts five and one third minutes making a total of approximately fourteen minutes and twenty seconds.

Thesis (M.M.)--Boston University. PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

<div>Given the powerful influence that music carries in all cultures, it is ideal that everyone have the access and means to learn and understand music. Music visualizations are powerful tools which have proven abilities to help people learn and understand music, as well as enjoy the music. However, when used for educational purposes, it is imperative that the visualization be accurate. This thesis investigated the creation of a visualization which could take input from a live guitar and, in real time, accurately display the pitch within ±2¢, correctly display the note name, and transcribe the note onto the Western music staff. Research was conducted on the history of music visualizations, types of music visualizations and their uses, and commonly used methods of pitch detection.</div><div><br></div><div><div>Processing©3 was selected as the development environment for creating the visualization. Autocorrelation was chosen as the method of pitch detection. Sine waves accurate to 0.01 Hz were generated in MATLAB and used to test the visualization. A tc electronic® PolyTune® 2 guitar tuning pedal was used to tune the guitar before input into the visualization. This served as a means to verify the accuracy of the visualization’s output. A Rocksmith® 1/4-inch to USB cable was used to bring the live guitar signal into the visualization.</div></div><div><br></div><div><div>Processing©3 served as a successful tool for creating the music visualization. The visualization correctly displayed the note name, transcribed the note onto the Western music staff, displayed the audio input, displayed the FFT of the audio input, and accurately displayed the pitch in real time. However, autocorrelation did not give the desired results for pitch accuracy. The detected pitch was not consistently accurate to the desired ±2¢. But, the pitch was accurate to</div><div>at least ±8¢ over the open string range (E2 to E4), and at least ±18¢ over the full range of the guitar (E2 to D6). Though Processing©3 worked well to create the visualization, it may not be the best tool for processing the audio when high accuracy is desired in real time.</div></div>

Esta dissertação de Mestrado trata das competências para o contexto tecnológicomusical educacional. Seu objetivo principal é mapeá-las para que professores, tutores e alunos músicos ou leigos utilizem tecnologias digitais voltadas à música, principalmente as gratuitas e baseadas na Web. Esta proposta dirige-se a docentes e discentes da educação presencial e da educação a distância, músicos ou leigos que almejam atuar no âmbito pretendido. Estas tecnologias consistem em recursos tais como objetos de aprendizagem, software para a composição musical cujo funcionamento e armazenamento ocorre através da internet e ferramentas para a edição de áudio. Utilizadas de forma integrada a ambientes virtuais de aprendizagem, essas mesmas ferramentas têm sido aplicadas em cursos de extensão para a formação de professores para o contexto pretendido. No mapeamento das competências apresentado neste estudo também são listados os seus elementos: os conhecimentos, as habilidades e as atitudes para uma atuação eficaz no contexto tecnológico-musical educacional. / This Master's thesis deals with the competences for the technological and musical education context. especially the free Web-based. Its main objective is to map them to teachers, tutors and students musicians and no musicians use digital technologies focused on music, especially free and Web-based. This proposal is aimed at teachers, tutors and students of classroom education and distance who want to act within deprecated. These technologies consist of resources such as learning objects, software for music composition whose operation and storage occurs over the internet. Used in an integrated virtual learning environments, these tools have been applied in extension courses to prepare teachers for the context deprecated. In mapping the competences presented in this study are also listed its elements: knowledge, skills and attitudes for effective action in the technology-musical education.