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.

Master of Music / Department of Music / Frank C. Tracz / The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Chris R. VanGilder. The recital, performed by the Arkansas City High School Concert Band, was given in two parts at the Arkansas City High School Auditorium. Part one, presenting the two pieces They Led My Lord Away as arranged by Fred J. Allen and English Folk Song Suite by Ralph Vaughan Williams was given on April 12th, 2007 at 7:00pm. Part two, presenting the four pieces Variation Overture by Clifton Williams, Dance of the Rose Maidens as arranged by James Truscello, Prelude and Rondo by David Holsinger and Valdres Marsj as arranged by Loras J. Schissel was given on May 15th, 2007 at 7:00pm. The document contains theoretical and historical analysis, and outlines the procedures of planning and performing the graduate conducting recital.

Master of Music / Department of Music / Joshua Oppenheim / Julie Yu Oppenheim / The Te Deum chant began in the Roman Catholic Church in prayer, and like many other psalms used in the Mass, it has evolved into a concert piece with settings composed for coronations, military victories, and other festive occasions. This author has identified two significant settings of this text by Joseph Franz Haydn and Antonín Leopold Dvořák for this discussion to study how common factors (primarily a common text) influence their compositions. Chapter I provides the purpose of the study, a brief description of related research, description of the appendices, and analytical criteria for examining the Te Deum settings. Chapter II presents a study of the ancient Te Deum psalm and its text. Topics for discussion include a brief overview of the history of chant. In regards to the Te Deum, further studies are included on its history, uses within prayer, the text, melody, and other uses of the Te Deum. Chapter III contains an in-depth analysis of the Haydn Te Deum (HXXIIIc:2) and the Dvořák Te Deum (Op. 103, B176, [Op. 93, Op. 98]). Analytical criteria for examining these settings consist of: a brief biographical sketch along with each composers compositional characteristics and reasons for commissioning this piece; discussions on general characteristics, structural and formal design, themes, melodic/harmonic characteristics, rhythmic/metrical/tempo characteristics, articulations, dynamics, texture, performance, pedagogical, and conducting considerations. Chapter IV summarizes general trends in the usage of the text of Te Deum. Information for this final chapter is derived from the in-depth analysis, the ancient history of the Te Deum, and other settings of the Te Deum text examined in sources similar to this document. The findings contain summaries of the musical elements listed above as well as general and specific commonalities of textual influence between the selected Te Deum settings. Appendix A provides the complete text of the Te Deum psalm with English translations and melody. Appendix B provides a score analysis of Te Deum (HXXIIIc:2). Appendix C provides a score analysis of Te Deum (Op. 103, B176, [Op. 93, Op. 98]).

Master of Music / Department of Music, Theatre, and Dance / Amy Underwood / The following report is extended program notes that focus on the expression of love in various ways. These songs were presented on a graduate recital March 31, 2015 in All Faiths Chapel at Kansas State University. It is in partial fulfillment of the requirements for the Master of Music degree in vocal performance. The works included are by Bellini, Bernstein, Hahn, Koechlin, Obradors, Saint-Saëns, Schumann, and Sullivan. Below is a detailed description explaining the focus of the report. Many musicians discuss the musical elements including key signatures, time signatures, harmony, rhythm, and melody. They may also discuss the understanding of the music through the viewpoint of the vocal text. The musical elements and how the subject matter connects the two together is important to understand when giving a recital. It makes the music come alive for the audience and it is a true interpretation of how it should be performed. Love is a topic which many composers explore because of the natural emotion people feel about its perception. Different feelings and emotions conjured in the hearts and minds of humankind. Love is a personal feeling, and after studying the poetry and music, I assigned an adjective or verb to each song that describes a more specific facet of love’s emotional spectrum. These adjectives and their portrayal by various composers will comprise the focus of this paper.

Master of Music / Department of Music / Frank C. Tracz / This document is comprised of research and analysis of the comprehensive examination of the graduate conducting recital of Shawn Michael Knopp. This recital was performed by the Smoky Valley High School Concert Band, on February 27, 2009, at the Century II Concert Hall in Wichita, Kansas. The examined repertoire for the recital includes Dance Sinfonia, by Dennis W. Fisher, Linden Lea, by Ralph Vaughan Williams, arranged by John W. Stout, Strawflower, by Ralph Hermann, Emperata Overture by Claude T. Smith, and Foshay Tower Washington Memorial March by John Philip Sousa, edited by Daniel Dorff. This document contains theoretical and historical analysis and outlines the method of planning and preparing a graduate conducting recital according to the Blocher, Miles and Tracz formats.

Master of Music / Department of Music / Frank C. Tracz / This document was constructed on the comprehensive examination questions based on the Graduate Conducting Recital of Kyle D. Hopkins. The theoretical and historical analysis includes The Star-Spangled Banner by Jack Stamp, Tharsos by Jeff Jordan, Americans We by Henry Fillmore, and Cajun Folk Songs by Frank Ticheli. Along with the analysis, this document contains rehearsal plans and procedures used in the preparation of the literature. The recital was performed in two parts by the McPherson High School Band on February 5, 2009 in the McPherson High School Roundhouse at 7:30 pm and April 30, 2009 in the McPherson High School Auditorium at 7:30 pm.

Doctor of Philosophy / Curriculum and Instruction Programs / Jana R. Fallin / This qualitative study sought to inquire into, identify and examine elements of musical expression as exemplified in jazz performance from a phenomenological approach. The purpose was to identify the various elements utilized by expert performers and listeners in perceiving musical expression, to determine whether or not these elements are held in common between performer and listener, and to explore the relation of personal experiences of the phenomenon with aesthetic philosophy and educational practice. Aesthetic concepts were drawn from the writings of Stephen Davies and Peter Kivy while jazz principles and foundations were drawn from Ted Gioia and Gunther Schuller. Ten subjects, five world-class jazz artists and five nationally recognized jazz critics, were selected based upon reputation and professional standing and interviewed in naturalistic settings of their own choosing (home, office, studio). Each subject listened to six recordings of the jazz standard My Funny Valentine as recorded by established jazz icons: Miles Davis, Paul Desmond, Gerry Mulligan, Bill Evans with Jim Hall, Sarah Vaughan, and Keith Jarrett. All were encouraged to comment in a stream-of-consciousness manner while listening to the examples. Additionally, fifteen statements drawn from the literature were read for subjects to rate on a five-point Lykert scale ranging from “totally agree” to “totally disagree”. Interviews were transcribed and coded into themes. Lykert responses were analyzed within group using means and ranges and between groups utilizing difference of means. Results, as interpreted by this researcher, reflect seven themes identified by performers (Sound, Individuality, Virtuosity and Intellect, Communication, Specific Musical Elements, Mood or Character, and Originality and Innovation) and six themes enumerated by critics Individuality, Virtuosity and Intellect, Communication, Specific Musical Elements, Mood or Character, and Originality and Innovation). No attempt was made at stratification of themes, as this was exploratory research. While both groups used the concept of sound, context placed it under the concept of individuality for critics while performers used it more specifically towards the establishment of mood. Lykert responses confirmed strong similarity of thought between the two groups.

Master of Music / Department of Music / Frank C. Tracz / This document is comprised of research and analysis of the comprehensive examination of the graduate conducting recital of Luke D. Johnson. This recital was performed by the Lansing High School Wind Ensemble on February 24, 2008 at McCain Auditorium in Manhattan, KS, and again on February 25, 2008 at Lansing High School in Lansing, KS. The examined repertoire for these recitals includes Mother Earth by David Maslanka, English Folk Song Suite by Ralph Vaughn Williams, Symphony #1 In Memoriam Dresden – 1945 by Daniel Bukvich, and Concertino for Solo Clarinet with Band Accompaniment by Carl Maria Von Weber, OP. 26. This document contains theoretical and historical analysis and outlines the methods of planning and preparing a graduate conducting recital according to the Blocher/Miles and Tracz formats.

Master of Music / Department of Music / Frank Tracz / The following report provides a comprehensive analysis of two works for wind band and one small chamber work for woodwind octet: Night Dances for Wind Ensemble by Bruce Yurko, Octet in E-flat Major, Op. 103 by Ludwig van Beethoven, and Simple Gifts: Four Shaker Songs by Frank Ticheli. This analysis provides information necessary for a conductor’s rehearsal preparation. Included is biographical information about the composer and a historical perspective of the composition itself. Highlighted are the technical difficulties, stylistic concerns, musical elements, and form and structure of each composition. As the researcher, my music education mission statement and perspective on quality literature selection are also included. Suggested listening, seating charts, acoustical justifications, and rehearsal plans with researcher evaluations are provided. The compilation of this information will allow conductors to make more informed musical decisions during their preparation and performances of the works.

Master of Music / Department of Music / Reginald Pittman / This Master’s Report contains extended program notes on the works performed on a graduate rectial of music for a Baritone. The text includes biographical information on each composer and an analysis of each piece performed. Text translations are included in the body of the discussions. The pieces discussed are Handel’s “See The Raging Flames Arise,” from Joshua, Poulenc’s Le Bestiaire, Strauss’s Zueignung, Nichts and Cäcilie, Puccini’s “Questo amor, vergogna mia,” from Edgar, Jason Robert Brown’s Moving Too Fast, The Next Ten Minutes, The River Won’t Flow and She Cries and lastly Jonathon Reid Gealt’s September of ’92. The graduate recital was given in partial fulfillment of the requirements for the Master of Music degree in vocal performance on April 7, 2014. It was performed in All Faiths Chapel at Kansas State University. It featured the piano talents of Amanda Arrington, Paul Meissbach and Norma Roozeboom, the vocal talents of Reginald Pittman, Elise Poehling and Patricia Thompson, and the insrumental talents of Nolan Groff and Craig Archer.