In the wake of the Chinese Cultural Revolution (1966-76) and with Chinas new Open Door policy toward Western culture and Western music, Chinese composers have adapted Western compositional techniques. The new generation of Chinese composers have expressed in various ways of their research to the heritage of Western composers. Yuankai Bao is one of the new generations of Chinese composers. The topic of this paper is the integration of Chinese and Western compositional techniques in Chinese folk songs. The purpose of this research is to find out how Yuankai Bao connects Chinese pentatonic scale to Western harmony, and how he helps develop Chinese new music and applies some characteristics of Western music to his composition, Chinese Sights and Sounds-24 Pieces by Themes on Chinese Folk Tunes. This research will facilitate a better understanding to Western performers of Chinese folk songs and piano music and assist in the achievement of a more authentic performance.

The purpose of this study was to evaluate the practical adequacy of Dukes (1994) rehearsal frame model as a middle ground perspective sequential outline of rehearsal events that lead to positive musical change. Observation and video recording of three accomplished high school band directors rehearsals generated data that allowed for a comparison between the model and actual practice. Results suggested that all parts of the original model need not be present, nor must they occur in the originally stated order for rehearsal frames to take place and direct students toward positive musical change. An amended model of the rehearsal frame was proposed, which included parts of Dukes initial outline subdivided or re-defined to more accurately reflect the practice of accomplished music teachers. This model might be used by music teachers to help structure rehearsals, or by observers and evaluators to analyze middle ground details of rehearsals and thus see more clearly the interrelatedness of teacher and student behavior as they work together to produce positive performance change.

Highly praised American composer Carlisle Floyd (b. 1925), well known for his musical dramas Susannah (1955) and Of Mice and Men (1970), wrote Willie Stark (1981), commissioned by the Kennedy Center for the Performing Arts and later Houston Grand Opera. Floyds libretto and musical score was based upon Robert Penn Warrens Pulitzer Prize-Winning novel All The Kings Men. Despite the vast amount of publicity it received at the premiere, this opera has only occasionally been performed in the last 35 years. Chapter One discusses Carlisle Floyds creation of Willie Stark. Chapter Two discusses the workshop performance of the piece. Chapter Three discusses the shows director, Harold Prince. Chapter Four covers the reviews of the Houston Grand Opera Premiere, the Kennedy Center Premiere, and the filmed version for Public Broadcasting Services Great Performances. Chapter Five addresses the revivals of Willie Stark after the premiere productions. Chapter Six concludes with assessments of critical reviews to offer possible explanations for the shows limited revivals.

While there has been much systematic investigation of observable conductor behaviors, little examination has taken place of the listening habits and thought processes of conductors while in the act of evaluative listening. These cognitive elements are critical because they are the impetus for the decision-making that leads to conductor rehearsal behaviors. Therefore, the purpose of this study was to examine the thinking of accomplished school based band conductors. How do they evaluate musical performanceless so the evaluation, more so the thinking that informs the evaluation? A grounded theory-like approach was integrated in cross-case study methodology to answer inquiries about the listening processes of three levels of accomplished band conductor a university conductor, an experienced secondary music conductor, and a young secondary music conductor. A think aloud protocol generated data across three sets of listening activities designed to stimulate verbal responses to the evaluative listening act. Analysis uncovered three cross-case themes that provide entry points into how accomplished conductors think while listening. More specifically, results expose through self-report the triggers for the thoughts or the perceived causes of this or that focus of attention relative to music performance. The three cross-case themes that triggered listening were 1) prior context-neutral knowledge/experience, 2) prior contextualized knowledge/experience, and 3) in-the-moment decision making. Applications of results are discussed in the context of music teacher education.

<p> Before accompanying was widely recognized as a distinct art form, Donald Nold established himself as a prominent international figure in the field, generated new curriculum of study surrounding his expertise, and selected and mentored the subsequent generation of accompanists. He was a significant contributor to the substantial elevation the field saw in the late twentieth century. This thesis is the first written documentation of Nold&rsquo;s life, art, and contributions to the field. Material was collected through interviews with Nold and his former students Warren Helms and June Marano Murray. In documenting the contributions of Donald Nold, this study explores the defining aspects of the art form and illuminates the need for distinction in terminology surrounding it. This study provides an introduction to an otherwise undocumented piece of music history, with implications especially profound for performance-history documentarians, musicologists, collaborative pianists, and singers.</p>

<p> Percussionists are familiar with producing numerous colors and timbres with the variety of instruments at their disposal. Pianists and composers, in the twentieth-century through today, have explored the idea of new timbres by preparing the piano with different objects and materials. Mallet keyboard instruments, specifically marimba and vibraphone, are capable of a similar preparation process to produce new sounds on the instrument. Unfortunately, there is not a popular demand for the practice nor has there ever been a large canon of work for these techniques. </p><p> This study aims to highlight works by composers that utilize some of the prepared techniques inspired by prepared piano practices as well as provide an in-depth analysis and preparation guide of my work &ldquo;Preparatory Blunder&rdquo; the first movement of <i>Perpetual Inquisitivity</i> (2016), a piece that showcases both the prepared marimba and vibraphone in a soloist setting with instrumental accompaniment. This study uses keys, legends, and musical examples to demonstrate not only how to score for prepared marimba and vibraphone, but also discuss how to prepare the instruments without damaging them.</p>

<p> The compositions of the French composer Charles-Marie Widor (1844&ndash;1937) are often overlooked amongst the more well-known compositions of his time. However, over the years his teachings and music have proven to be valuable specifically, in preserving J.S. Bach&rsquo;s compositional style and legacy for flute. Widor was a strict teacher and mentor with high standards for both his organ students at the Paris Conservatorie and himself alike. Alongside Widor&rsquo;s instruction, the teachings of Paul Taffanel (1844&ndash;1908), a flute professor at the Paris Conservatoire and colleague to Widor, made ground-breaking impact on the study and development of the modern flute. In any ways, Taffanel solidified standard repertoire for the flute, including returning the music of J.S. Bach to the flute repertory. </p><p> In this paper, personal and professional correspondence between Camille Saint-Sa&euml;ns (1835&ndash;1921), Paul Taffanel, and Charles-Marie Widor are examined in the search to uncover Bach&rsquo;s influence and legacy in today&rsquo;s standard flute repertoire. The aim of this paper is to illuminate the direct influences of Bach&rsquo;s flute music on later generations of composers and further solidify his significant role in music history. Though the music of Bach may be considered outdated for the modern &ldquo;popular&rdquo; music scene of todays current society, his writings still hold weight in all genres of music. Through the study of Baroque performance practice, history, pedagogy, and personal and professional relationships, the function of music and its compositional development through time are better understood. </p><p> This investigation into J.S. Bach&rsquo;s influence on the teachings of Paul Taffanel represents an attempt to establish a foundation for the practice and development of the modern flute. The integration of Bach&rsquo;s music in standard flute repertoire is both significant and essential for the overall musical and technical development of flute performance. Through this, one can clearly connect the music of Bach to later Romantic Era composers such as Camille Saint-Sa&euml;ns and Charles-Marie Widor. The establishment of these connections and analysis of Bach&rsquo;s influence will bring to light a a greater understanding of Baroque music for future generations of flutists. </p>

No description available.

All of the music in the "A Portfolio of Original Composition" has been written during the study of the master degree. Composed by new ideas which I have learned from the classes. Trying to combine the theories from twenty century music and the theories from classical period. The harmony progression is not only the tonal but also broken by some of the atonal connection. The form is based on the "ABA."

Three pieces for orchestra This research is about the composition of the orchestral music "THREE PIECES FOR ORCHESTRA." This music is three movements orchestral scores which have nature of program music based on the scenes of winter. It consists of the correlation with the scenes and music. To effectively express the content of title, musical items are made up of the whole form, sound material, rhythm, organization, and orchestration. The thesis "THREE PIECES FOR ORCHESTRA" consists of three movements to express the whole image of content of the scenes. Each of the movements have following title, Shine of winter, Black Gulch, and Moonside lake. Overall, the central note 'Note C#'. the work has gradually increasing tomes. The changed tones act melodically and harmonically in each movement and give unity in the music. Furthermore, these tones have diversity through organization and dynamic orchestration. In conclusion, the thesis "THREE PIECES FOR ORCHESTRA" concretely analyzed the form to divide the content of title and the organization to express orchestral music as a medium.