Thesis (Ph. D.)--Kent State University, 1988. / Includes bibliographical references (leaves 241-265).

Thesis (Ph.D.)--Hong Kong University of Science and Technology, 2005. / Includes bibliographical references (leaves 91-95). Also available in electronic version.

The war effort of the United Kingdom and the subsequent restrictions and laws enforced by the Government during the Second World War time period had a significant impact on the British piano industry. The skilled work force, factories, and raw materials previously used to produce pianos became integral to the war effort, while production of non-necessities and luxury items, such as pianos, was limited and eventually ceased. In order to limit production and divert material and labour to the war effort, debilitating restrictions, company consolidation, and prohibitive taxation came into effect. This forced many piano manufacturers to seek out war production contracts, while those who were not able to secure these contracts had to relinquish their factories and employees, rely on revenue from repair work, or completely close down during the war years. This thesis is the first extensive study of the impact of the Second World War on the British piano industry. Through an examination of the laws and regulations passed by the British Government during and immediately following the war years, a better understanding of the war’s effect on the entire industry will be established and a timeline of the various restrictions placed on piano manufacturing will be presented. This timeline highlights (1) the Government’s desire to stop piano manufacturing in order to divert labour and materials to the war effort, (2) the effect of Government restrictions on the piano industry, (3) the industry’s struggle to convert to war work, and (4) the impact of the war in the post-war years. Archival documents from both the piano industry and the Board of Trade elucidate the difficult situation faced by the industry and the effort of the Government both to stop piano production and to help the industry restart in the post-war era. The goal of the paper is to show the lasting effects of the war on the British piano industry and to argue that the British Government’s treatment of the piano industry during the war era hastened its eventual demise.

The metal strung harp indigenous to Ireland and Scotland from the Medieval period to the end of the 18th century was widely admired throughout its time period, and is now an important part of the cultural and musical heritage of both of these countries. This type of harp, known as the 'Irish harp', cláirseach, or clàrsach, currently has 18 known surviving instruments, including two sets of fragments. All of these harps are now too fragile to be played, therefore musicians and audiences wishing to explore the performance practice and repertory associated with them must rely on faithful replicas. The extensive knowledge and understanding of the construction of the surviving harps that is crucial to building these replica instruments is currently very limited, however. Although harps of this type enjoyed a long period of use dating back to the Medieval period, most surviving instruments post-date the beginning of the 17th century. Two harps belonging to the National Museum of Scotland, the 'Queen Mary' and 'Lamont', generally dated to circa the 15th century, are understood to be two of the oldest extant examples, making a study of their construction of particular interest. This dissertation presents the results of a comprehensive study of the construction of these two harps. A methodology was developed to address the issue of their uniqueness and fragility by combining the techniques used for non- and minimally destructive analysis of archeological artefacts with non-invasive medical diagnostic imaging. This study has utilized CT-scanning to provide three-dimensional radiography of each harp; XRF and SEM-EDX analysis to identify woods, metals, and pigments; photography and microscopy to record the decorative work, visible damage, repairs, and modifications; and a visual examination to assess the current state of each harp and to identify areas of interest for further analysis. The CT scanning was conducted at the Clinical Research Imaging Centre of Queen's Medical Research Institute, and the remainder of the analysis was conducted at the National Museums Scotland Collections Centre. Staff at both centres kindly facilitated the acquisition of the data for this study. Part I of this dissertation discusses the stringing of the instruments, presenting materials analysis of wire fragments, analysis of the effect of damage to the frames on the length and number of strings, and proposed reconstructions of the 'as-built' string lengths. Possible solutions for the pitch and gamut of each harp are also discussed. The construction of the harps is discussed where it is relevant to understanding the stringing. Part II presents a general discussion of the construction of each harp, including materials, decorative work, modifications, and signs of wear. This section also discusses evidence that may help establish dates of construction and timelines of modifications. Diagrams showing the dimensions of each harp are also presented. The implications of the results of this study for current understanding of these harps are discussed in detail and the methodology employed is discussed in terms of its applicability to future research of other surviving instruments.

No description available.

It was the purpose of this study to (1) investigate the use and value of the simple instrument program in the elementary school and (2) provide or suggest musical experiences through the medium of this program that will help children to get at the inner essence of music through a process of musical growth. These experiences should be in agreement with the modern philosophy of music education. An attempt was made to present these experiences in such a manner that they can be readily utilized by any teacher in the primary grades.

Bibliography: leaves 97-99. / This dissertation attempts to demonstrate the role the tongue plays in articulation in brass playing. It briefly examines oral anatomy, physiology and theories on motor learning, and describes the tongue's position in producing English speech sounds. It shows how these positions are used to teach different articulation techniques on the various brass instruments. Articulation styles and (tonguing) exercises, which could aid in the improvement of tongue articulation, are highlighted. It is hoped that these highlights will add insight for both present and future brass teachers.

No description available.

(M.A. (Bybelse Argeologie))

Based on the geographical distribution of the unearthed musical instruments and their archaeo-cultural considerations, I first examine musical cultures of the Shang and Zhou dynasties in the seven-regions of Central Plain, Northwest, North, East, Southwest, South, and Southeast, each of which showed affinity to some particular political unit (state), ethnicity and social organization of the archaeological culture. Through regional and cross-regional analysis of the shape, composite and musical features of the instruments and their contemporary cultural significance, I argue that the Shang and Zhou musical cultures were primarily originated and developed in multiple cultural contexts along the Yellow River and Yangtse River areas. Among the seven regions, the Central Plain region occupied a dominant position. The other regions of musical culture developed independently but maintained close cultural interaction with the Central Plain region. / Lastly, I discuss the ritual-music function of the instruments in the formation of ritual-music system, the condition of the owners and players of the instruments, and the compositive set of ritual bronze vessels and instruments. I conclude that the social function of musical instruments in the Shang and Zhou dynasties had actually gone beyond music performance itself. They had functions of performing music, executing sacrifice, and symbolizing the socio-political status and ranks of individuals. / This dissertation is an archaeo-musicological study on unearthed musical instruments of the Shang (1600 B.C.--1046 B.C.) and Western Zhou (1046 B.C.--771 B.C.) dynasties in China. Using the unearthed musical instruments in conjunction with other related archaeological findings and ancient Chinese documents, I discuss issues relating to the multi-structure and social function of these instruments within their socio-historical contexts. / Using the textual information from oracle bone inscriptions, bronze inscriptions, and Chinese classical texts, I explore the functions of the unearthed musical instruments in terms of sacrificial activities and the Liyue (ritual-music) system. I identify four types of excavation (dwellings, sacrificial pits, hoards, and tombs) to elucidate the relationship between sacrificial activities and musical instruments. I then discuss the metaphor of the instruments' decorations and the use of instruments in the ritual activities such as praying for rain and ancestral cult. / 方建軍. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. 277-316). / Adviser: Tsao Poon Yee. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2380. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in English. / School code: 1307. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. 277-316). / Fang Jianjun.