Thesis (M.M.)--Ohio University, August, 2003. / Title from PDF t.p.

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes analysis by composer. Includes bibliographical references (p. 42-43).

No description available.

Thesis (M.A.)--Boston University

Thesis (D.M.A.)--Boston University / The concerto is in three movements. The first, in G major is an Allegretto; the second, in D minor is marked Andante; and the third, in G major is a brisk Allegro. There is frequent use of modal scales throughout the course of this composition, particularly the Mixolydian mode. The concerto, however, may be regarded as being bi-modal--that is, either major or minor with much use of borrowed triads, altered triads, added notes, as well as poly-chords and simple diatonic harmony

Thesis (M.S.)--Boston University

1 score (xvii, 233 p.) / Throughout history, wondrous discoveries of science, like great pieces of music, have often come about through extraordinary feats of creativity, informed by deep rational thought yet not limited by it. Like science, music composition requires a mastery of its own technical features (instrumentation, orchestration, harmony, counterpoint, etc.), but neither music nor science can flourish when too much emphasis is placed upon the mechanical and not enough on the imagination. Composers have sometimes turned to mathematics as a tool for generating art though the systematization of musical elements. However, music often suffers from the conscious attempt by composers to bring it closer to the world of science and math through the serialization of musical material. This does not mean that mathematics and science do not play an important part in music of great expression. To be sure, composers have used simple mathematical concepts to discuss, analyze, and create music at every stage, whether consciously or unconsciously, since the beginning of Western music. These ideas are at the very heart of the great music of previous centuries, even if we celebrate those works more for their intrinsic beauty than their rational mechanics. It is the inventiveness and creativity that we find easy to value in music, but the science behind it also makes its creation possible. My symphony pays tribute to the marriage of creativity, not process, in scientific and musical thought, using the words of scientists and mathematicians as poetic texts, which generate musical imagery. I have chosen a series of quotations by notable scientists and mathematicians throughout history, which serve as textual introductions for each movement of the six-movement, approximately forty-five minute orchestral symphony. Each quotation makes reference to a specific scientific or mathematical discovery of its writer, or displays an aspect of his philosophy. The ideas expressed in the quotations serve as abstract inspiration and suggest musical imagery for each respective movement. / Committee in Charge: Dr. Robert Kyr, Chair; Dr. David Crumb; Dr. Jack Boss; Dr. Marilyn Linton

Inferno, Volume I of Dante Alighieri's timeless magnum opus, The Divine Comedy, persists to modern times as a work of immense imagination and philosophical poignancy. Dante, as the Pilgrim, spins in verse a massive tale wherein his fictitious self must traverse the depths of the Christian Hell with the guidance of the poet Virgil. This meditative allegory for the passage of the soul, and the nature of worldly sin, has attracted the attention of scholars and artists alike for centuries and has been the inspiration for numerous famous musical works. Dark forests, burning sands, bleeding trees, and rivers filled with muck, or fire, or ice, Alighieri's epic poem is rife with metaphors, images, and scenes that almost demand treatment as a musical narrative. Binding all of these disparate tableaus is the spiritual journey of the Pilgrim, the allegory for the passage of the self, moral conscience, and the artistic soul.

Helen Kotas was an accomplished musician and teacher who helped open the door for women in major US orchestras. In 1941 the Chicago Symphony hired its first female brass musician, principal hornist Helen Kotas. With that daring move, she became a pioneer for her gender in the major orchestras of North America. Despite her many contributions to the musical community, Kotas's life has not been researched and documented. This paper looks at Helen Kotas's career as well as a glimpse at her life and personality. In addition to documenting her life, this dissertation attempts to show at least a portion of Kotas's philosophy of teaching and horn playing. She was an accomplished horn soloist and studied the literature extensively. Kotas performed in the Chicago Civic Orchestra, the Woman's Symphony Orchestra, and Leopold Stokowski's All-American Youth Orchestra. Kotas was hired by Fritz Reiner as third horn of the Pittsburgh Symphony. When Frederick Stock, conductor of the Chicago Symphony Orchestra, heard that Helen Kotas was going to Pittsburgh, he insisted that she audition for the CSO. Kotas auditioned on the Concerto for Horn by Richard Strauss and the concertmaster said, "Hire her!" She performed as principal horn with the orchestra until Artur Rodzinski was hired as conductor in 1948 and replaced Kotas with Philip Farkas. Following her time with the CSO, Kotas was principal horn of the Chicago Lyric Opera and taught at the Sherwood and American Conservatories. She was an active soloist and premiered works by Arne Oldberg and Hugo Kauder.

No description available.