Thesis (Ph. D.)--Ohio State University, 1980. / Includes vita. Includes bibliographical references (leaves 98-108). Available online via OhioLINK's ETD Center.

Treatise (D.M.A.) Florida State University, 2005. / Advisor: Carolyn Bridger, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-29-07). Document formatted into pages; contains 114 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D. M. A.)--Case Western Reserve University, 2007. / Department of Music. Includes bibliographical references. Available online via OhioLINK's ETD Center.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 295-299). Available also in a digital version from Dissertation Abstracts.

The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VII (1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troiseme Sonatine (1933), and Jean-Michel Damase Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work.

The literal meaning of "transcription" is "written across"; in freer terminology it is "the musical counter-part of literary translation." The terms "arrangement" and "transcription: are used synonymously by nearly all musical dictionaries. However, even then , there is often a distinction made, an arrangement being considered to adhere strictly to the original text while a transcription admits of creative participation on part of the arranger, ranging from the simple transference of musical medium to the complete reworking of a composition with additions and modifications.

No description available.

This thesis will attempt to explain how people relate to the piano preludes of Claude Debussy. It is because we as people have experiences in life that relate to the specific titles of his pieces. When hearing the piece we recall those events and relate them to the piece. This allows us to interpret the music and make meaning of its motives and such. This paper will discuss the composer's life and background history. It will then define areas that are necessary to understand Claude Debussy's classification as a composer and the psychological basis of music. It will then discuss the compositional techniques used in the music and finally the discussion of the relation of people's memories to the actual music. This study will make evident Debussy's goal to have the listener associate the music with extra-musical experiences.

No description available.

published_or_final_version / Music / Master / Master of Philosophy