Thesis (M.S.)--Kutztown University, 1990. / Source: Masters Abstracts International, Volume: 45-06, page: 2710. Typescript.

Thesis (M.A.)--Eastern Illinois University, 2010. / Includes bibliographical references (leaves 49-50).

Thesis (M.S. )--Kutztown University of Pennsylvania, 2005. / Typescript. Abstract precedes thesis as 2 leaves (iii-iv). Source: Masters Abstracts International, Volume: 45-06, page: 2806. Includes bibliographical references (leaves [69-71]).

abstract: This research paper focuses on selected recordings of the Etudes of Claude Debussy. It provides a comparative study of these recordings. There are some dissertations on the topic of Debussy’s Etudes. Most of them are about performance-related aspects such as fingerings, pedaling, or technical guidelines. Some of the dissertations examine compositional analyses, discussing harmony, texture, rhythmic structure, motivic development, etc. There also is a dissertation that makes a comparative study of the etude genre in Chopin and Debussy. Since there is no research yet on the recordings of Debussy’s Etudes, this may be a meaningful contribution to research. Debussy’s Douze Études are technically difficult to play, but the technical problems are always subordinated to musical beauty and variety in this work. This research is concerned with the sound of the music as achieved by a variety of performers. Nine representative pianists from various schools and traditions are chosen: Michel Béroff, Aldo Ciccolini, Walter Cosand, Walter Gieseking, Werner Haas, Yvonne Loriod, Jean-Yves Thibaudet, Mitsuko Uchida and Yevgeny Yontov. In this project, the focus is on listening to the selected recordings, making comparisons and summarizing certain performance-related aspects of them. Each etude is discussed individually in order to make a comprehensive study of different aspects of the selected recordings. In the last chapter of this paper, conclusions are drawn about the different performance features of the pianists examined according to previous analyses. This research seeks to encourage performances of Debussy’s Etudes, to aid pianists in obtaining interpretative ideas from the different recordings and finally to benefit their own performances. / Dissertation/Thesis / Doctoral Dissertation Music 2018

M.A. (Information Studies) / This study deals with the problem of subject cataloging of video material as an example of a moving image material. The use of video material as a source of information has increased tremendously over the past few decades. The information contained in video material must however be accessible and to obtain this objective adequate subject cataloging must be done ...

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"Ears Taut to Hear" investigates the sustained engagement between American literature and sound reproduction technologies during the twentieth century. Through an analysis of texts by Gertrude Stein, John Dos Passos, Alan Lomax, Sidney Bechet, Langston Hughes, Amiri Baraka, Jack Kerouac, William S. Burroughs, and August Wilson, I explore how literature across a number of genres and modes extended formal techniques in response to the advent of the phonograph, tape, and LPs. I contend that the development of sound recording technology not only shaped many of the formal innovations that we now associate with modernism, but that it compelled writers to theorize sound. For instance, Gertrude Stein's broken-record repetitions in "Melanctha" (1909) illustrate new ways of thinking about listening and repetition in the era of the "talking machine," while Langston Hughes' "LP Book," Ask Your Mama: 12 Moods for Jazz (1961), conceptualizes the relationship between stereo recording and the spatial dimensions of sound. Tracing the shifting role of sound over the century, each chapter features a pairing of literary texts alongside key historical events in the development of sound technology and the recording industry, including the invention of the phonograph (Stein and DosPassos), ethnographic uses of recording (Lomax and Bechet), subversive uses of the tape-recorder (Kerouac and Burroughs), and the advent of long-play albums and stereo (Hughes and Baraka). The final chapter reflects upon August Wilson's Ma Rainey's Black Bottom and encapsulates the ongoing tension between live and recorded performance. Ultimately, I contend that while literary innovations were shaped by phonographic technologies, texts also played a key role in tutoring the ear to listen amidst a modern multimedia environment.

Thesis (M.S.)--Kutztown University of Pennsylvania, 1995. / Source: Masters Abstracts International, Volume: 45-06, page: 2711. Typescript. Abstract appears on leaves 2-3. Includes bibliographical references (leaves 65-67).

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