Master of Music / Department of Music, Theatre, and Dance / Frank C. Tracz / The following report is a detailed analysis on the following three pieces: Suite in B-flat by Richard Strauss for woodwind chamber ensemble, Two Pieces from Lieutenant Kije by Sergei Prokofiev for brass and percussion ensemble, and a finally Down a Country Lane by Aaron Copland for concert band. The goal of the analysis is to provide rehearsal information for educational purposes. Aspects of the compositions studied include: background information on the composer and composition, a historical perspective, technical and stylistic considerations, and the musical elements. The researchers perspective on philosophy of music education is also stated as well as the importance of choosing quality literature for pedagogical needs and performance. The goal of this report is to aid future conductors in their performances of the literature and for that reason the seating charts for the ensembles, acoustical justifications, as well as rehearsal plans have been included.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura / Proyecto Fondecyt de iniciación N°11140911

This thesis discusses the lieder of Richard Strauss including a comparison between Richard Strauss and Johannes Brahms.

It can be said that Strauss not only brought the valved trumpet to prominence but revived somewhat the use of the trumpet as a solo instrument to the importance it had attained during the baroque period. From the time of these works to the present there have been many improvements in the instruments themselves and the players have become more proficient. At the time these works were written and first performed the trumpets were not yet perfected. They were difficult to play and the intonation of the instrument was very poor. With the improvements in the instruments and the works of Strauss to show what could be done by the trumpet, composers started using the instrument in more important passages. In the compositions for orchestra written in the twentieth century up until the present time it is not uncommon to find the trumpet used extensively as a solo instrument. Some of the more prominent compositions employing the trumpet in this manner are: Concerto for Piano and Orchestra by Dimitri Shostakovich, The Quiet C by Aaron Copland, L'Histoire du Soldat by Igor Stravinsky, Concerto No. 2 for Piano and Orchestra by Maurice Ravel. In fact, in most of the larger orchestral works written in this century it is common for the trumpet to be used much in the same manner as Strauss used the instrument in the three symphonic poems cited. It can be stated, therefore, that Richard Strauss, although he did nothing really new or revolutionary so far as the instrument is concerned, started a trend in the use of the trumpet that was to be developed much more by the composers to follow. The trumpet today is secondary in importance to no other wind instrument in the orchestra.

I would like to understand what kinds of connections exist between musical rhythm and poetic and linguistic rhythm, particularly the phenomenon of accent, so I investigated accent in art songs, examining twelve songs in an attempt to further understand how and if the accents and patterns found in poetry correlate to those found in songs based on this poetry. This study examines how the patterns of stressed and unstressed syllables in Lieder by Amy Beach, Richard Strauss, and Camille Saint-Saëns correlate with musical rhythmic and accent patterns in the resulting music. I systematically determined what kinds of accents were present, where they were present, and how they were related. I tracked nine different types of musical accents: agogic, contour, dynamic, articulation, metric, pitch, phrasing, structural, and textural. I then tracked the linguistic accents in the poems themselves, with the categories of meter, individual word stresses (if different from the meter), rhyme scheme, internal rhymes, and cadences (ends of sentences and questions). I then compared the accents found in the music to the accents found in the poetry. I then compared the correlation of linguistic and musical accents through graphic representation of the values I found. I found significant correlation between musical and linguistic accents in the twelve different pieces I studied. These results suggest that, for at least these three composers, the text does in fact influence the accent patterns of the music. For the songs of Beach and Strauss, there is a visual pattern in the graphs, which matches the meter of the text. The linguistic and musical accent patterns in both Beach and Strauss songs tended to be regularly alternating in a binary fashion, in keeping with the iambic meter. For Saint-Saëns, there was overall close correlation as well. The main difference between graphs for Saint-Saëns and the others seems to be the lack of a pattern in the relative accent strengths, which can be found in both the English and German graphs. French poetry does not have an iambic pattern to it; correspondingly the music doesn't show the regular binary alteration of accents. This pattern or lack thereof is part of the correlation that all of the pieces share between the music and the language, and the lack of pattern seems to demonstrate a particularity in the music in the case of French. Though showing how accents in music and text correlate in the songs of English-, German-, and French-speaking composers, this thesis does not fully determine how and if musical and linguistic accents correlate in music composers other than Amy Beach, Richard Strauss, and Camille Saint-Saëns.

<p>Strauss, Richard, Don Juan, Op. 20</p><p>Sørensen, Bent,  Evening Land, 2017</p><p>Tchaikovsky, Peter Ilyitch, Symphony No. 4, F minor, Op 36</p><p>Dirigent: Magnus Theodor Torpp Larsson</p><p>Orkester: Norrköpings Symfoniorkester</p>

In this thesis I will develop and test an interpretive framework for the Subject based on the understanding that an entity can be identified as a Subject if it is the necessary referent for an attribution. This understanding provides a template for approaching different Subjects, for considering the validity of their being identified as Subjects, and for reorienting the general discourse of the Subject away from an investigation of particular entities to one concerned with the contexts which support such identifications.

<p>Att genomföra ett test som alltid ger samma resultat kan i längden kännas omotiverat. Strauss test är ett test som funnits länge för att testa stålets känslighet mot interkristallin korrosion. I detta arbete har Strauss test utvärderats i syftet att få fram ett underlag som kan användas för att starta diskussioner om en förändring i provningsmetodiken. Anledningen till att en förändring behövs är att alla dessa, ej informativa, tester kostar pengar. För att få fram underlaget har en litteraturstudie och experiment genomförts. Litteraturstudien har visat att Strauss test ej kommer ge någon nyttig information om stålens kvalitet. Experiment har visat att de duplexa stålens slagseghet minskar fortare än vad de blir känsliga för interkristallin korrosion. Ett exempel på hur man kan använda kvalitetsverktyg för att motivera en förändring i provningsmetodiken togs fram.</p> / <p>To carry out a test that always presents the same result may in the long run feel unmotivated. Strauss test is a test that been around for a long time to test the stainless steals susceptibility towards intergranular corrosion. In this work Strauss test have been evaluated in the purpose to get out a material that can be used to start discussions about a change in the testing procedure. The need for a change is because all these non-iformative tests is expensive. To get the material, a review and experiments was conducted. The review showed that Strauss test is not able to give any valuable information about the stainless steels quality. The experiments showed that the duplex stainless steels impact toughness decreases faster then they become sensitive towards intergranular corrosion. An example of how you can use quality tools to motivate a change in the testing procedure was developed.</p>

<p>”En studie i dekadens” är en studie av ghostwritern Neil Strauss och syftar till att med utgångspunkt från de självbiografier han spökskrivit åt celebriteterna Marilyn Manson, Mötley Crüe, Jenna Jameson och Dave Navarro undersöka en ny typ av populärkulturellt och samtida författarskap. Studien belyser hur Strauss på ett framgångsrikt sätt förflyttat författarens position och tagit på sig ett ställföreträdarskap för dem han skildrar och den dekadenta värld de verkar inom.</p>

Thesis (Ph.D.)--Jewish Theological Seminary of America. Graduate School, 2004. / Includes bibliographical references. Also available on the Internet.