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Historical and analytical overviews on Dmitri Shostakovich's Twenty-Four Preludes and Fugues
Title
Historical and analytical overviews on Dmitri Shostakovich's Twenty-Four Preludes and Fugues.
Creator
Park, Jihong., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
The goal of this research is to discover Shostakovich's inspiration and motivation for writing the Twenty-Four Preludes and Fugues. Through the in-depth research of the cycle, this thesis will discuss the different aspects of the unique harmonic ambiguity of both the preludes and the fugue subjects so that readers understand Shostakovich's language of musical communication. Shostakovich lived during a transitional period in the history of Russia when totalitarianism was being challenged. The...
Show moreThe goal of this research is to discover Shostakovich's inspiration and motivation for writing the Twenty-Four Preludes and Fugues. Through the in-depth research of the cycle, this thesis will discuss the different aspects of the unique harmonic ambiguity of both the preludes and the fugue subjects so that readers understand Shostakovich's language of musical communication. Shostakovich lived during a transitional period in the history of Russia when totalitarianism was being challenged. The research will also explore how the political environment influenced his composition during those years.
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Date Issued
2012
PURL
http://purl.flvc.org/FAU/3352279
Subject Headings
Criticism and interpretation, Music, History and criticism, Politics and government
Format
Document (PDF)
Mathilde Marchesi
Title
Mathilde Marchesi: a study of her life and work in vocal pedagogy, including historical and modern implications.
Creator
Craik, Joanna Lee, Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
Mathilde Marchesi played a significant role in vocal education during the nineteenth and early twentieth centuries. Marchesi taught many of the prominent female vocalists of her time and published a wealth of material based on the bel canto style and her own vocal methods. The research presented includes an examination of musical influences in early years, and provides information related to Marchesi's studies with Manuel Garcia II who played an important role in Mathilde's training and...
Show moreMathilde Marchesi played a significant role in vocal education during the nineteenth and early twentieth centuries. Marchesi taught many of the prominent female vocalists of her time and published a wealth of material based on the bel canto style and her own vocal methods. The research presented includes an examination of musical influences in early years, and provides information related to Marchesi's studies with Manuel Garcia II who played an important role in Mathilde's training and future devotion to the bel canto style. Section II defines the Marchesi method, with analysis of her techniques and methodology. Information on three of her most well known students - Nellie Melba, Emma Eames, and her own daughter, Blanche Marchesi, is presented in Section III along with narrative offering insight into Marchesi's personality and character. The thesis concludes with discussion of the viability and applicability of Marchesi's vocal pedagogy one hundred years after her death.
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Date Issued
2011
PURL
http://purl.flvc.org/FAU/3174506
Subject Headings
Criticism and interpretation, Music, Acoustics and physics, Singing, Instruction and study, Bel canto
Format
Document (PDF)
common origin of the German contraptual organ school and the French classical organ school from the perspective of organ construction, organ music and organ technique
Title
The common origin of the German contraptual organ school and the French classical organ school from the perspective of organ construction, organ music and organ technique.
Creator
Miller, Margaret R., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
This study examines the development of German pipe organ culture and French classical pipe organ culture from a single common origin in the Duchy of Brabant, during 1450-1850, with respect to select major attributes of organ construction, organ music and organ technique. The respective music of Dieterich Buxtehude (1637-1707), Praeludium in G Minor, BuxWV 149, for the North German contrapuntalists, and of Câesar Franck (1822- 1890), Choral No. 3 in A Minor, for the classical French symphonic...
Show moreThis study examines the development of German pipe organ culture and French classical pipe organ culture from a single common origin in the Duchy of Brabant, during 1450-1850, with respect to select major attributes of organ construction, organ music and organ technique. The respective music of Dieterich Buxtehude (1637-1707), Praeludium in G Minor, BuxWV 149, for the North German contrapuntalists, and of Câesar Franck (1822- 1890), Choral No. 3 in A Minor, for the classical French symphonic tradition, is highlighted and appended with suggested technique for each work.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/2978990
Subject Headings
Criticism and interpretation, Criticism and interpretation, Organs, History, Organs, History, Organ music, Technique, Organ (Musical instrument), Design and construction
Format
Document (PDF)
Beethoven
Title
Beethoven: his nine symphonies and their influence on the development of the orchestra.
Creator
Padua, Daniel., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
Beethoven is widely considered to be one of the most influential composers of all time. His compositions denote a crucial turning point in the history of western music, and his influence can be discussed in numerous ways - musically, technically, theoretically and even philosophically. This treatise discusses one of the primary aspects of Beethoven's influence on later generations: the way that his symphonies contributed to the expansion of the genre and, consequently, to the development of...
Show moreBeethoven is widely considered to be one of the most influential composers of all time. His compositions denote a crucial turning point in the history of western music, and his influence can be discussed in numerous ways - musically, technically, theoretically and even philosophically. This treatise discusses one of the primary aspects of Beethoven's influence on later generations: the way that his symphonies contributed to the expansion of the genre and, consequently, to the development of the orchestra. Included is a detailed analysis of his nine symphonies, an overview of his personal life, and an exploration of the historical, social, and political time in which he lived. This thesis collects and examines relevant documents in order to inquire about and better understand the changes and innovations that transformed the standard orchestra of the eighteenth century, opening the doors to the symphonic music of the Romantic Era.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/2978945
Subject Headings
Influence, Criticism and interpretation, Performance practice (Music), History, Music, Philosophy and aesthetics, Instrumentation and orchestration, History, Arrangement (Music), History
Format
Document (PDF)
Two tone poems
Title
Two tone poems.
Creator
Rivera, Raul., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
The two orchestral pieces, written in the period of 2009-2010, are tone poems that demonstrate the development and combination of tonal melodies along with a coherent and effective use of orchestration to express different emotions inspired by two imaginary places. This thesis analyzes different aspects of the pieces based on their melodic construction and the use of the orchestra as the main instrument. This document also discusses the influence of specific composers and orchestral pieces,...
Show moreThe two orchestral pieces, written in the period of 2009-2010, are tone poems that demonstrate the development and combination of tonal melodies along with a coherent and effective use of orchestration to express different emotions inspired by two imaginary places. This thesis analyzes different aspects of the pieces based on their melodic construction and the use of the orchestra as the main instrument. This document also discusses the influence of specific composers and orchestral pieces, and the main historical style of the compositions.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/2138105
Subject Headings
Criticism and interpretation, Criticism and interpretation, Symphonic poems, Criticism and interpretation, Variations (Orchestra), Orchestra music
Format
Document (PDF)
Three suites
Title
Three suites: a celebration of klezmer.
Creator
Weiner, Alison, Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
Three original suites, composed during 2008-2009, are presented and discussed with respect to form, style, and compositional techniques. The subjects are Suite No. 1 (clarinet and piano), Suite No. 2: For Paul, A Master of Music (clarinet, piano, double bass and drums), and Suite No. 3: L'Chaim (two clarinets, flugelhorn, French horn, bandoneon, piano, violin, and cello). Common to all three pieces is the inspiration of klezmer, a Jewish music genre that, during its reemergence over the past...
Show moreThree original suites, composed during 2008-2009, are presented and discussed with respect to form, style, and compositional techniques. The subjects are Suite No. 1 (clarinet and piano), Suite No. 2: For Paul, A Master of Music (clarinet, piano, double bass and drums), and Suite No. 3: L'Chaim (two clarinets, flugelhorn, French horn, bandoneon, piano, violin, and cello). Common to all three pieces is the inspiration of klezmer, a Jewish music genre that, during its reemergence over the past thirty-five years, has welcomed the influence of other musical styles. In keeping with the eclectic nature of klezmer, each suite builds upon the previous one with regard to instrumentation, style and technique, and embraces additional genres (jazz and tango). Brief reviews regarding the history and musical characteristics (including modes, ornamentation and improvisation, song types and instrumentation) for all the included genres are also presented for the benefit of compositional context.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/2100575
Subject Headings
Criticism and interpretation, Criticism and interpretation, Criticism and interpretation, Klezmer music, History and criticism, Jews, Music, History and criticism
Format
Document (PDF)
voice of nationalism in Moniuszko's opera
Title
The voice of nationalism in Moniuszko's opera.
Creator
Niewczas, Marlena., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
Stanislaw Moniuszko (1819-1872) is the father of the Polish national opera, and yet he is little known outside Poland. His two masterpieces, Halka and The Haunted Manor, are operatic works that contributed to the development of national music. Moniuszko composed during the middle of the nineteenth century when Poland was under control of the three Powers: Russia, Prussia, and Austria. A study of Polish history reveals the understanding of Moniuszko's position as an artist and the role of his...
Show moreStanislaw Moniuszko (1819-1872) is the father of the Polish national opera, and yet he is little known outside Poland. His two masterpieces, Halka and The Haunted Manor, are operatic works that contributed to the development of national music. Moniuszko composed during the middle of the nineteenth century when Poland was under control of the three Powers: Russia, Prussia, and Austria. A study of Polish history reveals the understanding of Moniuszko's position as an artist and the role of his operas. The national elements portrayed in his compositions include Polish dances, such as the polonaise, mazurka, and krakowiak, as well as folk tunes, and most importantly, the libretto with social and patriotic stances. This thesis intends to enlighten English speakers about the development of Polish national opera, its innovator, and his techniques.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/1930489
Subject Headings
Criticism and interpretation, Criticism and interpretation, Nationalism in literature, Music, History and criticism, Nationalism, History, Politics and government
Format
Document (PDF)
prepared piano of John Cage
Title
The prepared piano of John Cage: a new level of hearing the Sonatas and Interludes.
Creator
Ferreira, Inara de Barros, Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
When John Cage invented the prepared piano in 1940, he created a sound world and body of music unlike anything heard before. The innovative music he wrote for prepared piano requires a completely new approach to performance, and expands our understanding of the piano's capabilities. This study will examine the main prepared piano works by John Cage, with a detailed analysis of the Sonatas and Interludes. Cage's Table of Preparations will be examined to establish an aesthetic rationale for...
Show moreWhen John Cage invented the prepared piano in 1940, he created a sound world and body of music unlike anything heard before. The innovative music he wrote for prepared piano requires a completely new approach to performance, and expands our understanding of the piano's capabilities. This study will examine the main prepared piano works by John Cage, with a detailed analysis of the Sonatas and Interludes. Cage's Table of Preparations will be examined to establish an aesthetic rationale for this preparation. Different modes of listening will be explored through a selection of the Sonatas and Interludes recorded in three different technological systems - conventional AB 2.0, surround 5.1, and Disk Jecklin. The latter allows for a true "surround sound" experience as Cage himself might have heard his own pieces. Included is a compact disc of selections from Sonatas and Interludes recorded in each of the three technological systems.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/1927866
Subject Headings
Cage, John, Criticism and interpretation, Prepared piano music, Music, Aleatory music, History and criticism, Avant-garde (Music), History and criticism
Format
Document (PDF)
Three chamber pieces
Title
Three chamber pieces.
Creator
Frederick, Rochelle M., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
Three original chamber pieces are discussed from numerous points of view. They were composed for string quartet (Escape and String quartet in Four Movements), and string quartet with flute (Forward Motion). Each piece is analyzed in terms of its historical background, compositional techniques, and formal and stylistic techniques. Each piece draws influences from different genres. Escape was influenced by minimalism and jazz and is based on the Locrian scale. Forward Motion is in a modified...
Show moreThree original chamber pieces are discussed from numerous points of view. They were composed for string quartet (Escape and String quartet in Four Movements), and string quartet with flute (Forward Motion). Each piece is analyzed in terms of its historical background, compositional techniques, and formal and stylistic techniques. Each piece draws influences from different genres. Escape was influenced by minimalism and jazz and is based on the Locrian scale. Forward Motion is in a modified classical form (Sonata) but draws influences from modern music and employs much dissonance. String quartet in Four Movements combines elements of expressionism, minimalism and jazz. Each piece is discussed in regards to its musical characteristics and historical influences including scales, harmony, rhythmic structure and form.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/1927861
Subject Headings
Criticism and interpretation, Criticism and interpretation, Criticism and interpretation, Avant-garde (Music), Criticism and interpretation, Composition (Music), Musical analysis
Format
Document (PDF)
Who is Paule Maurice?
Title
Who is Paule Maurice?: her relative anonymity and its consequences.
Creator
Moore, Anthony Jon., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
Paule Maurice (1910-1967) is the little known composer of Tableaux de Provence: Suite for Saxophone and Orchestra, one of the most frequently recorded and studied classical saxophone compositions in history. A more in depth study of Paule Maurice reveals a talented composer and dedicated professor whose career at the Conservatoire National Supérieur de Musique de Paris and l'Ecole Normale de Musique de Paris spanned over twenty-five years until her untimely death at age fifty-seven. Maurice...
Show morePaule Maurice (1910-1967) is the little known composer of Tableaux de Provence: Suite for Saxophone and Orchestra, one of the most frequently recorded and studied classical saxophone compositions in history. A more in depth study of Paule Maurice reveals a talented composer and dedicated professor whose career at the Conservatoire National Supérieur de Musique de Paris and l'Ecole Normale de Musique de Paris spanned over twenty-five years until her untimely death at age fifty-seven. Maurice composed for theatre, ballet, French National Radio, orchestra, voice, piano, flute, clarinet, and saxophone. There is question as to the whereabouts of many of her manuscripts. This thesis attempts to bring to bear the life and accomplishments of a talented French composer not well remembered in music history.
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Date Issued
2009
PURL
http://purl.flvc.org/FAU/367763
Subject Headings
Criticism and interpretation, Composers, Music, History and criticism, Women in music, Saxophone music
Format
Document (PDF)