The purpose of this study was to investigate the bands of the armies of the Confederate States of America. This study features appendices of libraries and archives collections visited in ten states and Washington D.C., and covers all known Confederate bands. Some scholars have erroneously concluded that this indicated a lack of available primary source materials that few Confederate bands served the duration of the war. The study features appendices of libraries and archives collections visited in ten states and Washington, D.C., and covers all known Confederate bands. There were approximately 155 bands and 2,400 bandsmen in the service of the Confederate armies. Forty bands surrendered at Appomattox and many others not listed on final muster rolls were found to have served through the war. While most Confederate musicians and bandsmen were white, many black musicians were regularly enlisted soldiers who provided the same services. A chapter is devoted to the contributions of black Confederate musicians.

In the history of seventeenth-century European music the court of Christian IV (r. 1588-1648) occupies a position of prominence. Christian, eager for fame as a patron of the arts, drew to Denmark many of the musical giants of the age, among them the lutenist John Dowland and the composer Heinrich Schltz. Sadly, except for financial records and occasional letters still in the archives, few traces remain of these brilliant years in Denmark. The music composed and played during this half century has largely disappeared, most of it probably in the tragic fire of 1794 that destroyed the old Christiansborg Castle in Copenhagen and with it the court music archives. Except for the recently-discovered Clausholm Fragments, only three specimens of keyboard music from the period remain: Ny kgl. Saml. 1997 fol. (Obmaus Tablature), Gl. kgl. Saonl. 376 fol. (Copenhagen Tablature), and mu 6703.2131/6 (VoigtlaJnder Tablature). It has generally been assumed that the manuscripts were of German origin. The present study, however, demonstrates a probable Danish origin for the third, possible Danish connections for the second, and establishes that the first is of Austrian provenance. The Obmaus Tablature is an amateur's preservation of a German keyboard style already outdated. This slender manuscript, …

The purpose of this study was to investigate selected landmark events in the historical development of the Texas Music Educators Association, 1938-1980, and the decisions which influenced their outcomes. A polling of twenty former presidents of TMEA selected the following landmark events that helped to shape the history of TMEA: (1) the change from a band organization to a music educators organization in 1938, (2) the University Interscholastic League takeover of contests in 1947, and (3) TMEA's separation from the Music Educators National Conference in 1976. In addition to developing a historical chronology from documentary sources, in-depth interviews were conducted with actual participants in these landmark events. The interviews utilized comparable questions, in order to identify decision-making patterns, while also capturing the atmosphere and visceral context of TMEA history. Literature from the social science disciplines on organizational decision—making was explored for help in understanding what happened, how, and why. In all three events the final decision was strongly influenced by factors external to the TMEA. The strong power position held by school administrators was evident in both the first and second events, while reinforcement from actively lobbying choral directors was also a factor in the first event only. The strong …

This study examines the history and development of vibrato among classical saxophonists as well as briefly summarizes the history of vibrato in general from its origins on string instruments, the voice and other wind instruments. An analysis of recordings of early saxophonists shows the approximate time period of incorporation of vibrato on the saxophone and the influences of performers and musical styles on its development. Pedagogical methods of performing vibrato on the saxophone are included as well as a discussion of saxophone vibrato styles. An exploration of vibrato as an expressive musical device is provided along with conclusions drawn concerning performance practice implications.

The research problems of this dissertation were: 1) A description of the perceived value of music in light of political undercurrents in Boston prior to and during the years under investigation, and 2) the profile of the constituency of the Boston School Committee and Committee on Music in 1837 and 1845. Questions addressed the effect of religious and moral concerns of the day on the decision by the School Committee in 1837 to try music in the curriculum, and the possible effect of religious politics on Lowell Mason's dismissal from the schools in 1845. In the minds of mid-nineteenth century Bostonians, religious and moral values were intrinsic to the very nature of music. Key members on the School Committee portrayed music as being spiritual yet nonsectarian in its influence. Therefore, the findings suggest that music was believed to provide common ground between opposing and diverse religious sects. Reasons given for Mason's dismissal by John Sargent, a member of the Committee on Music, showed parallels to H. W. Day's accusations in the press a year earlier that Mason had managed his position in a sectarian manner. Sargent's background supports the theory that religious politics were at work in Mason's dismissal. Although …

Favorable judgment of a work of art, or of a man, usually means that the work of art, or a record of the man, will be preserved for future generations to judge for themselves. An unfavorable judgment may result in a richly deserved obscurity or an irreplaceable loss, unless favorable circumstances combine to preserve the evidence for a more perspicacious generation. One can be forgiven if he distrusts history's judgment; mistakes which have been corrected are legion (the case of J. S. Bach comes most vividly to mind) and skepticism is warranted unless or until the facts are available for confirmation. It is difficult to explain the paucity of information about Jacques-Christophe Naudot, Not that he is another J. S. Bach; neither Fleury, who made the first serious effort to revive interest in his music in the early 1920's, nor Ruf, who has done much in this regard recently, nor this writer makes any such claim. He does not, however, deserve the obscurity that has been his lot. If his music is not always profound, it nevertheless has both intrinsic and historical value, and some of his works reveal considerable contrapuntal skill. It may be that Naudot stood in the …

The location of the available research literature and its relationship to the pedagogy of the female high voice is the subject of this thesis. The nature and pedagogy of the female high voice are described in the first four chapters. The next two chapters discuss maintenance of the voice in conventional and experimental repertoire. Chapter seven is a summary of all the pedagogy. The last chapter is a comparison of the nature and the pedagogy of the female high voice with recommended areas for further research. For instance, more information is needed to understand the acoustic factors of vibrato, singer's formant, and high energy levels in the female high voice.

The purpose of this study was to compare major theories of laryngeal vibration. The basic hypothesis of the study was that the differences and similarities between the major theories of laryngeal vibration could be made evident and clear through a comparative study. It was assumed that there are two or more theories of laryngeal vibration and that all the major theories of laryngeal vibration from 1945 to the present have been described in written form in English.

Serge Koussevitzky, conductor of the Boston Symphony Orchestra from 1924-1949, had, throughout his career, a reputation as a champion of modern music. The anticipation of his arrival in Boston in 1924 sparked a great deal of public debate about his reported modernism which the critics reflected and contributed to. This thesis analyzes the critical reaction, preserved in scrapbooks of newspaper clippings at Symphony Hall, Boston, to Koussevitzky's programming of contemporary music during his first five years with the BSO.

Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone production. Granados' book, Metodo Teorico Practico para el Uso de los Pedales del Piano (Theoretical and Practical Method for the Use of the Piano Pedals) is presently out of print and available in a photostatic version from the publisher. Marshall's works, Estudio Practico sobre los Pedales del Piano (Practical Study of the Piano Pedals) and La Sonoridad del Piano (Piano Sonority) continue to be used at the Marshall Academy and are available from Spanish publishing houses. This study brings information contained in these three method books to the forefront and demonstrates its relevance to the performance of the music of Granados, specifically the Escenas Romanticas. Alicia de Larrocha, …

The purpose of this study was to compare the effects of guided musical analysis and guided attention to textual understanding on the speed of solo memorization by selected university vocal students. The guided musical analysis consisted of instruction to a subject regarding the melodic elements, rhythmic elements, phraseology, form, and key relationships of the experimental songs. The guided attention to textual understanding consisted of instruction to a subject regarding the meaning and phraseology of the experimental song texts. Subjects were required to rhythmically scan the texts in a declamatory manner. It was concluded that the three conditions of memorization were equally effective. Memorization rates were not significantly altered by historical period of song. Differences in memorization rates appeared to parallel the subjects' academic performances and their performances on the Drake Musical Aptitude Tests. Findings of this study indicated that future memorization experiments should be conducted with larger samples of subjects of a single sex who are music majors.

The comparison of structural and formal traits in the concert grossi of Corelli's Opus VI and Vivaldi's Opus III will proceed in the following manner: first, the cycle as a whole will be taken up; next, the individual movements will be considered. Finally, in each instance of comparison, Corelli's music will be dealt with first.

The three respond motets from Matins for the Dead by Robert Parsons constitute an important part of the sacred Latin repertory of mid-sixteenth-century England, illustrating central features of the English mid-century style. Although he worked within a conservative musical tradition, Parsons experimented with that tradition in personal and individual ways. Specifically his modal and thematic construction as well as his practice of musica ficta are singled out for closer analysis. Consequently, a methodology for editorial decisions concerning musica ficta is developed. Two special problems, the simultaneous cross-relation and diminished fourth, are shown as the result of normative polyphonic processes and vertical structures.

The Revolution of 1910 in Mexico marked a great political and social upheaval. At the same time a recasting of Mexico's music occurred. Modern Mexican music is a unique combination of the influence inherited from Europe and the indigenous music of the country. This work attempts to trace the development of that combination. Chapter I gives a background of music in Mexico through Pre-Cortesian times, the colonial period and the operatic nineteenth century. Chapter II deals with the men who shaped present day music in Mexico. Chapter III is an analysis of selected twentieth century piano works. The analysis shows the tendencies of ten Mexican composers in their use of melody and rhythm. It includes a discussion of harmonic structure and tonality. The composers whose works were chosen for consideration in the analysis range from Manuel M. Ponce, considered the father of modern Mexican music, to Carlos Chavez, recognized as the outstanding exponent of music in Mexico today.

The lecture recital was given January 31, 1971. A discussion of Bartok's Out of Doors, a suite consisting of five movements entitled "With Drums and Pipes," "Barcarolla," "Musettes," "The Night's Music," and "The Chase" included biographical material, general analysis of Bartok's musical style, and specific analysis of the suite itself. The suite was then performed by memory. In addition to the lecture recital three other public recitals were performed. Two of these consisted entirely of solo literature for the piano, and the other was a vocal chamber music recital. The first solo recital was on June 7, 1970, and included works of Alfredo Casella, Beethoven, Chopin, Brahms, and Bartok. Part of the preparation included the writing of program notes of a historical and analytical nature.The other solo program, on July 5, 1971, consisted entirely of twentieth-century works by George Rochberg, Sergei Prokofieff, and Maurice Ravel. The chamber music recital was performed with a visiting soprano, Jane Paul, on February 28, 1971. Emphasis was given to German Lieder by Schumann, Joseph Marx, and Alban Berg, but Spanish songs of the Renaissance, by Juan del Encina and Fuenllana, as well as a modern English song cycle by Peter Warlock were also programmed.

The London British Museum Manuscript Additional 35087, hereafter referred to as London Add. 35087, is an important parchment manuscript in large octavo choirbook arrangement from the beginning of the sixteenth century. Its measurements are 19.4 x 29.3 centimeters. The manuscript contains ninety-five folios and one stub where a leaf has been torn out (f. 4).1 The last composition in the manuscript is incomplete, which indicates that one leaf is lacking at the end (f. 96). Two sets of foliation are shown: the original Roman and a more recent Arabic. Both are placed in the upper right hand corner of folio recto. The sets agree in folios 4-93. Folios 1 and 2 show no Roman figures now; folio 3 has "ii," and therefore the missing leaf probably had "iii." The Arabic numbering does not account for this missing leaf. This folio might have been assigned "4," but this number is given on the next complete leaf to coincide with the Roman "iiii." At the end, by mistake, folio 94 has "xciii" and folio 95 has "xciiii."

There are no records to substantiate that one of the passengers on the Mayflower brought an oboe with him in 1620, but diaries, journals, and newspaper articles document its presence and utilization in the United States a few years after that date. A reference to musical instruments occurs in the inventories of the goods of two neighboring New Hampshire "plantations" taken approximately ten years after they were originally settled. At "Newitchwanicke, ld of Julie, 1633. . . in the Great House, 15 recorders and hoeboys" were listed, while "at Pascattaquack 2d Julie, 1633," one day later, there were no less than "hoeboys and recorders 26" and "1 drume"!1 By 1635 New Hampshire had 56 oboes and recorders alone. 2

This study seeks to examine the history of the ricercare, specifically in the baroque era. In this work, all types of keyboard compositions that utilize imitative counterpoint have been examined. Late baroque fugues have been examined to determine which characteristics of the earlier ricercare remained in general use and which specific compositions contain elements causing them to resemble strongly the parent form.

The purpose of this study was to provide, through systematic investigation, empirical data to support or reject the assumption that auditory stimulation by discrete pitches evokes consistent muscle responses in the extrinsic laryngeal muscles. The study was an electromyographic investigation of specific upper and lower extrinsic laryngeal muscles as stimulated by two specific pitch stimuli. The responses were evoked by auditory stimulation, without vocalization. From these findings, it was concluded that a direct relationship exists between specific pitch stimuli and specific extrinsic laryngeal muscle responses. It was concluded that these responses likely exist in the general population.

This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice.

This investigation surveys pertinent literature, from 1917 to 1982 inclusive, regarding artistic vibrato and tremolo in singing. The contents are subdivided into individual investigative reports by various vocal researchers. Due to mounting confusion within the amassed literature, the need for systematic organization and evaluation is evident. Misunderstandings within the context of the literature and misnomers within the terminology require clarification and resolution. The evaluation intends to produce a proper perspective on vibrato and tremolo, eradicating some of the confusion surrounding the terms. Artistic vibrato is recognized as a desirable component in Western vocal music. In contrast, tremolo is deemed a deviant vibrato, i.e., a vibrato which deviates from artistic norms. The study attempts to clarify the distinguishing traits of these two vocal phenomena.

The lecture was given on March 3, 1974. The discussion of the Bolognese trumpet works consisted of an exploration of the local agencies that nurtured the compositional activity centered around San Petronio, biographical details of the principal composers, and stylistic and formal analyses of the works that were performed. Selections were performed from the early, middle, and late segments of the period, represented by the composers Maurizio Cazzati, Petronio Franceschini, and Giuseppe Torelli. In addition to the lecture recital three other public recitals were given. Two of these consisted primarily of solo literature for the trumpet, and the third featured chamber music with trumpet. The first solo recital was presented on July 31, 1972, and included works of Tommaso Albinoni, G. Ph. Telemann, Thérèse Brenet, and Wayne Bohrnstedt. The second solo recital, on July 22, 1974, featured French music of this century. Compositions by Ravel, Fauré,Varèse, Henri Tomasi, Pierre-Max Dubois, Benno Ammann, and Théo Charlier were presented. The chamber music recital displayed the trumpet in combination with other solo instruments and voice, together with varied accompaniments. A group of three arias for soprano and trumpet--by Purcell, Handel, and Bach--and a suite of arias for oboe and trumpet by Telemann were …

Arnold Schoenberg's atonal monodrama, Erwartune. Op. 17 (1909). has been viewed as an unanalyzable athematic aberration, without any discernible form. Recognizing Erwartune's forward-looking aspect, this dissertation also explores the melodrama and the Lied, a connection with the past which forges a new understanding of its form and structure.

The purpose of the study was to investigate the multi-sensory responses of children to symbolizing musical sound through speech rhythm patterns. Speech rhythm patterns consist of the number of syllables and the stress/nonstress relationships of these syllables in a word or a phrase. The research problems were (1) to determine children's responses to speech rhythm patterns according to the differential sensory modes used; (2) to determine the children's responses to speech rhythm patterns by age, and (3) to compare children's responses to speech rhythm patterns by age and sensory modes.