Classical vocal collaborative piano and jazz vocal accompaniment are well-established fields with long-standing performance traditions. Classical collaborative performance practices have been researched and codified, but jazz accompanying practices largely remain in the domain of aural tradition. Both classical and jazz accompaniment share associated practices, such as rubato, transposition, and attention to lyric diction and inflection, but there is little previous investigation into the idea that classical collaborative practices might apply to jazz accompanying. This research examines jazz piano accompanying practices in sung verses of standard tunes to demonstrate how accomplished jazz pianists intuitively use many of the same techniques as classical collaborative pianists to create balance with singers. Through application of expressive microtiming analysis to graphical displays of transcribed recorded performances, a strong correlation is established between the classical and jazz vocal accompanying traditions. Linking classical practices to jazz potentially creates a foundation for jazz accompanying pedagogy.

In 1638 Girolamo Fantini wrote eight multi-sectional trumpet sonatas. This dissertation compares these sonatas with recognized stile moderno solo instrumental sonatas by Biagio Marini and Dario Castello in order to show that Fantini’s sonatas are stile moderno trumpet sonatas. This study looks at how form, texture, motivic organization, and instrumental effects function in the works of Castello, Marini, and Fantini. This comparison shows how and to what degree Fantini uses stile moderno characteristics in his works and concludes that Fantini’s sonatas are full-fledged examples of stile moderno trumpet sonatas.

One of the most important ways to understand Olivier Messiaen’s musical language is through the lens of the theological ideas that many of his works convey. He considers expressing his Christian faith to be the primary purpose in his music. Through his idiosyncratic technique, Messiaen gives power and life to his religious music that he combines with his interest in literature, musical analysis, poetic imagery and symbolism, his love for theatre, and his compositional and organ abilities. The abundant studies of Messiaen’s works deal with the intricacies of his musical language, yet most of these studies barely discuss his theological ideas. Nevertheless, technical analysis of his music poses immense challenges, especially in the domains of melody and harmony. Although my approach is unconventional and do not follow any existing system, I base my technical and theological analyses mainly from Messiaen's technique, his commentaries and his references to the Scriptures. The “Combat de la mort et de la vie” is the heart of Les Corps glorieux in both technical and theological aspects. It is an intricate musical artwork where Messiaen demonstrates his melodic and harmonic developments using his idiosyncratic language, and through symbolism portrays the most complex of all drama according …

Eugène Bozza is a three-time winner of the Premier Prix from the Paris Conservatory, in violin, conducting, and composition divisions. He earned his reputation as a master composer of wind music, and contributed a great amount of repertoire to the woodwind family. This document contains a short biography of Eugène Bozza’s life, including his student years and his career as a composer. The purpose of this study is to provide information of how Bozza transferred, adopted and remade his own music among his wind compositions. This document shows that Bozza’s methods of musical adoption warrant a close examination in order to offer greater insight into the mind of a masterful composer. Discussion of Bozza’s compositions includes Aria (1936), Fantasie Italienne (1939), Pulcinella (1944), Concerto (1952), Idylle (1959), Caprice-Improvisation (1963), Épithalame (1971), Suite (1974), Trois Mouvements for Flute and Clarinet (1974), Graphismes for Clarinet Solo (1975), 14 Études de Mécanisme (1948), 12 Études (1953), 11 Études sur des Modes Karnatiques (1972), and Contrastes III for Clarinet and Bassoon (1977).

Ferdinand Ries is credited as the composer of the Concerto for Two Horns, WoO. 19 preserved in the Berlin State Library. Dated 1811, ostensibly Ries wrote it in the same year as his Horn Sonata, Op. 34, yet the writing for the horns in the Concerto is significantly more demanding. Furthermore, Ries added to the mystery by not claiming the Concerto in his personal catalog of works or mentioning it in any surviving correspondence. The purpose of this dissertation is to study the authorship of the Concerto for Two Horns and offer possible explanations for the variance in horn writing. Biographical information of Ries is given followed by a stylistic analysis of Ries’s known works. A stylistic analysis of the Concerto for Two Horns, WoO. 19 is offered, including a handwriting comparison between the Concerto for Two Horns and Ries’s Horn Sonata. Finally, possible explanations are proposed that rationalize the variance in horn writing between the Concerto for Two Horns, WoO. 19 and Ries’s other compositions that include the horn.

American composer Andrew Rindfleisch (b. 1963) has contributed twenty-one pieces to the repertoire of contemporary choral literature to date. His works have been commissioned, premiered, and recorded by notable choral ensembles and performed in significant venues around the country. Influenced by his own early choral singing experience in his native Wisconsin, much of Rindfleisch’s choral music is infused with influences of the music of earlier composers and choral idioms. With these works, Rindfleisch participates in a long-standing trend in choral composition of looking to the musical past for inspiration and procedure while writing in a contemporary harmonic vocabulary, and his efforts can be evaluated through the lens of a study of musical borrowing. Through a case study of five of Rindfleisch’s choral works – “In manus tuas,” “Mille regretz,” “Psalm,” “Anthem,” and “Graue Liebesschlangen” – this document identifies common characteristics of Rindfleisch’s choral music and demonstrates his uses of musical borrowing and allusion. The influence of Renaissance polyphony, Debussy, Brahms, and German expressionism is revealed.

The choral music of Abbie Betinis is being widely performed and commissioned by prominent high school, university, and civic choruses. This study examines From Behind the Caravan: Songs of Hâfez, a five-movement work by Betinis for women’s chorus, vielle, oud, and Persian percussion. Four ghazals by Hâfez of Shiraz, a fourteenth century Sufi poet, are used as the text for Betinis’s Caravan. When considering a performance of this work, a conductor must understand proper treatment of the text, available translation options, Hâfez’s vast world of imagery, vocal demands inherent to the work, alternate instrumentations available and the benefits of each, how to approach improvisatory passages, how to engage heterophonic elements, and how to prepare a Western choir and audience with very little to no understanding of the philosophies of Sufism that heavily influence the work. This study addresses the body of practical knowledge gained after a year of examining, researching, teaching, and performing this work.

Most Korean students study very little French music during their pre-college years. A survey of ten Korean piano professors as well as an investigation into the annual set repertoire from universities, music high schools, middle schools and national competitions in Korea show that French repertoire appears very seldom on the list of required repertoire. Therefore, it is easy for Korean students to neglect French piano music. By the time students reach undergraduate or graduate school and are required to play the music of Debussy and Ravel for the first time, they find themselves at a serious disadvantage. The purpose of this paper is to provide a pedagogical guide for Korean teachers who wish to offer their beginning, middle school and high school students a good foundation in the style of French piano music. This syllabus will introduce a series of French piano pieces, from Couperin and Rameau as well as Chaminade and Fauré to the easier pieces of Debussy and Ravel, which will lead to the ultimate goal of interpreting aspects of French tone, style, technique, and cultural context involved in the eventual successful performance of the more advanced pieces of Debussy and Ravel, which are the bedrock of French …

Sir William Herschel (1738–1822) was a prominent musician and composer in the 18th century England. He worked as a concert director in several cities. In addition, he was a master of various instruments, and an active solo performer. Herschel composed numerous orchestral and solo works. His music, however, is hardly known today. Many of his compositions remained unpublished, among them the Twenty-Four Caprices for Solo Violin. These caprices are one of the earliest technical studies for the instrument, which must be brought to the intermediate violin students’ and violin teachers’ attentions. The purpose of this study is to create a practical edition of the Twenty-Four Caprices for Solo Violin, and to make it available for violinists by publishing them. The dissertation will look into the performance practice of Hershel’s caprices. Based on a thorough research of the violin methods, the edition will provide fingerings, bowings, and practicing suggestions which are useful for students who wish to improve violin technique. The author of this study strongly believes that these neglected technical studies are extremely beneficial works for violinists, and they deserve to be made public.

“The Art of Phrasing” is a chapter from Arban’s Complete Celebrated Method for the Cornet (published in 1864) that contains a selection of 150 melodies from Classical and early Romantic works. This section of Arban’s method was necessary for a new generation of cornet and trumpet players to learn melodic phrasing and style. A larger part of the trumpet solo repertoire was written for the clarino register or composed in fanfares due to the limitation of the valveless trumpet. The newly chromatic cornet grew to be a prominent solo instrument in symphonies and wind bands by the mid 19th century, and Arban's “Art of Phrasing” instructed players in musical style. Due to today’s vast number of musical genres, it is unlikely that present day students will be exposed to the melodies of “The Art of Phrasing.” With advancements in music streaming technology and with increased accessibility to countless recordings via the internet, trumpet players are able to access recordings of the melodies. However, there are errors and omissions in the chapter that prevents students from finding recordings with ease. This dissertation presents a new compilation of melodies organized by musical period from medieval to modern day, complete with proper title, …

This dissertation and accompanying lecture recital explores the musical elements present in Áskell Másson’s three solos for snare drum, PRÍM (1984), KÍM (2001) and B2B: Back to Basics (2010). Two of the primary challenges for the performer when playing solo literature on a non-pitch oriented instrument are identifying thematic structures and understanding how to interpret all innovative sound production techniques employed within the music. A thematic and compositional analysis, as well as an investigation into the experimentation of timbre found in Másson’s three pieces for solo snare drum will help to clarify the musical complexities that are present throughout.

Paul Schoenfield’s Slovakian Children’s Songs for flute and piano is a unique work in the flute repertoire, incorporating Slovakian folk quotes from Béla Bartók’s For Children (Volume II, Based on Slovakian Folk Tunes) with layers of Slovakian folk elements used in the overall texture. The primary objective of this dissertation is to expand the limited resources available to flutists regarding Slovakian Children’s Songs. Detailed comparative analysis will demonstrate both Paul Schoenfield’s use of Slovakian folk tunes in the piece and his compositional style. In addition, this dissertation will develop the performer’s understanding of the work through background information, comparative analysis, and interviews to encourage insightful and informed performance. The dissertation’s purpose will be achieved through examining 1) the life, historical, and musical background of Paul Schoenfield and Slovakian Children’s Songs, as well that of Béla Bartók and For Children, and 2) how Schoenfield quotes and arranges Bartók’s For Children by providing a comparative analysis. Interviews with both the composer and Carol Wincenc will be included in the dissertation along with performance suggestions received directly from Carol Wincenc in the appendix.

The Sonata in B minor occupies a hallowed position in Liszt’s oeuvre, according to scholarly assessment. Despite the plethora of literature on this consummate work, the vast majority of writings on the sonata have focused almost exclusively on formal innovation, thematic transformation, and programmatic speculation, and there is a dearth of interpretative analysis of the sonata based on its fascinating autograph manuscript, even though it has been publicly accessible and widely available in facsimile for some four decades now. In view of the fact that the autograph manuscript has never been examined for the express purpose of improving performance of the sonata, this dissertation proposes to approach this problem with the direct examination of the autograph and its numerous additions and deletions, and the analysis of the many interpretive implications stemming from the surprising insights offered by the autograph itself, which is on deposit at the Pierpont Morgan Library in New York City. The goal of the dissertation is to make readily accessible a comprehensive performance-oriented study of this summit of pianism, offering solutions to the many discrepancies among its various published editions, from the first Breitkopf & Härtel in 1854 to the most recent Peters Urtext in 2011, and …

The English diction texts by Madeleine Marshall and Kathryn LaBouff are two ofthe most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in-depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid-Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training. Chapter 2 reviews notational and diction resources, and use of the International Phonetic Association’s alphabet (IPA). Chapter 3 directly compares Marshall and LaBouff’s views of the importance of the unstressed syllable, often schwa [ә] or open I [ɪ], as vital to allowing the audience to understand the flow of the sung text, and contrasts their differences regarding < …

The wind octet was a popular ensemble of the classical period. In 1782, the Viennese Emperor formed a wind octet which specialized in playing opera arrangements. This music was used primarily as a form of background entertainment for dinners. This guide analyzes and compares the works of several well-known arrangers from the classical period in order to demonstrate arranging styles of the time. The arrangers of the period were often the performers of these various wind octets who were writing specifically for the players in their own ensembles. The style of Mozart’s original wind music is also discussed, in contrast to the arrangements of his works made by others. This guide is intended for serve performers of today as a tool to learn the art of arranging in an historical style. Idiosyncrasies of the classical-period wind instruments are discussed, as they relate to the style of wind arranging. The role of the contemporary arranger is compared with that of the classical period, and the case is made for the need for more contemporary arrangements of classical works using period arrangers as models.

The purpose of this descriptive study was to first identify to what extent first-year college violinists physically struggle with the vibrato motion, and further, to identify physical problems within the motion that are contributing to their challenges during the learning process. The 16 participants in this study were chosen randomly from the College Music Society Directory of Music Faculties in Colleges and Universities (2013-2014 edition). Participants completed a questionnaire of 32 quantitative and qualitative questions addressing the vibrato of their 2013-2014 first-year violinists. 62% of participants’ first-year students had a physical problem with vibrato, 70% of participants’ students were working on correcting physical problems in vibrato during lessons. Participants also reported that 15% of their students were not able to create a vibrato motion at all. Almost all professors (n=15) indicated that students with a problematic vibrato were too tense in parts of the arm or hand and this negatively affected the motion and thus, the sound. Specific problems also included vibrato being too narrow, but rarely too wide, vibrato being too fast or too slow caused by tension, problems with when and how vibrato was being applied, problems with maintaining intonation before or during use of vibrato, and problems …

A unique and significant composition, the Althorn Sonata by Paul Hindemith contains several enigmas and anomalies: details about the premiere remain unknown; scored for the alto horn, a band instrument of the late nineteenth and early twentieth century, the piece seldom finds itself performed on that instrument; although Hindemith composed his instrumental sonatas as composition exercises, for the instruments he intended to use in his large-scale works, his sonata for alto horn marks an unusual exception; the work evolves through Baroque sonata da chiesa form; a Morse code message from a Renaissance painter appears in the second movement, along with references to numerology; and, after the third movement, the horn player and pianist recite a poem, penned by the composer, which becomes musically depicted in the final movement. Hindemith’s apparent fondness, for the art of word play, proves the inspiration for enigmas and anomalies found in this sonata. The key to his mystery lies in plain sight: “Alt” translates as both “alto” and “old.” The purpose of this dissertation is to unveil to the musical world, especially to horn and saxophone players, the several enigmas and anomalies found in Hindemith’s Althorn Sonata. By exposing the nature and depth of this …

Student clarinet performers often encounter bass clarinet for the first time in a high school or university wind ensemble, so it is logical for clarinet pedagogues to encourage and assist their students in learning this wind band literature. In addition to becoming familiar with this oft performed repertoire, students will develop a set of specialized bass clarinet skills that one cannot learn on soprano clarinet. These skills include increased air capacity and support, timbre consistency in differing registers, intonation tendencies of the lower instrument, voicing flexibility, right hand thumb dexterity for keys that do not exist on soprano clarinet, technical facility for eleven pinky keys (as opposed to the seven pinky keys on a typical soprano clarinet, and effective altissimo fingerings. The purpose, then, of this document is to provide a performance guide for select bass clarinet solo excerpts from the wind band literature and to provide supplemental exercises intended to help students acquire the specialized bass clarinet skill set they will need in order to perform the selected excerpts successfully. The solos discussed in this document are excerpted from H. Owen Reed’s La Fiesta Mexicana, Florent Schmitt’s Dionysiaques, Percy Grainger’s Lincolnshire Posy, Frank Ticheli’s Blue Shades, William Bolcom’s First …

JacobTV has spent over thirty years utilizing his interest in American pop culture as the muse upon which he creates his works. Sources of popular culture including commercials, television evangelists, political speeches, interviews, and urban pop songs have earned him the title of the “Andy Warhol of new music.” His contributions to classical music are significant and include works for solo instruments and voice, chamber ensembles, and large ensembles. This study serves as an annotated bibliography of selected pieces written for saxophone and boombox written by JacobTV. Chapter 2 provides a brief historical background of electronic music and chapter 3 describes JacobTV’s compositional style and vocabulary. The pieces included in the bibliography of chapter 4 are Believer (2006) for baritone saxophone and soundtrack; Billie (2003) for alto saxophone and soundtrack; Buku (2006) for alto saxophone and soundtrack; Garden of Love (2002) for soprano saxophone and soundtrack; Grab It! (1999) for tenor saxophone and soundtrack; May This Bliss Never End (1996) for tenor saxophone, piano, and soundtrack; TaTaTa (1998) for tenor and baritone saxophone and soundtrack; Heartbreakers (1997-98) for saxophone quartet, soundtrack, and video; Jesus Is Coming (2003) for saxophone quartet and soundtrack; Pitch Black (1998) for saxophone quartet and soundtrack; …

Banda is a rural Mexican brass band genre from the state of Sinaloa that became popular among immigrant populations of Los Angeles in the 1990s. In contemporary banda, the tuba has acquired a more prominent role than it held in traditional banda. The tuba has shifted from the traditional background harmonic and rhythmic function to a significant and new placement with the front line melodic instruments. The focus on tubas in modern incarnations of banda has helped it become a staple in acoustic and accordion genres such as sierreña and norteña. In many Mexican-American regional ensembles, the prominence of the tuba and its placement within the group represents a shift in its cultural significance, a stronger connection to the Mexican history and cultural roots, in the Mexican-American music community of southern California. This paper uncovers some of the motives and significance behind these recent changes in the role of the tuba in Mexican-American regional genres as well as the cultural connection that the tuba provides for Mexican-Americans in southern California to traditional Mexican music culture.

This dissertation explores the integration of Thai traditional music in Chakra, for wind band, by Narong Prangchareon. Nipat Kanchanahud explores how Narong, inspired by Eastern philosophy, integrates elements of Thai traditional music and the types, styles, scales, and dialects of Thai culture with the formal elements of Western music and the instrumentation of the Western wind band. Chakra uniquely spans Eastern and Western cultures, creating a new musical language for both worlds to appreciate and enjoy. Further, the composition richly demonstrates the viability of the wind band as an international medium. The orchestration of Chakra reveals Narong’s musical lineage from Edgard Varèse through Chen Yi. A conductor’s guide, included with this dissertation, is designed to aid and encourage performances of Chakra throughout the world.

In 1861, Jerôme Savari (1819-1870) composed Duo for Soprano Saxophone and Alto Saxophone. Since then, more than 400 duets were written, yet many musicians are not aware of this repertoire. The lack of recommended repertoire and insufficient information regarding this genre reduces the use of the saxophone duet in both pedagogical and concert settings. The purpose of this study is to examine the importance of the saxophone duet genre by identifying the standard repertoire and creating an annotated bibliography. Twenty-three composers with twenty-six selected works have been identified and will be annotated. All selected works in this document are (1) composed for any two members of the saxophone family; (2) originally composed for saxophone duet (i.e., no transcriptions will be included); (3) published either by companies or by the composers themselves; and, (4) composed between the nineteenth-century through present day. This annotated bibliography of selected repertoire contains two sections: (1) repertoire for performance; and, (2) repertoire for pedagogy. It is the intent of this project that the annotation for each piece could assist performers, teachers and students with their search of currently published works for this genre. The descriptive information in each annotation regarding the composition and its performance considerations …

Bright Sheng (b. 1955) has won international acclaim for successfully fusing disparate musical elements in his works. Listeners can trace Chinese pentatonic scales and instrumental effects mixed with Western classical structures. Postcards (1997) is a well-received orchestral work that successfully merges diverse musical styles and compositional techniques. Sheng based Postcards on material from his Four Movements for Piano Trio (1990). He applies masterful and distinctive orchestration to transform the chamber work into a multi-layered and colorful orchestral canvas. He fuses polyrhythm and post-tonal compositional techniques such as polytonality with Chinese musical elements, including folk song quotations, pentatonic scales and extended instrumental effects. The resulting hybrid is an outstanding artistic work that warrants further discussion and analysis for deeper understanding This study provides an overview of Sheng’s life experience and educational background in Chapter 1. Chapter 2 and 3 present a detailed analysis of the important compositional attributes and orchestration techniques Sheng applies in Postcards. Chapter 4 provides important performance considerations for conductors to enhance preparation. With an understanding of Sheng’s hybrid style, it is hoped that conductors will have a better interpretative grasp to lead an informed performance and scholars will have a better context for Sheng’s orchestral compositions.

The concept of choral music as defined by the Western world was foreign to Arab cultures until the colonization of the Arab world began in the seventeenth century when we began to see the Western choral style emerging in the churches of the Arab world. Group singing of traditional music was done in unison or heterophonic textures. Notated part-singing is a product of colonization, Westernization, Christianization, and now globalization. In recent years, singing music in mixed or multiple voicings not of a heterophonic nature has spread beyond the churches to the secular Arab world. As choral singing has increased in the Arab world, a new genre of Arabic choral music has emerged. In order for Western conductors to effectively teach, conduct, or perform these new works, it is important for them to develop a basic understanding of traditional Arabic musical styles and pronunciation of the language, thereby making Arabic choral music more accessible and enabling it to become a part of the larger world’s musical vocabulary. This study serves as an introductory resource for non-Arab choral conductors concerning key elements related to performing Arabic choral music and provides a context for how these elements relate to this evolving choral genre. …