Domenico Gabrielli's seven trumpet sonatas are among seventeenth-century trumpet repertoire predominant in the instrumental tradition of the basilica San Petronio, which flourished roughly from the election of Maurizio Cazzati as maestro di cappella in 1657 until the dissolution of the orchestra of the church in 1695. Fostered by numerous occasions for performance, the Bolognese trumpet works tend to exhibit a uniform musical style imposed by musical academies. After a discussion of the probable cause of the termination of the instrumental tradition and of the role of musical academies, this paper will be primarily concerned with formal aspects of fast movements of Gabrielli's sonatas. Despite the fact that the predominant organizing principle of the fast movements appears to be textural, a step toward ritornello form is taken in some of the movements, in which tutti and solo sections are independently developed. In particular, the recurrence of identical material in tutti confirming different keys, the thematic relation between tutti and solo, and the symmetrical and balanced tonal plan are unmistakable seeds of full ritornello form. The text is followed by critical notes and transcriptions of the seven sonatas.

Nocturnal op. 70 is one of the most important large-scale works written for guitar in the twentieth century. Brief biographical data and some background information on Nocturnal show how it exemplifies Britten's compositional approach. The focus of the analysis is on three structural aspects: the rhythmic, the intervallic, and the aspect of underlying pitch patterns. The rhythmic analysis discusses the distortion of rhythmic patterns by the use of compression, expansion, elisions, syncopation, and rhythmic dissonance. The pitch set analysis discusses the intervallic character of the work, identifying and correlating set types as they form networks of relationship. The reductive analysis discusses the underlying connections of focal pitches in the linear material of Nocturnal. The conclusion then correlates the results of the preceding analyses, discussing the large-scale unfolding of the form in Nocturnal.

This study attempted to explore the strength and nature of relationships between specific intellectual information processing skills included in a multi-dimensional model conceived by Guilford, and measured by Meeker's Structure of Intellect - Learning Abilities Test, and specific musical aural discrimination skills as measured by Gordon's Musical Aptitude Profile. Three research questions were posed, which involved determining the strength and the nature of the relationship between MAP melodic, rhythmic, and aesthetic discrimination abilities and the intellectual information processing skills comprising the SOI - LA. Both instruments were administered to 387 fourth, fifth, and sixth graders from schools in the Dallas area. After a pilot study established the feasibility of the study and reliability estimates of the test instruments, multiple regression analysis determined that 10% to 15% of the variance between intellectual information-processing skills and the individual musical aural discrimination abilities was in common (r = +.32 to r = +.39). It was further determined that only six specific SOI intellectual dimensions, all involving the skills of "Cognition" and "Evaluation", were significantly related to the musical aural discrimination abilities. Through the use of the Coefficient of Partial Correlation, the strength of each individual information-processing skill's unique contribution to that covariance was …

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.

This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for categorization of figures derive from the twentieth-century writers Timothy Albrecht, George Buelow, Lena Jacobson, and Peter Williams. Chapter I provides justification for the rhetorical approach through a brief description of the rise of the process as applied to composition during the Baroque period by relating Bach's own familiarity with the terminology and processes of rhetorical prescription, and by describing the implications for performance in observing the sonatas from the rhetorical viewpoint. Chapter II deals with the process of composition by rhetorical prescription in (1) the invention of the subject and its figural decoration and (2) the elaboration of the subject through the sixpart discourse of an entire movement. Specific …

The purpose of this thesis is to provide translation of documents on lu from two primary sources for a study of the theory of ,lu, with the main focus on the interpretation and the signification attached to each of the twelve lu-pitch names. To establish the background information of the lu-10 system, an explanation of its acoustical properties is first presented. Based on the most important and widely used tonal system in ancient China -- the san-fen-sun-i system, the illustration is provided for the process of tone generation. Methods proposed by the main theorists who engaged in the discussion of the system of lu are presented. The introduction of the concept of yin and yang in reference to the twelve lu and the signification of the lu-lu system in relation to the human and natural world will also be discussed. The main body of this study is devoted to the translation of written references on the meaning of the twelve lu. The first part is the translation of the selected passages from The Anthology of the Historical Document of Ancient Chinese Music. edited by Tsai-Ping Liang; the second part is the translation of a modern exegesis from an article written …

The purpose of the study was to investigate conflicts in the perceptions of band directors, band parents, band students, and selected school personnel regarding the role and scope of their respective band programs. The problems were to examine the relationships among these four groups in terms of selective perception, perceptual constancy, and polarization. Questionnaires were developed in order to survey the senior public high schools in Cedar Rapids, Iowa. In addition to demographic data, the questionnaires included perceptions about public performances, marching, concert, and jazz bands; contests and festivals; and other band related activities which might be desirable in a band program. The questionnaires concluded with opportunities for open-ended comments and suggestions about the survey instrument and the band program. Statistical computations included one-way analysis of variance, chi-square test, frequency counts, and cross-tabulations. Qualitative analyses and reports of interviews helped to clarify and interpret all statistical findings.