Theses and Dissertations

Permanent link for this communityhttps://hdl.handle.net/2022/14076

Browse

Browsing Theses and Dissertations by Issue Date

Filter results by year or month
Now showing 1 - 20 of 604
  • Thumbnail Image
    Item
    Die Harmonik in den Werken Gustav Mahlers
    (University of Vienna, 1937) Tischler, Hans, 1915-2010
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    The Motet in Thirteenth Century France, 2 volumes
    (Yale University, 1942) Tischler, Hans, 1915-2010
  • Thumbnail Image
    Item
    Path to effortlessness: Mauricio Fuks' pedagogical perspectives on the art of violin playing
    (2012-03-22) Cho, Minjung
    For Mauricio Fuks, Rudy Professor of Violin at Indiana University Jacobs School of Music, effortlessness in violin playing has more implications than mere technical facility. It is the aesthetic ideal and the essence of the finest artisanship that may lead to true artistic freedom in playing. The concept of effortlessness in Professor Fuks’ teaching practice involves the paradoxical project of making an effort to play effortlessly, to obtain a degree of violin mastery in which playing is full of intensity and free of needless tension, and to achieve the technical virtuosity as nonchalance or Sprezzatura, an essential foundation in one’s endeavor to reach the highest level of artistry. His meticulous yet plainly elucidated instructions on the physiology of violin playing and its relationship to the mental process not only eradicate any hindrance to attaining technical effortlessness but also reveal the path to self-discovery and artistic identity. My project in this document is to describe how Professor Fuks’ teaching brings this technical and aesthetical ideal about.
  • Thumbnail Image
    Item
    The Cello Works of Miklós Rózsa
    (2012-03-22) Ruck, Jonathan
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    Teaching Undergraduate Voice: A Repertoire-based Approach to Singing
    (2012-03-30) Latta, Matthew
    Teaching undergraduate voice requires the use of a practical teaching approach that is functional, concise, and reliable. This final project focuses on ways a repertoire-based approach to singing could be useful in the undergraduate voice curriculum. It is constructed as an argument for a repertoire-based approach as a resource to accompany vocal technique and literature instruction, extending known repertoire-based approaches into a fully gestated philosophical and practical approach. Three research foci are necessary to create a functional repertoire-based approach to singing as outlined in this document. First, an investigation of teaching voice at the undergraduate level is used to create a justification for the need of a repertoire-based approach (including explorations of four images of curricula, the Cognitive Theory, and their relevance in the voice studio, baccalaureate music curricula related to the National Association of Schools of Music, vocal technique and the skills and concepts to be included in undergraduate curriculum through a literature review of pedagogic sources, and the classification of extant models of voice methods and voice approaches). Second, a theory for a repertoire-based approach is necessary, developed through familiar studio scenario, literature review, and modeling. Third, a focus on a practical approach is essential, detailed with analyzed examples, leading to a larger pool of indexed repertoire ready for use in the voice studio. This project developed a repertoire-based approach from three structural dimensions, where 1) voice classification and diagnosed vocal faults encompassing specific 2) concepts of vocalization (dynamics, onset, sostenuto, imposto, range, registration, aggiustamento, and dexterity) lead to a 3) pool of repertoire for study, aiding in reinforcing a particular concept of vocalization within an overall voice technique. Musical topography, a term coined in this project, is at the center of a repertoire-based approach to singing, used as the functional means of analyzing repertoire used in the approach, distilling each song for what concept of vocalization it could be used to teach, illustrated through examples and sets of analytical questions. The research culminates in an appendix of the Boytim Vocal Anthology Series, where over 600 songs for soprano, mezzo-soprano/alto, tenor, and baritone/bass can be found. The songs are classified by relevant concepts of vocalization they could support. The appendix is offered as a pedagogic tool and provides a searchable list of songs classified by the concepts of vocalization each could be used to teach or reinforce within the individual vocal classifications. The appendix is searchable by voice classification, concept of vocalization, and song title, composer, book, and page number within the anthology series.
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    Performing nineteenth-century editions of Christoph Willibald Gluck's opera Orfeo ed Euridice
    (2012-04-09) Leonard, John P. (John Patrick)
    The purpose of this document is to examine and compare the various nineteenth-century editions of Christoph Willibald Gluck’s opera, Orfeo ed Euridice. Of primary focus are Hector Berlioz’s Orphée, Alfred Dörffel’s Orpheus und Eurydice and Ricordi’s Orfeo ed Euridice. Issues of voice type, language, libretto, instrumentation, and nineteenth-century performance practice are addressed. Finally, recommendations for creating an informed modern production of the opera are given based upon the various issues listed above.
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    Bridging two worlds: baroque violin performance practices as a model for the transcription of selected movements of J.S. Bach's sonatas and partitas for solo violin on the modern guitar
    (2012-04-24) Ribeiro Alves, Júlio
    This document explores the role of the baroque violin practices of bowing, chord playing, and slurring in arrangements for the modern guitar, of selected movements of J. S. Bach’s Sonatas and Partitas (BWV 1001-1006) for solo violin. This document aims to expand the range of possible solutions for all guitarists interested in playing Bach’s unaccompanied solo music by making a “bridge” between these essential performance practices of the baroque violin and the capabilities of the modern guitar. Some practices associated with other baroque instruments such as the lute and the harpsichord are also considered. The guitar arrangements included at the end of the document were conceived taking into account techniques that were intrinsic to Bach’s conception of these violin pieces as violin music. As a consequence, the musical content has a primary position in the final product. The methodology is primarily based on the study of the bowing practices, and the slurring practices of the baroque violin (both of them essential aspects of the technique of the instrument) and their realization in terms of modern classical guitar technique. These elements of violin technique are the structural pillars of the proposed bridge. Secondary to them, the way chords are played on the baroque violin and how it can promote ease of playing and good voice leading in the guitar arrangements is also part of the methodology. The rationale that represents the “bridge” is first presented and then compared to other approaches found in various published editions of Bach’s violin music arranged for the modern guitar.
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
  • No Thumbnail Available
    Item
    A Guide for the Tenor Song Collections of Gerald Finzi
    (2012-04-27) McCluskey, Paul Eric
    Since the death of Gerald Finzi his songs have continued to grow in popularity. Evidence of this popularity can be found in the number of recordings available as well as the research performed on his compositions. Another more recent stimulus to his popularity has come from the publisher Boosey & Hawkes with the release of several of Finzi’s song sets now available in two collections, one for high voice and the other in a medium/low range. As the interest in Finzi’s songs continues to grow it seemed prudent to create a guide to make information about his songs more easily accessible via the internet, this guide/web site was created for that purpose. Within the web site one will find detailed information about the texts, music, and recordings for Finzi’s songs found in A Young Man’s Exhortation, Till Earth Outwears, and Oh Fair to See. Additionally, one will find biographies for Gerald Finzi, and the poets Edmund Blunden, Robert Bridges, Ivor Gurney, Thomas Hardy, Christina Rossetti, and Edward Shanks. There are also excerpts from dissertations and theses that contain the full comments, tables, and musical examples. Many of these dissertations and theses are only available to those who have access to major lending libraries and their databases. Within this site one will also find links to external sites, enabling greater access to the storehouse of information available via the internet. The discography page, for example, provides numerous links to such information as purchasing recordings, reviews, sound samples, and biographies of performers. The objective of this site is to compile and disseminate information about Finzi’s songs as well as offer greater accessibility to research and products.
  • Thumbnail Image
    Item
    A Style Guide for Selected Songs of Charles Ives
    (2012-04-27) Sentgeorge, Jacob, 1977-
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    Shadows
    (2012-05-02) Dellinger, Sue
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    Les Chants du Maldoror
    (2012-05-03) Williams, Natalie, 1977-
    Chamber Symphony for Small Orchestra