2024-03-28T19:22:03Zhttps://kuscholarworks.ku.edu/oai/requestoai:kuscholarworks.ku.edu:1808/254032018-05-02T19:35:46Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
STUDY AND PERFORMANCE GUIDELINES TO RODION SHCHEDRIN’S 24 PRELUDES AND FUGUES
Baek, Seungyeon
Winerock, Jack
Spooner, Steven
Kirkendoll, Michael
Street, Alan
Suzeau, Patrick
Music
24 PRELUDES AND FUGUES
RODION SHCHEDRIN
The purpose of my document is to find the key features of Rodion Shchedrin’s 24 Preludes and Fugues, and present performance suggestions to the Preludes of Volume I. This project will be divided into three chapters. Chapter 1 will introduce Shchedrin’s musical background and the development of his musical style. Chapter 2 will discuss the influences of Johann Sebastian Bach and Dmitri Shostakovich’s preludes and fugues, a feature of Shchedrin’s 24 Preludes and Fugues, and an interesting comparison of Volumes I and II. Shostakovich, one of the earliest composers to write a set of preludes and fugues in the twentieth-century, inspired Shchedrin to compose a similar piece. Shostakovich’s live performance of his own preludes and fugues influenced Shchedrin to compose 24 Preludes and Fugues using a variety of genres, characters, and polyphonic techniques. Shchedrin’s own unique style can be seen in his preludes that demonstrate various musical genres, and forms. For instance, the recitative style can be seen in Prelude XVII where he indicates “espress. Recitando”. Also, some of the preludes and fugues have a number of sudden tempo changes. One of the examples can be seen in Prelude XIV which starts Presto and ends Allegro. Chapter 3 will deal with performance guidelines to the Preludes of Volume I.
2017-11-16T05:00:39Z
2017-11-16T05:00:39Z
2017-11-16T05:00:39Z
2017-08-31
Dissertation
http://dissertations.umi.com/ku:15404
http://hdl.handle.net/1808/25403
https://orcid.org/0000-0003-3633-5569
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/244982017-12-08T21:45:28Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The origins of solo cello literature and performance
Hamilton, Gregory R.
An investigation into the origins of cello repertory and performance explores territory that is unfamiliar to most musicians. Scholarly research has contributed admirably to our understanding of how the cello began and what factors led to its development, but few sources have brought together what is known about the origins of the instrument and its repertory. This document is an attempt to address this problem after examining many dissertations, music dictionaries, books, articles, and sound recordings. Whenever practical, musical scores were obtained for examination and subsequent performances of these works occurred at Illinois State University and the University of Kansas. Once this research was begun, it was clear that the origin of cello literature and performance was concentrated within a specific region of Italy, involving a reasonably small number of musicians. Although many early works for solo cello remain unpublished and only available at libraries in Italy, those that are readily available demonstrate a virtuosity and sophistication that reflects the musical activity that was occurring in Italy at that time.
2017-06-14T18:20:52Z
2017-06-14T18:20:52Z
2017-06-14T18:20:52Z
2005
Dissertation
http://hdl.handle.net/1808/24498
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/216142018-01-31T20:07:47Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT
Needham, Olivia
Laird, Paul
Mathieu, Véronique
Haaheim, Bryan
Kramp, Philip
Hilding, Jerel
Music
This document is about Stravinsky and his violin writing during his neoclassical period, 1920-1951. Stravinsky is one of the most important neo-classical composers of the twentieth century. The purpose of this document is to examine how Stravinsky upholds his neoclassical aesthetic in his violin writing through his two pieces, Suite italienne and Duo Concertant. In these works, Stravinsky’s use of neoclassicism is revealed in two opposite ways. In Suite Italienne, Stravinsky based the composition upon actual music from the eighteenth century. In Duo Concertant, Stravinsky followed the stylistic features of the eighteenth century without parodying actual music from that era. Important types of violin writing are described in these two works by Stravinsky, which are then compared with examples of eighteenth-century violin writing.
2016-10-05T02:49:17Z
2016-10-05T02:49:17Z
2016-10-05T02:49:17Z
2016-05-31
Dissertation
http://dissertations.umi.com/ku:14607
http://hdl.handle.net/1808/21614
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/97642020-06-24T20:44:31Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
"I've a Voice, I've a Voice": Determining Stephen Sondheim's Compositional Style Through a Music-theoretic Analysis of His Theater Works
Purin, Peter Charles Landis
Murphy, Scott
McGee, Deron
Laird, Paul
Everett, William
Staniunas, John
Music
Theater
Sondheim, Stephen
Style
Theory
This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances. He also uses dramatically striking chords called effect harmonies in most of his musicals. He obtains middleground harmonic cohesion through the use of chromaticism and pedal points. Background cohesion comes by remaining in a single key, despite the monotonal excursions he takes that bring the characters and the music to places perceived as far away from where they started. The final approach of the analysis examines Sondheim's melodies, which are shown to share a number of properties with classical and popular Western melodic writing. However, he also defies melodic trends of step inertia and step declination. His use of motivic stops and melodic cadences often contains large intervals or outlines of large intervals not common in other composers. Prosody and drama affect his melodic writing, in that he writes short, motivic units that are often repeated for a dramatic effect, sometimes disrupting meter and hypermeter. He also writes melodies that are shared between actors in scored dialogue. These musical elements all play a part in the identification of Sondheim's style.
2012-06-03T15:05:26Z
2012-06-03T15:05:26Z
2012-06-03T15:05:26Z
2011-12-31
Dissertation
http://dissertations.umi.com/ku:10749
http://hdl.handle.net/1808/9764
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/123422020-10-14T14:38:52Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Revealing Janacek: On an Overgrown Path--Series I
Hrivnak, Laura
Winerock, Jack
Winerock, Jack H.
Reber, Richard
Smith, Scott McBride
Haaheim, Bryan K
Schofield, Ann
Music
Czech
Janacek, Leos
Overgrown path
Piano
This document challenges the marginal and neglected status of Leos Janacek, Czech composer of the late Romantic to early twentieth-century era, through an analysis of compositional techniques in the solo piano cycle On an Overgrown Path--Series I. By examining Janacek's musical background, specifically: (1) musical studies and early influences, (2) the influence of Herbartian philosophy on his musical theoretics, and (3) the influence of his ethnographic studies on his musical theoretics, I will provide important context in understanding the development of his innovative and distinctive compositional style. As a composer and theorist, Janacek sought a purer and more modern means of expression than that of his contemporaries with the artistic aim of relating all compositional elements to real human emotion and psychological phenomena. On an Overgrown Path is one of his first of his works to reflect this cultivated technique. Each piece in the cycle's first series will be explored by analyzing the features that can be linked to his philosophical and cultural influences and by discussing the resulting emotional affects. Through this study, a clear connection between Janacek's influences, progressive compositional techniques, and masterful expression of the human condition in On an Overgrown Path will be made, challenging his current minor rank in music history.
2013-09-30T20:46:51Z
2013-09-30T20:46:51Z
2013-09-30T20:46:51Z
2013-05-31
Dissertation
http://dissertations.umi.com/ku:12777
http://hdl.handle.net/1808/12342
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/194292018-01-31T20:07:51Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The Saxophone as a Solo Instument in Gospel Music: The Musical Contributions of Dr. Vernard Johnson
McCray, Brandon W
Levin, Alicia
Gnojek, Vincent
Levin, Alicia
Gnojek, Vincent
Barnes, James
Frisof, Sarah
Hodges-Persley, Nicole
Music
Gospel
Gospel Music
Saxophone
Vernard Johnson
Dr. Vernard Johnson (b.1948) is an African American musician who introduced the saxophone as a solo instrument to the gospel music tradition in the black church. Though Johnson is not the first to play the saxophone in church, he is the one who popularized and blazed the trail for other instrumentalists to appear as soloists with choral accompaniment. Previously, instruments played a limited role as added features to the standard five-piece rhythm section, which consisted of organ, piano, drums, bass and lead guitars. Because of Johnson’s innovation, many pastors began to encourage young parishioners to bring their gifts of music to worship services. This document intends to show how Johnson left a Kansas City nightclub and brought the signature instrument of jazz into the sacred sanctuary of the church. Through interviews, testimonies, periodicals, concert reviews, solo recordings, and the author’s experience as a Church of God in Christ minister, this research will detail how Johnson used his saxophone to place himself in the heart of the gospel community as a solo artist.
2016-01-01T22:40:15Z
2016-01-01T22:40:15Z
2016-01-01T22:40:15Z
2015-08-31
Dissertation
http://dissertations.umi.com/ku:12522
http://hdl.handle.net/1808/19429
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/267382018-09-19T08:01:26Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Musical thought and practice in the Hutterite community
Martens, Larry
2018-09-18T17:51:51Z
2018-09-18T17:51:51Z
2018-09-18T17:51:51Z
1960
Thesis
http://hdl.handle.net/1808/26738
openAccess
This work is in the public domain and is available for users to copy,
use, and redistribute in part or in whole. No known restrictions apply to the
work.
University of Kansas
oai:kuscholarworks.ku.edu:1808/253962018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
CLINICAL DECISIONS OF MUSIC THERAPISTS IN THE TREATMENT OF INDIVIDUALS WITH EATING DISORDERS
Joseph, Megan
Colwell, Cynthia
Dvorak, Abbey
Johnson, Christopher
Music
Mental health
Psychology
Clinical Decisions
Eating Disorders
elements of music
Music Therapy
The purpose of this study was to determine common treatment goals and subsequent music-based interventions used by music therapists who work/worked with patients with eating disorders and to begin gathering information on the intentional adaptation of the elements of music commonly used to increase success of these treatment outcomes. Further, the intent of this survey was to provide a synthesis and overview of current clinical practice and wisdom useful to students and clinical music therapists interested in working with this population or those interested in conducting intervention-based research to determine the impact of music-based interventions on the needs of individuals with eating disorders. Emails were obtained from the American Music Therapy Association (AMTA) for music therapists working in private practice, general hospitals, psychiatric hospitals, mental health facilities, and eating disorder recovery centers. Results of the survey found that majority of participants did not work full time with people with eating disorders and indicated that 1-5% of their caseload was dedicated to people with eating disorders. The top two goal areas and associated interventions were emotional expression using improvisational instrument play and songwriting interventions and decreasing anxiety using relaxation/imagery interventions. The top chosen musical elements to adapt were lyrics and rhythm adapted in the context of improving verbal and non-verbal expression. Further findings and implications are discussed.
2017-11-16T04:39:58Z
2017-11-16T04:39:58Z
2017-11-16T04:39:58Z
2017-05-31
Thesis
http://dissertations.umi.com/ku:15256
http://hdl.handle.net/1808/25396
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/123462020-10-15T13:53:33Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Earthrise / Moonrise: A symphonic poem in three movements
Scott-Nelson, Michael E.
Haaheim, Bryan K
Haaheim, Bryan K
Levin, Alicia
Street, David A
Barnes, James
Velasco, Francisca M
Music
Earthrise
Orchestra
Orchestral
Poem
Symphonic
Symphony
From the performance notes: Earthrise / Moonrise is a symphonic poem that explores the relationship of two celestial bodies. The reigning scientific model is that our moon was once a part of the Earth's crust, and that it `broke off' when the Earth was struck by a large object; that an outside force tore out a `rib' from the adama, the mud. Interpretation marks are intended to suggest a kind of kinetic or potential energy exhibited in the ongoing dance between these two bodies. The tempi are open to interpretation in service of the performance, but the ratio between these tempi must be kept consistent. The ratio between these tempi establish a temporal hierarchy that is directly analogous to the over-arching modal scheme.
2013-09-30T20:51:37Z
2013-09-30T20:51:37Z
2013-09-30T20:51:37Z
2013-05-31
Dissertation
http://dissertations.umi.com/ku:12802
http://hdl.handle.net/1808/12346
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/278492019-08-27T18:09:08Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Playing the Piper: A Narratological Interpretation of John Corigliano’s Pied Piper Fantasy (1982)
Lambie, Margaret
Street, David Alan
Kirkendoll, James Michael
Marco, Margaret Rose
Southard, Marylee Z.
Stomberg, Eric Wolf
Music
Corigliano
Flute
music
narrative
Pied Piper
John Corigliano’s Pied Piper Fantasy is a rather unusual concerto in the flute world. Written for and premiered by James Galway in 1982, the piece tells the familiar tale of the Pied Piper in Hamelin. In addition to being technically challenging, the piece has a music-theatrical dimension, including a suggested costume and directions for how the soloist enters and exits the stage. Because of the significance of the fable to the piece, an analysis that addresses this specific aspect seems appropriate. Although other authors have addressed this topic in the music to some extent, there is room for a more thoroughly narrativized interpretation as a possible basis for performance. This study consists of four complementary chapters. Chapter One, “The Pied Piper Coming to the Stage,” presents a brief history of the piece and an understanding of Corigliano’s career and compositional style. Chapter One also addresses some of the other scholarship on the Pied Piper Fantasy. Chapter Two, “The Pied Piper Story in Literary History,” offers a short overview of the tale throughout history followed by a narrative analysis of the story of the Pied Piper. Chapter Three, “A Narratological Analysis of the Pied Piper Fantasy,” discusses the piece in relation to wider concepts of narrative organization. The staged aspect of the work is also addressed. The final chapter, “Enacting the Fable: The Pied Piper Fantasy in Performance,” addresses the practical application of the ideas explored throughout the previous chapters. Flutists who have performed the work were consulted with respect to the ways in which dramatic considerations influenced their performances.
2019-05-10T16:49:38Z
2019-05-10T16:49:38Z
2019-05-10T16:49:38Z
2018-08-31
Dissertation
http://dissertations.umi.com/ku:16182
http://hdl.handle.net/1808/27849
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/239122018-01-31T20:07:47Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
SELECTING FINGERING FOR PERFORMING MOZART’S PIANO MUSIC
Chai, Congcong
Winerock, Jack
Smith, Scott McBride
Spooner, Steven
Murphy, Scott
Ho, Alfred Tat-Kei
Music
Performing arts
Fingering
fortepiano
historical performance
Mozart
musical intention
Performance Practice
The purpose of finger selection for composers and musicians has changed since the 18th century due to many factors. In order to understand how fingering selection can serve a composer’s musical intention, this paper concentrates on the study of historical treatises and performance practice, the development of the aesthetic of music, the development of the keyboard instrument, and the anatomy of the hand. In the second half of this paper, I experiment with various fingering ideas in Mozart’s Fantasy in D minor, K. 397 and Piano Sonata in B flat major, K. 333. The result of this experimentation led to the discovery that once pianists liberate their minds to accept new fingering options, they will broaden their musical abilities, both physically and intellectually. However, the fingering study needs further research on more musical examples from the 18th and 19th century.
2017-05-07T15:28:40Z
2017-05-07T15:28:40Z
2017-05-07T15:28:40Z
2016-12-31
Dissertation
http://dissertations.umi.com/ku:14947
http://hdl.handle.net/1808/23912
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/148752018-01-31T20:07:56Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Perfume of the Soul: Compositional Influences of Emile Naoumoff
Kim, Soojin
Spooner, Steven
Smith, Scott M
Schwartz, Roberta
Broxholm, Julia
Suzeau, Patrick
Music
Emile
Naoumoff
Perfume of the soul
Piano
Emile Naoumoff is a renowned Bulgarian pianist, composer, teacher and, most notably, the very last disciple of Nadia Boulanger. This document will analyze the four different periods of his compositional life: the early period, influenced by Slavic folk elements; the neoclassical period, from studies with Nadia Boulanger; the French art song period; and his current fascination with the art of improvisation. My main focus will be to define and analyze the distinct stylistic differences of each period and to explore Naoumoff's various influences and inspirations. Additionally, I will examine his use of harmony citing specific examples from his compositions and offering a brief analysis of representative pieces from each period. Despite the vastly different styles of these four periods, there is one overarching element that is apparent throughout his compositions: the frequent use of basso ostinato. Its use, according to Naoumoff, reflects the influence of Russian music, and this recurring element is seen repeatedly from his early Nocturne to his very latest improvisations.
2014-08-04T23:06:37Z
2014-08-04T23:06:37Z
2014-08-04T23:06:37Z
2014-05-31
Dissertation
http://dissertations.umi.com/ku:13332
http://hdl.handle.net/1808/14875
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/253952018-01-31T20:07:48Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Selected Violin Works of Alan Scott ‘Vaness’ Chakmakjian Hovhaness: Two New Performance Editions with Historical Discussion, Compositional Style Overviews, and Pedagogical Considerations
Okesson, Katherine Anne
Mathieu, Véronique
Collins, Hannah
Kramp, Philip
Stölzel, Ingrid
Hilding, Jerel
Music
Music education
Alan Hovhaness
Hovhaness
string pedagogy
Violin
Violinists
violin pedagogy
This DMA document introduces new performance editions of Alan Scott ‘Vaness’ Chakmakjian Hovhaness’s Khirgiz Suite, Op. 73, No. 1 (1951) and the Three Visions of Saint Mesrob, Op. 198 (1962). The new editions created for this document supply violinists with usable performance copies, greatly increasing the likelihood of their future performance. In addition, historical discussion, compositional style overviews, and pedagogical considerations are presented for these pieces. Finally, a detailed list of Hovhaness’s violin compositions and information about where they may be purchased has been provided. Primarily, the purpose of this study was to provide an overview of the violin works of Alan Hovhaness to violinists, musicologists, and string pedagogues. The goal was to explore the literature, so that its usefulness could be explained to the string community. The conclusion is that these compositions have great historic, compositional, and pedagogical value. It is also determined that they may be performed successfully at the pre-college and early collegiate levels, providing supplementary training repertoire of a wide range of twentieth-century compositional styles.
2017-11-16T04:37:08Z
2017-11-16T04:37:08Z
2017-11-16T04:37:08Z
2017-05-31
Dissertation
http://dissertations.umi.com/ku:15164
http://hdl.handle.net/1808/25395
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/194232018-01-31T20:07:50Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The Effectiveness of a Music-based Relaxation Intervention and a Mindfulness-based Intervention Delivered Online to Decrease Hospice Workers Stress and Improve Professional Quality of Life
Fiore, Jennifer Mae
Colwell, Cynthia M
Hanson-Abromeit, Deanna M
Dvorak, Abbey L
Register, Dena M
Mikinski, Tamara
Music
Health sciences
Online Mindfulness-based Intervention
Online Music-based Intervention
Professional Quality of Life
Therapeutic Function of Music
Work Stress
ABSTRACT Background: Work stress can develop over time due to strained interactions, increased number of job tasks, and heightened stressors from within the work environment. Hospice workers experience additional stressors such as exposure to frequent death and dying, and managing patient and/or family dynamics. Prolonged periods of stress can lead to burnout as a result of the interaction of emotional exhaustion, depersonalization, and reduced personal accomplishment. For workers, burnout can result in increased absenteeism and health problems, while employers are faced with increased healthcare costs and turnover. Development of coping skills is necessary to provide workers with outlets to manage stress and decrease the potential for job burnout. Objectives: The purpose of the current study was to compare the effectiveness of an online music-based intervention and an online mindfulness-based intervention to decrease hospice workers’ stress and increase professional quality of life. Method: A total of 153 eligible hospice workers were randomly assigned to either the music-based intervention or the mindfulness-based intervention, with equal distribution of discipline representation between groups and were then solicited for participation in the current study. Participants (N=14) were hospice workers providing direct patient care with the music-based intervention group (n=10) and the mindfulness-based intervention group (n=4). The study was offered online so participants could engage in the intervention when needed or as schedules allowed. Results: Due to the overall limited participation and unbalanced treatment groups, it was inappropriate for the researcher to conduct statistical analysis beyond looking at the means and standard deviations of the measures for the purpose of understanding potential clinical significance. Participants in the music-based intervention groups had minimal decreases in mean Stress Overload Scale (SOS) continuous scores, SOS personal vulnerability, and Professional Quality of Life (ProQOL) for secondary traumatic stress, while having a minimal increase in ProQOL compassion satisfaction scores. Participants in mindfulness-based intervention group had only a minimal decrease in SOS personal vulnerability scores, which may suggest that the music-based intervention could be more effective in helping manage hospice workers’ stress and improve professional quality of life, though results are limited due to sample size. Conclusions: Due to the limited engagement in the current study, it is not possible to conclude if either an online music-based intervention or an online mindfulness-based intervention were effective for hospice workers’ stress and burnout. Limited engagement could be related to overall high stress levels, excessive workloads, and little personal experience using online interventions for stress management. The results of this study suggest that repeated practice with a stress management intervention is necessary to see positive outcomes. As evidenced by the limited results of this study, dosage is an important consideration for future studies. Keywords: Worker stress, burnout, Therapeutic Function of Music, online music-based intervention, online mindfulness-based intervention
2016-01-01T22:31:56Z
2016-01-01T22:31:56Z
2016-01-01T22:31:56Z
2015-05-31
Dissertation
http://dissertations.umi.com/ku:14090
http://hdl.handle.net/1808/19423
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/184082018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Liberation of the Senses: An Exploration of Sound-color Synesthesia in the Music of Alexander Scriabin and Olivier Messiaen
Flynn, Evan Norcross
Haaheim, Bryan
Street, Alan
Levin, Alicia
Music
Messiaen
Prometheus
Scriabin
Symbolist
Synesthesia
Visual music
Ascribing color to sound has long been a part of the music compositional lexicon. Performers, composers, and scholars have long relied upon descriptive vocabulary usually reserved for the visual arts. Those who regularly use colors as aspects of critical terminology do so to convey a desired effect, but how do we explain the various accounts of people with synesthesia who literally see, hear, feel, taste, or smell colors when they listen to music? For synesthetes, a stimulus experienced in one of the five senses triggers a response in another sense. Although numerous types of synesthesia exist, I will focus primarily on sound-color synesthesia and the various forms of written, audio, and visual art it has inspired. Synesthesia is not reserved for those persons who experience such psychological perceptions; many people without synesthesia are interested in the phenomenon. This thesis will define the main characteristics of synesthesia and compare the various modes of analysis scholars have presented on the synesthesia-inspired music of Olivier Messiaen (1908-1992) and Alexander Scriabin (1872-1914). Special attention will be given to the comparison of Scriabin's Prometheus (1911), a piece calling for the projection of colored light to accompany the music as a visual representation of the composer's subjective color palette, with selections from Messiaen's oeuvre featuring performance instructions described in terms of color. These analyses provide avenues for the comparison of Messiaen and Scriabin's color and tonal vocabularies, and form the basis of a new approach to analyzing their music using color.
2015-09-07T22:08:14Z
2015-09-07T22:08:14Z
2015-09-07T22:08:14Z
2014-12-31
Thesis
http://dissertations.umi.com/ku:13795
http://hdl.handle.net/1808/18408
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/271122018-12-03T21:33:17Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Political Influences on Solo Trumpet Literature in 1930s Europe: An Examination of Works by Karl Pilss and Paul Hindemith
Mahon, Erik
Davidson, Michael
Leisring, Steve
Osborn, Brad
Gailey, Dan
Tucker, Sherrie
Music
Music history
Musical composition
Austria
Brass
Germany
Trumpet
World War II
As the National Socialist Party rose to power in Germany in the 1930s and subsequently expanded their empire to surrounding areas, they employed a variety of means in an attempt to control the lives of their constituents and conquered populations. A Chamber of Music, the Reichsmusikkammer (RMK), sought to promote traditional Germanic and Romantic style music while condemning and banning music representing many twentieth-century trends. These efforts resulted in some composers and musicians being labeled as ‘degenerate,’ while others found greater success and prominence. This document focuses specifically on Karl Pilss from Austria and Paul Hindemith from Germany and how their contrasting works for solo trumpet from these years were influenced by political and social factors. Pilss composed two trumpet works, a concerto and sonata, and was heavily involved with the Trompeterchor der Stadt Wien (Vienna Brass Ensemble) that had Nazi ties. His works are deeply rooted in the late Romantic idiom characterized by Strauss and he was viewed favorably by the regime. His Trumpet Sonata was written for and dedicated to Helmut Wobisch, a prominent trumpeter in Vienna who also had Nazi ties, though his level of involvement continues to be an item of question. While successful at the time, Pilss does not hold a central place in the contemporary repertoire; his Trumpet Concerto remains virtually unknown. Paul Hindemith is one of the most famous German composers from the 1900s. His music, unlike Pilss’s, is quintessentially twentieth-century and represents different sub-genres common to the era. He was under constant scrutiny by the RMK and eventually fled to the United States. His Trumpet Sonata includes various musical references to his struggles and serves as a stark contrast to Pilss’s works, though all were composed within a five-year span. Decades later, their roles have seemingly reversed with Hindemith enjoying notoriety and frequent performances.
2018-10-26T21:33:25Z
2018-10-26T21:33:25Z
2018-10-26T21:33:25Z
2018-05-31
Dissertation
http://dissertations.umi.com/ku:15758
http://hdl.handle.net/1808/27112
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/253922018-01-31T20:07:48Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
A CUBIST READING OF MAURICE RAVEL’S LA VALSE
Ong, Wen-Ting
Winerock, Jack
Kirkendoll, James Michael
McBride-Smith, Scott
Hilding, Jerel
Roust, Colin
Music
Ballet
Braque
Cubism
piano
Picasso
Ravel
Ravel’s La valse is often interpreted as the embodiment of fallen or disintegrating romantic idioms, embodied in his treatment of the waltz. However, La valse can also be discussed in the context of the artistic trends of its time, particularly its relationship to cubist aesthetics in painting. Although there is no concrete evidence that cubism was used as a source for La valse, Deborah Mawer has written about the influence of cubist ideas on other works by Ravel. My analysis will correlate certain cubist techniques with Ravel’s compositional techniques and explain how to translate cubism into a musical aesthetic consisting of characteristics such as fragmentation, angularity, and collage, similar to the analytical cubist works of Picasso and Braque. Comparisons with paintings by Picasso and Braque, along with Ravel’s earlier Valses nobles et sentimentales, replace the analytical focus on the destruction of the waltz idiom with a depiction of the many layers, angles and facets of the waltz, as if it were the subject of a cubist painting. This cubist interpretation emphasizes the structure and form of the piece, as well as emphasizing the thematic relationships. Rather than giving primacy to a climactic arrival in the final bars of the piece, this reading focuses the performer’s attention on the development of the main body of the piece.
2017-11-16T04:30:35Z
2017-11-16T04:30:35Z
2017-11-16T04:30:35Z
2017-05-31
Dissertation
http://dissertations.umi.com/ku:15353
http://hdl.handle.net/1808/25392
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/216042018-01-31T20:07:47Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Bringing Kurdish Music to the West
Abubakir, Nabaz Hama Rasheed
Haaheim, Bryan Kip
Haaheim, Bryan Kip
Mathieu, Veronique
Neely, David
Laut, Edward
Tucker, Sherrie
Music
Folklore
Middle Eastern studies
Brahim Shexo
Dalshad Said
Kurdish Music
Kurdish Music Ensembles
Kurdish String Orchestra
Kurdistan
This document will examine the music of two Kurdish composers, Dalshad Said and Brahim Shexo. It will begin with a biography of each composer that discusses important influences and elements of their musical styles. Because Kurdish music is not well known outside of Kurdistan, the document will also provide a brief history of Kurdistan and its musical culture to give the reader some context. This will include a short description of Middle Eastern musical instruments and a discussion of significant current and past Kurdish musicians and musical ensembles. In order to develop a meaningful analysis of Dalshad's and Shexo's music it also will be necessary to introduce a small amount of Middle Eastern music theory.
2016-10-05T02:10:25Z
2016-10-05T02:10:25Z
2016-10-05T02:10:25Z
2016-05-31
Dissertation
http://dissertations.umi.com/ku:14451
http://hdl.handle.net/1808/21604
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/252312018-01-31T20:07:48Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Lutheran Alternatim Practices in the 16th and Early 17th Centuries: A Narrative of Liturgical Artistry and Accessibility
Paisar, Mark
Bauer, Michael
Higdon, James
Laird, Paul
Murphy, Scott
Keel, William
Music
Alternatim
Cantional
Luther
Lutheran
Praetorius
Reformation
The musical and liturgical life of the church has always contained a great variety of performance practices. With the advent of the organ in the Middle Ages, a collaboration between organ and voice began, which eventually resulted in a rich vocabulary of musical practices known as alternatim. In this discussion, we will examine the history of Lutheran alternatim practices in the 16th and early 17th centuries. Recent scholars have begun to question the romanticized view of early Lutheranism as the great cultivator of congregational song. Joseph Herl argues that the development of congregational singing within the Lutheran church took 150 to 200 years to develop. As a result of this, we see the continuation of pre-Reformation liturgical-musical practices in early Lutheranism, including the alternatim tradition between choir and organ. Evidence for the development of this tradition includes Luther’s theological and liturgical writings, musical sources, church orders, and ecclesiastical visitations. Built on the foundation laid by the Buxheimer Orgelbuch and the Augsburger Orgelbuch, composers like Michael Praetorius began to combine organ, choir, and congregation into a single musical entity. The alternation possibilities this presented are best illustrated through the cantional genre of the period. Through this genre, composers were finally able to reconcile the artistic differences between choir, organ, and congregation, enabling the Lutheran alternatim tradition to reach its fullest potential.
2017-10-30T23:04:42Z
2017-10-30T23:04:42Z
2017-10-30T23:04:42Z
2017-05-31
Dissertation
http://dissertations.umi.com/ku:15133
http://hdl.handle.net/1808/25231
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/236482017-12-08T21:45:29Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Petrus Joannellus and the motets in Volume V of his Novus Thesaurus Musicus, 1568
Crawford, David E.
2017-04-12T20:22:42Z
2017-04-12T20:22:42Z
2017-04-12T20:22:42Z
1964
Thesis
http://hdl.handle.net/1808/23648
openAccess
This work is in the public domain and is available for users to copy,
use, and redistribute in part or in whole. No known restrictions apply to the
work.
University of Kansas
oai:kuscholarworks.ku.edu:1808/261452018-11-08T18:49:34Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Bringing Hands Together Through Music: Dick and Georgia Bassett and the Association for Music in International Schools
Weingarten, Kevin M.
Johnson, Christopher
Hedden, Debra
Bergee, Martin
Music education
international education
international schools
music
music education
music education organizations
The Association for Music in International Schools (AMIS) is an international music education organization that currently serves 93 international schools in 53 countries on five continents. AMIS supports the students, teachers, and music programs of its member schools through honor ensemble festivals, conferences, and workshops held at various locales across the world each year, with 21 events taking place throughout the 2017-2018 school year. Though the scope of the organization is global today, its roots can be traced back to the creation of a stand-alone Honor Band and Choir Festival at the American School of London (ASL) in 1975 that provided an honor ensemble experience for the top music students at international schools across the United Kingdom. This honor band and choir owed its existence to the two founders of the organization, Dick and Georgia Bassett. The main goal of this research was to highlight the efforts of two remarkable, yet largely unknown, music educators who were integral to the advancement of western art music in international schools around the world. The research questions guiding this ethnographical account of the Bassetts’ and AMIS were: (1) How did the Bassetts come about creating and growing the AMIS organization and, (2) how has that organization impacted music education world-wide for the last 42 years? The narrative was constructed through analysis of Mrs. Bassett’s personal memoirs; extensive interviews with the Bassetts and current AMIS Executive Director, Keith Montgomery; informal interviews with AMIS teachers and festival conductors; AMIS Executive Council documents, including founding documents, board meeting minutes, and festival repertoire lists; and the discussions of AMIS teachers on the AMIS Music Educators’ Facebook Page. Mr. Bassett, an accomplished clarinetist, and Mrs. Bassett, a vocalist and violinist, met at Oberlin Conservatory, where they were studying to become music educators. The Bassetts’ participation in honor ensembles in their formative years and in the “Oberlin in Salzburg” program - a year-long study abroad experience for Oberlin music majors at the Universität Mozarteum Salzburg – provided the inspiration to look for opportunities for teaching overseas. “We were just sure we wanted to be different; to do something different” (Bassett G., Interview with author). Throughout their career, the Bassetts held teaching positions at the American Community School of Athens, Greece, the Community School in Tehran, Iraq, and ultimately in ASL in London, England, where the honor festivals began. Over the next twenty years, the festival grew in size and geographic scope, and other festivals were added to the calendar, as well. Officially founded in 1996, AMIS has continued to expand ever since to the global organization it is today. In 2014, the Bassetts officially retired from AMIS, but they still maintain active ties to the organization as consultants. AMIS creates musical experiences in international schools that would otherwise be unavailable to them: a professional network for teachers, unique learning opportunities for music students, and the promotion of music and music education in international schools around the globe. Because of the Bassetts, AMIS “brings hands together through music” (ibid.).
2018-03-09T22:11:08Z
2018-03-09T22:11:08Z
2018-03-09T22:11:08Z
2017-12-31
Thesis
http://dissertations.umi.com/ku:15666
http://hdl.handle.net/1808/26145
https://orcid.org/0000-0002-5346-4760
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/275812020-10-08T16:44:46Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effects of Circular Singer Gestures on Acoustic and Perceptual Measures of Middle School and High School Choral Singing
Coffman, Ashley Kathleen
Grady, Melissa L
Johnson, Christopher M
Farah, Mariana
Music education
Acoustics
Acoustic and Perceptual Measures
Circular Singer Gesture
High School Choir
Middle School Choir
Singer Gesture and Choral Singing
The purpose of this study was to assess the effect of three singer conditions (low circular arm gesture, high circular arm gesture, no arm movement) performed by nine middle and high school choirs while singing. Recordings were analyzed on acoustic (long-term average spectra [LTAS]) and perceptual (singer and expert listener preferences) measures. Among primary findings: (a) results of a repeated measures ANOVA of LTAS data indicated a significant interaction effect; (b) entire spectrum grand mean and range differences between gestures comparisons indicate twelve pairings of more than 1 dB difference (Just Noticeable Difference); (c) more than half of the singer participants noticed differences in overall choral sound while using the high circular arm gesture; (d) participants in high school choirs noticed differences in individual vocal sound (80%) and overall choral sound (78%) when singing with the low circular arm gesture; (e) singer preference responses indicate 5 choirs preferred the high circular arm gesture, 3 choirs preferred singing without arm movement, and 1 choir reported a preference for the low circular arm gesture; (f) 63% of singer participants reported liking the addition of gestures while singing; (g) expert listeners ranked tone quality while performing with no arm movement highest for 5 choirs and while performing the low circular gesture highest for 3 choirs; and (h) 4 choirs received the same ranking from the expert listeners: (1) no arm movement, (2) high circular gesture, and (3) low circular gesture. Results were discussed in terms of comparisons of acoustic and perceptual measures, limitations of the study, and suggestions for further research.
2019-01-01T20:25:32Z
2019-01-01T20:25:32Z
2019-01-01T20:25:32Z
2018-05-31
Thesis
http://dissertations.umi.com/ku:16066
http://hdl.handle.net/1808/27581
https://orcid.org/0000-0001-9245-4736
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/55392020-07-27T15:06:00Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Role of the Horn in Band Music
Starrett, Megan Jane
Freeman, Charles
Laird, Paul
Haaheim, Bryan K
Music
Band
Horn
In the American wind band, the role of the horn has transformed parallel to the development of professional bands, military bands, and collegiate wind ensembles. An incomplete definition of the horn's role is discussed in various writings from 1912 to1988. With a brief history of the Sousa and Goldman Bands, collegiate wind ensembles, and commissions of United States military bands, current definitions of the horn's many roles in band music are determined. Horn parts in the works of Sousa, Holst, Vaughan Williams, Grainger, Gould, Persichetti, Hanson, Reed, Jenkins, Williams, McBeth, Husa, Hindemith, Knox, Smith, Schuller, Nixon, and Barnes, are considered for their scoring, function, technique, and virtuosity. These examples constitute a representative sample of horn parts depicting the evolution of the horn's role from rhythmic punctuation to featured melodic line. The horn's range and various techniques are discussed as well.
2009-10-19T16:40:03Z
2009-10-19T16:40:03Z
2009-10-19T16:40:03Z
2009-06-16
Thesis
http://dissertations.umi.com/ku:10440
http://hdl.handle.net/1808/5539
EN
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/55292020-07-27T13:59:15Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The effect of music therapy on mood, perceived exertion, and exercise adherence of patients participating in a rehabilitative upper extremity exercise program
Cho, Jeongmin
Colwell, Cynthia
Register, Dena
Hedden, Debra
Music
Health sciences
Rehabilitation and therapy
Mood change
Music therapy
Occupational therapy
Perceived exertion
Rehabilitation
Upper extremity exercise
The purpose of this study was to investigate the effects of music therapy on perceived exertion, mood and exercise adherence of patients participating in a group upper extremity exercise program. Twenty two patients ranging in age from 22 to 86 participated in a occupational therapy upper extremity exercise (OT-UEE) program and a music therapy upper extremity exercise (MT-UEE) program for two consecutive days. Rating of Perceived Exertion (RPE) and Feeling Scale (FS) were used for participants to rate their perceived exertion levels and mood change respectively. Each session was videotaped for data collection. Analysis of data revealed that the use of music during exercises significantly reduced perceived exertion (p=0.0011) and enhanced mood (p=0.0401), although patients' exercise adherence between the two groups was not significantly different. The physiological and psychological benefits of music on rehab patients which were shown through examination of patients' perceived exertion and mood changes suggest potential benefits for exercise performances.
2009-10-13T04:27:18Z
2009-10-13T04:27:18Z
2009-10-13T04:27:18Z
2009-06-11
Thesis
http://dissertations.umi.com/ku:10419
http://hdl.handle.net/1808/5529
EN
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/219402018-01-31T20:07:47Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Listening Lesson Practices in the Elementary General Music Classroom: A Mixed Method Approach
Brown, Debra Rae
Hedden, Debra G
Johnson, Christopher
Dakon, Jacob
Colwell, Cynthia
Murphy, Scott
Music education
curriculum
educator beliefs
general music
listening lessons
The purpose of the study was to examine elementary general music teachers’ listening lesson practices in kindergarten through sixth grade using a mixed-method research design. The listening lesson practices were investigated by musical genres used and by curricular application of the music. The belief system for the role of listening lessons in the curriculum was examined as well as materials and technology used to teach the lessons. Finally, the frequency and duration of the lessons were investigated. Two phases of research were implemented using an explanatory sequential mixed methods design (Creswell, 2014). The first phase consisted of an online survey distributed to all NAfME members in the Midwest identifying as elementary general music teachers (n = 4,432). The second phase followed, that consisted of personal interviews with Midwestern elementary general music teachers (n = 6). Data from the survey questions were analyzed through percentages and frequency counts. From the survey data, the open-ended questions for the interviews were constructed. The interview participants were distributed evenly in three locales, two rural, two suburban, and two urban. They lived in three different Midwestern states and worked in six different districts. Each phase-two participant was interviewed twice for about 30 minutes. The researcher transcribed all interviews and coded them using Gilligan’s listening guide (Gilligan, Spencer, Weinberg, & Bertsch, 2006). Results indicated the participants integrated listening lessons into their instruction regularly. Though they used listening lessons to teach biographical, historical, and/or cultural aspects of music, they showed a preference for listening lessons integrated with musical element concepts such as timbre, form, rhythm, meter, melody, harmony, texture, tempo, and/or dynamics. Participants used a variety of materials to teach the lessons, which included published as well as participant-generated resources. Technologies used to present the music included digital recordings, images, and various video materials viewed on a monitor or projected. Participants felt that listening lessons supported curricular goals for singing and playing skills, music literacy, and creating music. The lessons were also connected to teaching about performers, composers, historical topics, and cultural music. Participants indicated that most used 11-30% of their class sessions teaching listening lessons. Younger children had lessons of shorter duration. The duration did not generally affect the frequency of lessons; however, the topic, for example form, sometimes affected the duration. Participants incorporated listening lessons for four reasons; (a) as exposure to music genres, (b) to reinforce or introduce musical concepts, (c) to aid in classroom management, (d) as an expectation of the profession. Recommendations and implications were discussed in connection to these results.
2016-11-11T00:40:01Z
2016-11-11T00:40:01Z
2016-11-11T00:40:01Z
2016-05-31
Dissertation
http://dissertations.umi.com/ku:14656
http://hdl.handle.net/1808/21940
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/123442020-10-15T14:00:55Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Selected Non-Indianist Works of Charles Sanford Skilton: The Witch's Daughter - A Cantata for Soprano and Baritone Soli, Chorus and Orchestra (1918) and Electra - Music of the Electra of Sophocles, Composed for Women's Chorus and Orchestra (1920)
Garren, Evelyn Adele
Laird, Paul
Levin, Alicia
Haaheim, Bryan K
Music
Indianist
Skilton
Charles Sanford Skilton (1868-1941) is widely remembered as an exponent of the Indianist Movement in musical composition, which was important from about 1880 to 1920. Little investigation has been completed on his works outside of his Indianist interest, leaving many gaps in our knowledge of his music. While compiling materials for this thesis, it was observed that Skilton, now nearly forgotten as a serious art music composer, was well received as a composer, theorist, and pedagogue during his life. Much of his extant works are comparable to Indianist composers such as Arthur Farwell and Charles Wakefield Cadman. Skilton was known for more than just his Indianist works; his legacy as an American music pioneer is quite worthy of acknowledgement. This thesis examines Skilton's life, his compositions, public reception, and notable performances with specific focus on two selected works outside of his Indianist interest, The Witch's Daughter - A Cantata for Soprano and Baritone Soli, Chorus and Orchestra (1918), and Electra - Music of the Electra of Sophocles, composed for Women's Chorus and Orchestra (1920). These works together shed light on attributes of Skilton's compositional style and his relation to composers of the same period.
2013-09-30T20:49:11Z
2013-09-30T20:49:11Z
2013-09-30T20:49:11Z
2013-05-31
Thesis
http://dissertations.umi.com/ku:12601
http://hdl.handle.net/1808/12344
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/80282020-06-25T16:25:08Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
A CLARINETIST'S GUIDE TO THE AUDITION PROCESS AND LITERATURE FOR THE PREMIER UNITED STATES SERVICE BANDS
Nichols, Christopher R.
Laird, Paul
Zelnick, Stephanie
Brown, J. Christopher
Marco, Margaret
Pierce, Forrest
Music
Music education
Audition
Clarinet
Military band
The eight premier United States service bands provide numerous job opportunities for the prospective professional musician and offer financial stability, job security, and an outlet to perform at a superior level in a variety of settings. Although many published resources exist to prepare candidates for orchestral auditions, few published resources address the audition process and literature for the premier U.S. service bands. This study examines the audition process at these organizations through written correspondence with past and present audition coordinators. It addresses topics such as the system of rounds, the personnel that comprise committees, literature selection criteria, desirable traits of candidates, the role of sight-reading in the audition, and the relationship of each band's process to its mission. In order to compile a list of significant wind literature including clarinet, a written survey was distributed to a cross-section of conductors and clarinetists from universities and military bands. The survey requested identification of five to ten works from three categories including original works, marches, and transcriptions of orchestral music deemed essential for audition preparation for these bands. Fifteen of the most frequently identified works are excerpted, and accompanied by a technical and stylistic discussion. Appendices include sample audition lists from 2005-2010 and a discography of premier U.S. service band recordings of excerpted literature. These resources should aid candidates in preparing for these auditions more comprehensively than previously possible, while reducing the amount of time required to locate such reference materials.
2011-09-20T02:03:44Z
2011-09-20T02:03:44Z
2011-09-20T02:03:44Z
2011-05-18
Dissertation
http://dissertations.umi.com/ku:11577
http://hdl.handle.net/1808/8028
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/184832020-06-24T19:51:24Zcom_1808_8837com_1808_1260col_1808_14144col_1808_7158
The modern organ
Krueger, Karl A.
2015-09-21T18:31:01Z
2015-09-21T18:31:01Z
2015-09-21T18:31:01Z
1915
Thesis
http://hdl.handle.net/1808/18483
openAccess
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
University of Kansas
oai:kuscholarworks.ku.edu:1808/264602018-06-25T14:59:44Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
THE PERCEPTION OF MUSIC THERAPY BY DIRECT CARE STAFF OF OLDER ADULTS WITH INTELLECTUAL DISABILITIES: A PHENOMENOLOGICAL APPROACH
Wells, Kori Ellen
Dvorak, Abbey
Colwell, Cynthia
Matney, Bill
Hanson-Abromeit, Deanna
Music
Direct Care Staff
Intellectual Disability
Music Therapy
Phenomenology
Qualitative
The purpose of this phenomenological study was to explore the experiences and perceptions of direct care staff of older adults with intellectual disabilities who participate in music therapy services. Participants (N=5) were direct care staff (DCS) over age 18, either currently working or formerly worked as DCS at Cottonwood Retirement, and observed a minimum of one music therapy session with their client(s). Participants shared their experiences in individual 60-minute semi-structured interviews. The interviews were recorded, transcribed, and analyzed using Interpretive Phenomenological Analysis (IPA). Six themes emerged: (a) DCS find music therapy effective in changing social, physical, emotional, and cognitive functioning, (b) DCS find personal enjoyment through connecting with consumers in music therapy experiences, (c) DCS are experienced and knowledgeable about consumers and encourage student music therapists (SMTs) to ask for help, (d) DCS apply and reinforce experiences practiced in music therapy to consumer activities outside of sessions, (e) DCS encourage SMTs to focus on physical, emotional, and social functioning, instead of cognitive functioning, of older adults with ID, and (f) DCS encourage SMTs to consider consumers’ individual characteristics and preferences in order to increase therapist flexibility and intuition.
2018-06-07T19:33:37Z
2018-06-07T19:33:37Z
2018-06-07T19:33:37Z
2017-08-31
Thesis
http://dissertations.umi.com/ku:15534
http://hdl.handle.net/1808/26460
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/148742018-01-31T20:08:05Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effect of Music Therapy on Executive Function Skills in Male, Incarcerated Adults in a Correctional Facility
Ellis, Elisha
Colwell, Cynthia
Johnson, Christopher
Register, Dena
Clair, Alicia
Music
Mental health
Criminology
Brief-a
Corrections
Executive function
Inmates
Music therapy
The purpose of the present study was to examine the effect of participation in a music therapy group on the executive function skills of male, incarcerated adults in a county correctional facility. Participants (N=16) were recruited from the medium-security pod in a local jail in a medium-sized Midwestern city. Eight participants (n=8) were randomly assigned to the treatment group, music therapy, and eight participants (n=8) were randomly assigned to the control group, talk-based therapy. Each group participated in four sessions over the course of two weeks. The Behavior Rating Inventory of Executive Functions for Adults (BRIEF-A) was administered once prior to the beginning of sessions and once following the conclusion of the two-week treatment period to determine if participation in music therapy significantly improved executive function skills. An analysis of covariance (ANCOVA) was run to determine the effect of two different treatment interventions on post-intervention executive function scores after controlling for pre-intervention executive function scores. Results indicated no statistically significant improvement in executive function scores post-intervention in either group. However, post-intervention raw scores improved for 100% of music therapy participants and 40% for talk-based group participants. Music therapy yielded a higher retention rate over the treatment span than the talk-based group. This study supports the need for further investigation regarding the benefits of music therapy interventions to enhance various aspects of executive function in the inmate population. Keywords music therapy, corrections, mental health, executive function, inmates, BRIEF-A, ANCOVA
2014-08-04T23:05:16Z
2014-08-04T23:05:16Z
2014-08-04T23:05:16Z
2014-05-31
Thesis
http://dissertations.umi.com/ku:13279
http://hdl.handle.net/1808/14874
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/308942020-11-20T09:01:02Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Accompaniment of Gregorian Chant
Burgstahler, Patricia L.
Although Gregorian Chant is sacred monody that dates from an age in which instrumental accompaniment was not employed for liturgical music, today, particularly in the services of the Roman Catholic Church, the common practice is to use some type of organ accompaniment to the chant sung by the choir or congregation. The present thesis proposes to trace briefly the history of chant and accompaniments to chant melodies, to review the three current leading rhythmic theories, and to arrange a new set of accompaniments for a number of the melodies of the Kyriale and certain selected Mass Propers, taking special cognizance of the more recent studies on medieval harmony1 and on rhythmic interpretation.
2020-11-19T18:32:54Z
2020-11-19T18:32:54Z
2020-11-19T18:32:54Z
1959-05-31
Thesis
http://hdl.handle.net/1808/30894
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/219342018-01-31T20:07:47Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Metropolis Triptych
Jones, Nathan Allen
Pierce, Forrest
Haaheim, Brian
Roust, Colin
Broxholm, Julia
Bergee, Martin
Music
Film music
German Expressionism
silent film music
"Metropolis" is a German silent film directed by Fritz Lang, which premiered on January 10, 1927, in Berlin, during Germany’s Weimar Period. The film is one of the finest examples of German Expressionism and tells the dystopian story of a futuristic city in which a humanoid Robot rallies the Workers against the neglect and excesses of the ruling class. Chad Jacobsen edited the 2 hour and 15-minute film into an abridged 33-minute version for this project. "Metropolis Triptych" is structured in three large sections. These sections reflect Lang’s original division of the screenplay into three tableaux: “Prelude,” “Intermezzo,” and “Furioso.” These are also the titles I used for each movement. A triptych is a type of visual art form in which a three-panel painting or carving depicts a scene in three sections or panels. I found it appropriate to mix this visual art form with the musical form since I am using a visual element for the piece. The entire piece is written without a key center or key signature. The harmonic language is triadic and tonal and is often polychordal. The “Steam Whistle” chord provides the impetus for most of the root relationships in Metropolis Triptych. Some examples are the “City Views” music (Scene 5) which is a progression from E major to A-flat (G-sharp) minor to F major (see Part 1, mm. 293-312). Each root is related by third, albeit enharmonically. The “Robot Music” in Scene 8 uses an alternating progression of B-flat minor to G major and later B-flat major to D major (see Part 1, mm. 392-416). Again, all three roots are related by third. Freder’s theme is harmonized by alternating E-flat major and G major chords, a root relation of a third. Not only are the key relationships derived from the triadic relations in the “Steam Whistle” chord, as a practical matter, they are also key areas that are friendly to band instruments—mostly flat-key tonal centers. Throughout the work, ic6 and ic1 represent the antagonists (The Robot, Moloch, Rotwang, Joh Fredersen, the Machines) while ic5 and ic2 represent the protagonists (Freder and Maria). Freder’s theme prominently features ic5, and Maria’s theme features two ic2s joined by ic4. The Moloch theme consists largely of ic6 while the Machines, Robot, Rotwang, and Joh Fredersen all share the flat scale degree 6-5 motive (ic1) in their themes. To show the reconciliation of Fredersen to the workers, I transformed Fredersen’s theme by changing ic1 in his theme to ic2. The excerpt below shows this transformed motive in the low brass which occurs in both Parts 2 and 3. This “reconciled” Fredersen theme is simultaneously paired with Freder’s theme which demonstrates the two opposing forces finally coming together.
2016-11-11T00:31:29Z
2016-11-11T00:31:29Z
2016-11-11T00:31:29Z
2016-05-31
Dissertation
http://dissertations.umi.com/ku:14662
http://hdl.handle.net/1808/21934
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/219352018-01-31T20:07:46Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Early Music Reimagined For Clarinet Consorts
Goudlock, Tyler
Pierce, Forrest
Zelnick, Stephanie
Pierce, Forrest
Zelnick, Stephanie
Frisof, Sarah
Smith, Matthew
Derby, John
Music
Performing arts
Arrangements
Baroque
Clarinet Choir
Early Music
Performance Practice
Renaissance
Early music for instrumental consorts dates back to the 16th century. Clarinet choirs have existed only since the last decade of the 19th century. About three hundred years worth of consort music remains untouched by clarinetists. As a result, these arrangements are severely underrepresented in the clarinet choir repertoire. This project reimagines six pieces of early music, placing the clarinet backwards in time when it was a nonexistent instrument. Mainly focusing on genres from the Renaissance and Baroque, this document addresses performance practice issues for the performing clarinet consort. The selections span a variety of early genres from antiphonal choir, galliard, bransle, trio sonata, passacaille, and symphony. Discussion of performance practice is tailored specifically for each piece including instrumentation, dynamics, articulation, and ornamentation. Historical context about the composer and their composition is also included in the project. Not only do these pieces add to the clarinet choir repertoire, they serve as a first step in ongoing work in expanding the early repertoire for this instrumentation.
2016-11-11T00:33:10Z
2016-11-11T00:33:10Z
2016-11-11T00:33:10Z
2016-05-31
Dissertation
http://dissertations.umi.com/ku:14588
http://hdl.handle.net/1808/21935
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/293192019-08-27T18:10:28Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Perception of Administrative Support and How it Relates to Professional Growth and Job Satisfaction of Elementary Music Teachers
Stoltenberg, Katherine Therese
Hedden, Debra
Grady, Melissa
Johnson, Christopher
Music education
Administration
Job Satisfaction
Music Education
Professional Growth
Support
The purpose of this study was to examine the perception of administrative support, at the school and district levels, in order to identify how it related to professional growth and job satisfaction of elementary music teachers. Participants (N= 3) were practicing elementary general music teachers employed full-time in public schools, one each from urban, suburban and rural school districts within a Midwestern state. Each participant was interviewed twice, with three weeks between each interview. The interview questions related to administrative support and its impact on job satisfaction and professional growth. The researcher transcribed and coded the data and the themes of interpersonal skills, autonomy and visibility emerged. The findings indicated that the areas of job satisfaction and professional growth were impacted by interpersonal skills and autonomy, while visibility only seemed to affect job satisfaction. It also appeared that job satisfaction and professional growth were closely linked and impacted by administrative support. Recommendations and implications for future research are then discussed with respect to these results.
2019-06-12T03:30:58Z
2019-06-12T03:30:58Z
2019-06-12T03:30:58Z
2019-05-31
Thesis
http://dissertations.umi.com/ku:16454
http://hdl.handle.net/1808/29319
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/148712018-01-31T20:08:05Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Paul Taffanel and the Construction of the French Flute School
Glick, Dorothy Ellen
Levin, Alicia
Frisof, Sarah
Laird, Paul
Marco, Margaret
Music
Flute
French
School
Taffanel
Beginning with Paul Taffanel and the introduction of the silver Boehm system flute in the mid-nineteenth century, the French Flute School refers to the use of vibrato, emotional approach to musical line, technique, and tone of French flutists. After Taffanel won the premier prix at the Paris Conservatoire in 1860, his playing was quickly accepted as a model of what all flutists should emulate, and he has since been acknowledged by scholars and performers as the father of the French Flute School. This thesis explores the construction and definition of the French Flute School. Although it is a term frequently uttered by musicians, and its foundation in the playing of Taffanel widely accepted, the history has never been wholly documented. In chapter one, I investigate how the structure of the Conservatoire education, noteworthy flute professors and the technical advances on the instrument built the foundation for the French Flute School and contributed to its genesis and global distribution. Understanding the foundation of the modern French school builds the scaffolding for research into Taffanel's life and legacy. The second chapter investigates how Taffanel came to be constructed as the defining figurehead of the French Flute School by examining his education and career. Establishing who Taffanel was and what specific aspects of his life and career contributed to his attained level of admiration and influence creates an opening in which his legacy can be explored and understood. Not only did his personal career promote his "flute ideals," but his students spread the French Flute School across the globe. Chapter three addresses the specific aspects of the French Flute School's diffusion and the manner in which Taffanel's legacy was handed down.
2014-08-04T23:00:46Z
2014-08-04T23:00:46Z
2014-08-04T23:00:46Z
2014-05-31
Thesis
http://dissertations.umi.com/ku:13450
http://hdl.handle.net/1808/14871
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/55302020-07-27T13:49:12Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
FACTORS INFLUENCING THE IMPLEMENTATION OF TECHNOLOGY IN THE MUSIC CLASSROOM
Agnew, Shawn M.
Johnson, Christopher M
Daugherty, James F
Colwell, Cynthia
Music education
Professional development
Self-efficacy
Technology
The purpose of this study was to examine what factors influence the implementation of technology in the music classroom. Thirty-one Kansas Music Teachers (n=31) completed a web-based survey about technology in the music classroom regarding Technology Implementation, Technology Availability, Teacher Technology Self-Efficacy, Teacher Attitudes Towards the Use of Technology, and Technology Professional Development. This study found Availability of Technology and Technology Professional Development were significant in the prediction of Technology Implementation in the music classroom. Although Technology Self-Efficacy and Attitudes Towards Technology in the Classroom were not found to be significant in the prediction of technology implementation, subject responses pertaining to these factors were unexpectedly consistent, with most subjects reporting high levels of Technology Self-Efficacy and highly positive Attitudes Towards Technology in the Classroom.
2009-10-13T04:29:46Z
2009-10-13T04:29:46Z
2009-10-13T04:29:46Z
2009-06-26
Thesis
http://dissertations.umi.com/ku:10459
http://hdl.handle.net/1808/5530
EN
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/148882018-01-31T20:07:57Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Schumann and the Development of the Collaborative Relationship between Voice and Piano in Opus 48 Dichterliebe
Wichael, Scott
Mendez, Genaro
Schwartz, Roberta
Stephens, John
Ferrell, Mark
Staniunas, John
Music
After Franz Schubert, Robert Schumann is the most recognized name as a composer of Lieder. The son of a book dealer Schumann was perhaps one of the most well read composers of his day, which resulted in informed decisions as to his choice of poetry and treatment of each poem within his songs and cycles. Schumann's first foray into lieder in 1827-28 was followed by an over ten year hiatus from lieder composition. During this time he seemed to have a disdain for vocal writing thinking it to be an "inferior" form of music and led to him solidifying his instrumental compositional technique. The year of 1840 to 1841, brought an abrupt change in his attitude about song composition and he went on with what has been described as his Liederjahr, in which he composed over 150 songs and several cycles including Dichterliebe, which combined Schumann's mature piano technique to his choice of poetry. What resulted was a combination of voice and piano that was more of a symbiotic relationship then that of simple voice and accompaniment. Before Schumann, the piano and voice could exist independently of each other. The vocal line was one aspect of the song, often the melody, and the piano was accompaniment providing harmony and text painting. In the mature songs of Schumann, including Dichterliebe, the piano and voice were dependent, more collaborative with each other as not previously seen.
2014-08-04T23:25:17Z
2014-08-04T23:25:17Z
2014-08-04T23:25:17Z
2014-05-31
Dissertation
http://dissertations.umi.com/ku:13375
http://hdl.handle.net/1808/14888
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/235122018-01-31T20:07:47Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
A Brief History of Live Cinema and Rehearsal Considerations for Metropolis Triptych by Nathan Jones
Smyth, Steven Laverne
Popiel, Paul W
Roust, Colin
Smith, Matthew
Bergee, Martin
Toulouse, Sharon
Music
Metropolis Triptych
Nathan Jones
Silent Cinema
Since the late 1970s, there has been a renewed interest in the music that accompany films from the Silent Film Era (1895–1930), sparking both the revival of original scores and the composition of new scores for silent films. These modern scores involve a diverse collection of artists, musical styles, and venues that—in combination with the silent film themselves—belong to a new genre termed live cinema. Since the mid-1980s, enthusiasm for live cinema has grown and can be an important vehicle of expression for composers. To better understand this genre, it is necessary to explore both the history and performance practice of the Silent Film Era, as well as the live cinema movement of today. These new film scores employ a variety of styles and instrumentation, yet few compositions are written for wind band. I have collaborated with composer Nathan Jones and film editor Chad Jacobsen to create and perform a work based on the film Metropolis (1927, dir. Fritz Lang). Our piece, entitled Metropolis Triptych, will include a 33-minute version of the original film, edited into three movements. It is our hope that this project will influence other composers and performers to produce similar works for wind band and film.
2017-03-28T23:55:08Z
2017-03-28T23:55:08Z
2017-03-28T23:55:08Z
2016-05-31
Dissertation
http://dissertations.umi.com/ku:14537
http://hdl.handle.net/1808/23512
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/296052019-10-01T18:16:47Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
A history of music education at the University of Kansas from 1866-1936
Kirchoff, Kim Allyson
Heller, George
Music education
Music--Instruction and study--Kansas--Lawrence
The primary purpose of this study is to trace the development of music education at the University of Kansas from its inception through the time·when Otto Miessner became the Department's chairman in 1936. Tracing that development will show how and why music education holds the position it has today at the University of Kansas.
Several questions arise while pondering the present position of music education at the University.
1. What were the attitudes of the early Kansas settlers toward music and what were the backgrounds that fanned these attitudes?
2. Where did education, in general, rank in importance to the lives of the settlers and how did they provide for it?
3. When did the University of Kansas begin to include music as a part of its curriculum and what emphasis did they place on it?
4. What kind of musical training did the early Normal students receive?
5. When did teacher training become a recognized need within the Department of Music and how did its curriculum develop?
6. When did music become a part of the public school curriculum and why?
7. Once Public School Music became a department within the School of Fine Arts, how did it become involved with the School of Education?
The answers to these questions are vital in determining how and why music education developed. This study will also shed light on the development of music education not only at the University of Kansas, but in public schools, colleges, and universities throughout the Midwest and West because of the similarities of backgrounds of the settlers.
2019-09-18T21:09:37Z
2019-09-18T21:09:37Z
2019-09-18T21:09:37Z
1976-12-31
Dissertation
http://hdl.handle.net/1808/29605
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/107612020-09-23T14:10:33Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Haydn Piano Sonatas: An Examination of Style and Performance
Yang, Yaokun
Spooner, Steven
Smith, Scott McBride
Schwartz, Roberta Freund
Street, David A
Lancaster, Sonya
Music
Performing arts
Haydn piano sonatas
Haydn's choice of instruments
Haydn's ornamentation and articulation
Haydn, Joseph
Keyboard instruments in Haydn's time
Style and performance
ABSTRACT Haydn's major keyboard works are sonatas, and these generally represent Haydn's growth as a composer from his early years until 1794, the date of his final three sonatas. The early sonatas are often set in the galant style and were composed as teaching pieces for students. Another group of sonatas is illustrative of a period of artistic development, often referred to as his Sturm und Drang period. Here, Haydn explores new elements, such as the use of minor keys, the growth of both the exposition and development sections, and a higher degree of dramatic character. His late sonatas show a mature and refined piano compositional style, with a noticeable growth of virtuosic elements in Hob. XVI: 50 & 52. Moreover, Haydn's sonatas often exemplify the Empfindsamer Stil, imitating the gestures of keyboard writing seen in Carl Philipp Emanuel Bach's works. Haydn's early sonatas were mostly written for harpsichords, and then he switched to fortepianos during his late period. This document explores the pianistic and interpretational challenges in Haydn's keyboard sonatas, and includes performance techniques to meet these demands.
2013-01-31T01:07:44Z
2013-01-31T01:07:44Z
2013-01-31T01:07:44Z
2012-12-31
Dissertation
http://dissertations.umi.com/ku:12523
http://hdl.handle.net/1808/10761
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/107602020-06-25T20:44:37Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
A Necessary or Integral Part: The Choral Ordinary and Proper in the Roman Catholic Mass after the Second Vatican Council
Ostermann, Jared Lucas
Bauer, Michael J.
Tucker, Paul
Murphy, Scott
Vogt, Kevin
Laird, Paul
Murray, Michael
Music
Religion
Choral
Liturgy
Mass
Ordinary
Proper
Vatican
The ritual texts of the Roman Catholic Mass have inspired many of the choral masterworks of Western music. For many composers, one of the central considerations in setting these texts has been to determine the proper relationship of music with the ritual action it accompanies. From the Middle Ages onward, the Catholic liturgy was characterized by its multiple streams of parallel ritual activities. The music of the choir and the private devotions of the congregation proceeded alongside the sacramental prayers and actions of the clergy. In this setting the choir enjoyed a great deal of freedom, as it ornamented most of the liturgy with elaborate music. In the twentieth century this musical-ritual relationship underwent a profound change as a result of the liturgical reforms of the Second Vatican Council. Specifically, in the post-conciliar Mass the priests, choir, and congregation are asked to focus together on each text, hymn, or prayer. In addition, the Catholic Church has called for an increase in congregational singing in the twentieth century--culminating in the directives of the council. The musical implications of these official reforms are significant. This document describes the key characteristics of the pre-conciliar Mass, as well as the musical implications of its liturgical structure. Twentieth-century reforms are then examined, through the relevant church documents. This analytical process clarifies the place of both inherited choral music and new compositions in the post-conciliar liturgy. A large part of the existing sacred choral repertoire--a body of music encompassing over six centuries of masterworks by numerous famed composers--no longer functions well in a Catholic liturgical context. In particular, choral settings of the Mass Ordinary have become very difficult to integrate into the post-conciliar liturgy. On the other hand, choral settings of the Mass Proper texts continue to work well liturgically. These Proper texts also present abundant opportunities for future liturgical compositions. This document seeks to explain the musical characteristics and dynamics of the post-conciliar Mass. It is hoped that this treatment will be helpful for researchers, church musicians, and composers who concern themselves with the Catholic liturgy.
2013-01-31T01:03:43Z
2013-01-31T01:03:43Z
2013-01-31T01:03:43Z
2012-12-31
Dissertation
http://dissertations.umi.com/ku:12553
http://hdl.handle.net/1808/10760
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/271132018-12-03T21:33:17Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
From Pre-Recorded Tape to Live Computer Processing: Piano Music from Davidovsky to the Present Day.
Feng, Dairuo
Kikendoll, Michael
Street, David Alan
Winerock, Jack
Haaheim, Bryan Kip
Crandall, Chris
Performing arts
The 1920s and the 1930s first introduced the implementation of electronic effects to acoustic instruments and since this time the exploration of sound manipulation through electronic means has blossomed. Though technological advancement has always affected the way music is performed and composed, the 20th century has shaped the culture of music drastically, and with the advent of recording technology and electronics, the door to a whole new world of artificially generated and/or electronically manipulated sound has been created. The purpose of this study is to examine the history of technologies relevant to the development of electro-acoustic music and explore how their unnatural sounds and methods of sound production have influenced the development of music in the 20th century and beyond. To answer these questions, this study will incorporate analyses of works composed by Mario Davidovsky, Jacob Ter Veldhuis and Christopher Cerrone, showing some of the ways electro-acoustic composition with piano has evolved over the last fifty years.
2018-10-26T21:34:37Z
2018-10-26T21:34:37Z
2018-10-26T21:34:37Z
2018-05-31
Dissertation
http://dissertations.umi.com/ku:15753
http://hdl.handle.net/1808/27113
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/270992020-10-08T15:41:22Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The Organ Works of Moritz Brosig: Contributions of a German Catholic Composer in the Romantic Era
Andrews, Thomas
Bauer, Michael
Bauer, Michael
Higdon, James
Street, Alan
Schwartz, Roberta
Vanchena, Lorie
Music
Breslau
Brosig
Cecilianism
Chorale Preludes
German Romantic
Pipe Organ
Moritz Brosig was a professor of theory and organ at the University of Breslau, and served as Domkapellmeister at the Breslau Cathedral from 1853–1884. A participant in the 19th century Bach revival, Brosig’s study of the works of Mendelssohn and Bach inspired him to compose chorale-based works himself. Peculiar to the chorale-based works of Brosig is his Catholic faith; the chorale prelude was primarily a Protestant genre, yet Brosig composed thirty-one chorale preludes. Brosig’s career is overshadowed by his contemporary Adolf Friedrich Hesse, a noted organ virtuoso who traveled Europe giving performances. Brosig’s development of the chorale prelude foreshadows those of perhaps the greatest German Romantic organist of all time, Max Reger. In fact, a line of influence can be traced between Mendelssohn’s organ music and that of Brosig, and subsequently from Brosig to Reger through Heinrich Reimann and Karl Straube. This research document also details the Cecilianist movement and its positive and negative influence on Brosig and German Romantic composers of the time. Brosig’s gradual dismissal of the Cecilianists, as well as his growing distaste for its founder, Franz Xaver Witt, is noted. Brosig’s improvisational prowess is displayed in his chorale fantasie, his chorale preludes, and his free works. Moritz Brosig is largely unheard of in North America. This study argues that his sizable musical output deserves more exposure.
2018-10-26T21:08:18Z
2018-10-26T21:08:18Z
2018-10-26T21:08:18Z
2018-05-31
Dissertation
http://dissertations.umi.com/ku:16031
http://hdl.handle.net/1808/27099
https://orcid.org/0000-0001-6425-9677
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/295912019-11-05T23:51:42Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The Progressive Clarinetist: A Comprehensive Method for Fast-Paced Fundamental Growth
Fortune, Stacia Kay
Zelnick, Stephanie
Laird, Paul
Marco, Margaret
Johnson, Christopher
Bergee, Martin
Music
Music education
Clarinet
College
Education
Method
This modern-day method has been created because of the demand for a student’s consistent growth throughout musical programs in a collegiate setting. A gap exists between a private instructor and one’s personal practice throughout the week or school breaks that can be mitigated by having access to a wide variety of exercises and ways to implement these exercises using actual repertoire. This method will focus on the basic fundamentals of clarinet playing: air, intonation, finger motion, scales and articulation. Students will pick the fundamental they would most like to improve or remain consistent on and undergo a three-week period of intensive and specific practice with the goal of improving that fundamental and understanding better how it applies to all performances. This method will be split into five levels based on expectations throughout the individual years of an undergraduate degree, as well as including graduate students. While this program is aimed primarily at college level clarinetists, it can be applied to clarinetists of any age. The exercises have been compiled as a result of my personal experiences as a student and teacher as well as consultations with clarinet colleagues, and the etudes and excerpts have been taken from popular books and pieces in the clarinet repertoire. The exercises have been assigned to specific levels and fundamentals based on their difficulty and focus. Many etudes and excerpts address multiple fundamentals and will be used accordingly. The student who goes through this method will first take a brief test that assesses their level in all main fundamentals. Once their initial level has been ascertained, they begin their program. Each day of practice will incorporate a variety of exercises, etudes and excerpts aimed towards their specific goal. At the beginning of the program there will be considerably more exercises and etudes, but challenges via excerpts and harder etudes will be incorporated as the student’s endurance and skill grows. The goal of this method is to encourage consistent growth in the most important part of learning as a collegiate music student: fundamentals. By promoting continual challenges and growth in a variety of fundamentals, collegiate clarinet players should be able to avoid regressing during breaks from school and the review of fundamentals upon their return to school that keeps them from pursuing music and techniques they should be able to handle at their respective level. This method, with its tiered levels according to expectations throughout a clarinet student’s college career, can create a consistently progressing student who can pinpoint their own weakness, as well as providing a variety of new ways of practicing fundamentals in all types of repertoire.
2019-09-06T22:24:29Z
2019-09-06T22:24:29Z
2019-09-06T22:24:29Z
2019-05-31
Dissertation
http://dissertations.umi.com/ku:16504
http://hdl.handle.net/1808/29591
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/219452018-01-31T20:07:51Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Artists' Trilogy
Rigby, Travis F.
Stölzel, Ingrid
Roust, Colin
Haaheim, Kip
Music
composition
music
suite
wind ensemble
While Artists’ Trilogy was written as one large work with three movements, each movement is intended to stand on its own as well. Ensembles should feel free to program any single movement, a pair of movements, or the entire trilogy. The instrumentation is that of a large wind ensemble, with the intention that only one player will play each part. Artists’ Trilogy is a suite in which each movement represents one or more types of artist. Each movement unfolds in a way that is reminiscent of that particular artist’s approach to creation. The Storyteller, after a brief introduction, begins quite promptly with the melodic theme much like a storyteller would be quick to introduce a main character. As the movement progresses, we hear the theme in a number of varied statements, each representing an aspect of the character’s development. By the end of the movement, much like at the end of a story, the character (theme) has been transformed by the plot. Formally speaking, the movement is in an ABA form, which fits a “there and back again” model and introduces a sense of conflict and resolution. Inspired by visual artists, The Painter relies on instrumental colors as a means of expression. The melodic fragments introduced by the flute, English horn, and alto saxophone are presented in relief against the static harmonies. Together, they enhance the color provided by the orchestration. The trilogy ends with a bang as the entertainer takes the stage. The Entertainer focuses not on one single artist, but on the broader category of entertainment: the title character is perhaps an actor, a dancer, a filmmaker, or a comedian. These artists are generally more easily appreciated by general audiences as they utilize both visual and aural elements. The movement is full of excitement, surprises, and a lot of catchy melodic and rhythmic ideas.
2016-11-11T00:46:17Z
2016-11-11T00:46:17Z
2016-11-11T00:46:17Z
2016-08-31
Thesis
http://dissertations.umi.com/ku:14700
http://hdl.handle.net/1808/21945
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/123522020-06-30T01:40:57Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
A STUDY OF MISSA ARIRANG BY COOL-JAE HUH: ELEMENTS OF KOREAN TRADITIONAL FOLK MUSIC
Son, Dong-Hyun
Laird, Paul
Tucker, Paul
Farah, Mariana
Neely, David
Pasik-Duncan, Bozenna
Music
This document focuses on a setting of the Ordinary of the Mass, Missa Arirang, composed by Cool-Jae Huh (b. 1965). Huh is one of South Korea's most prolific and innovative composers. He is especially known for his use of Korean folk songs in Western musical settings. In the Missa Arirang, Huh employs six traditional folk songs, called Min-yo from different provinces. The musical idioms of each type of folk song vary considerably. This study explores general information about Korean folk songs and the specific use of elements of Korean folk music, such as modes, rhythmic patterns, and unique ornamentations, which appear in this piece. Arirang, the title of the Mass, is the most famous and celebrated folk song in the history of Korea. It has served as the basis for pieces in almost all musical genres. This document investigates Arirang's significance in understanding Korean culture, and introduces the four versions of Arirang adopted in Huh's work. Missa Arirang is not only a compelling choral composition, containing Korean traditional musical aspects, but also a beneficial resource to introduce traditional Korean music to non-Korean musicians. In addition, the piece delivers the message of "peace" through various musical contents in the composition.
2013-09-30T21:20:07Z
2013-09-30T21:20:07Z
2013-09-30T21:20:07Z
2013-05-31
Dissertation
http://dissertations.umi.com/ku:12810
http://hdl.handle.net/1808/12352
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/177182020-06-24T18:20:33Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Concerto Grosso #2 (Concierto Sefardico) for chamber ensemble and organ
Levi, Sabin
The Concerto Grosso #2 is written for a chamber ensemble (fl., ob., cl., bsn., trp. trmb., percussion, strings) and organ, and the organ does not have a solo function, i.e., it is treated equally as the remaining instruments. When there is no organ available, a piano can be used instead. Each movement is based on one Sephardic song, and the last one is based on two. Each song is introduced in the score, before the beginning of each movement, together with its original and translated text. In the first movement, the Sephardic song performed by the organ solo is part of the movement. In the two remaining movements, the songs which they are based upon do not necessarily have to be performed. The electronic section in the middle of the second movement is an indispensable part of it.
The first movement's form may be interpreted as a theme with variation, or as a theme and a commentary. The melody is freely
variated and often sounds dispersed in different motifs throughout the piece. Harmonic cross-relations (kwerstand) are the main basis of its harmonic language.
The second movement is based freely on the first few notes of the song. Here there are four different sections, including the
electronic tape one. The main compositional technique is alternation (echo) between the different instrumental sections (for example, at the end of the movement, between the organ and all the remaining instruments).
The last movement is based on two Sephardic songs and it has a free fantasy form. The harmonic language is more traditional, although it has some French influence (Ravel) in some places.
2015-05-12T14:49:46Z
2015-05-12T14:49:46Z
2015-05-12T14:49:46Z
2004
Dissertation
http://hdl.handle.net/1808/17718
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/315552021-03-06T09:00:51Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Giving voice to Virginia Woolf : finding the musical coalescence of Dominick Argento’s From the diary of Virginia Woolf
Wrensch, Holly
2021-03-05T21:08:18Z
2021-03-05T21:08:18Z
2021-03-05T21:08:18Z
2005-05-31
Dissertation
http://hdl.handle.net/1808/31555
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/194282018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
EXAMINATION OF THE PATTERNS OF BAND RATINGS AT THE IOWA HIGH SCHOOL MUSIC ASSOCIATION STATE LARGE GROUP FESTIVAL
Terrell, Daniel
Johnson, Christopher M
Bergee, Martin J
Smith, Matthew O
Music education
Music
Band
Festival
Iowa
Ratings
The purpose of this study was to examine the patterns of ratings received by concert bands at the Iowa High School Music Association (IHSMA) State Large Group Festival from 2006 through 2014. Specifically, trends related to classification (school size), geography (district assignment), and literature selections were examined. Data used to examine patterns in classification and district were collected from the Iowa High School Music Association. The district assignments designated by the Iowa Bandmasters Association were adopted. It was found that school classification was an indicator of differences in ratings received at the festival. Post hoc comparisons indicated that ratings for Class 1A are significantly lower than Class 2A which are significantly lower than Class 3A and Class 4A. District assignment was also an indicator of differences in ratings. Post hoc comparisons indicated that only the Southwest district had significantly different (lower) ratings than the other five districts. Data used to observe patterns regarding literature selections were collected from band directors at schools where the festival was hosted over the nine-year span of the study. Despite incomplete records of performance literature, certain discernible trends were noted. Compositions with a difficulty level of “Grade 4”, newer pieces, and works by Frank Ticheli tended to receive higher ratings at the festival.
2016-01-01T22:39:06Z
2016-01-01T22:39:06Z
2016-01-01T22:39:06Z
2015-08-31
Thesis
http://dissertations.umi.com/ku:14191
http://hdl.handle.net/1808/19428
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/261472018-04-19T20:04:53Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
AN EXPLORATION OF ENROLLMENT AND RETENTION TRENDS OF BEGINNING BAND AND ORCHESTRA STUDENTS IN THE FIRST YEAR OF INSTRUCTION
Glaser, Emily Anne
Johnson, Christopher M
Bergee, Martin J
Hedden, Debra G
Music education
attitudes
band
enrollment
instrumental music
orchestra
retention
The purpose of this study was to explore student attitudes towards enrollment and retention in first-year beginning band and orchestra classrooms. A secondary purpose of this study was to investigate if different instrumental ensembles or various school settings demonstrated unique student attitudes regarding enrollment and retention rates in beginning band or orchestra classes. Enrollment and retention rates of participating ensembles were reported to supplement qualitative results. Seven categories of themes influencing enrollment and retention in beginning band and orchestra classes emerged through a constant comparative, grounded theory approach of analysis: (a) family, (b) fun, (c) music, (d) musical history, (e) opportunities, (f) social, and (g) teacher. Results indicated that students enrolled in their first year of beginning band or orchestra because of the encouragement or influence of a parent or trusted adult. All students that elected to continue their enrollment in band or orchestra after the first year of instruction did under perceived support from their parents and/or instrumental music teacher. Ensemble- and location-specific results were found, but were interpreted as circumstantial. Further research is necessary to explore the unique enrollment trends of these groupings. Results were discussed in terms of their value to band and orchestra teachers, their relationship to existing literature, limitations, and suggestions for further research.
2018-03-09T22:15:11Z
2018-03-09T22:15:11Z
2018-03-09T22:15:11Z
2017-12-31
Thesis
http://dissertations.umi.com/ku:15669
http://hdl.handle.net/1808/26147
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/295922019-11-05T23:51:42Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Don Henry - A Chamber Opera in One Act
Nawrot, Frank Charles Steen
Stölzel, Ingrid
Pierce, Forrest
Osborn, Brad
Nedbal, Martin
Baskett, Michael
Musical composition
Music
History
Communism
Fascism
Music Composition
Opera
Rock Opera
Spanish Civil War
Don Henry is a chamber opera that tells the true story of a University of Kansas student who fought in the Spanish Civil War against Francisco Franco’s fascist forces in the 1930s. The work examines the eponymous protagonist’s commitment to the anti-fascist cause for which he gave his life. Don Henry represents a stylistic synthesis of rock music and art music. Don Henry is a sixty-minute one-act work. The work is scored for mezzo-soprano, tenor, pre-recorded soprano and male narrator, Pierrot ensemble, and rock trio (drum set, bass guitar, and electric guitar). The libretto consists of a combination of historical documents, poems written by British international brigaders, and original text and lyrics. The primary purpose of Don Henry is to portray, through music and drama, the composer’s conviction that exploitation, national chauvinism, and intolerance are not permanent characteristics of humanity, but are things that can be overcome.
2019-09-06T22:25:32Z
2019-09-06T22:25:32Z
2019-09-06T22:25:32Z
2019-05-31
Dissertation
http://dissertations.umi.com/ku:16475
http://hdl.handle.net/1808/29592
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/148862018-01-31T20:07:57Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
THE DEVELOPMENT OF THE ITALIAN CELLO SONATAS BY CELLIST/COMPOSERS IN THE BAROQUE AND CLASSICAL ERAS
Mayo, Susan Elaine
Laird, Paul R.
Laut, Edward
Haaheim, Bryan Kip
Mathieu, Véronique
Maynard-Moody, Steven
Music
Baroque
Boccherini, Luigi
Cello
Cirri
Gabrielli
Platti
The solo cello sonata begins with the appearance of the violoncello in the second half of the seventeenth century. There is a correlative relationship between composers, performers, and the development of the cello as a solo instrument, which becomes evident by examination of the instrument and bow, stylistic and performance practices, and innovations in cello technique. These factors are explored in the works of four cellist/composers of the Baroque and Classical era: Domenico Gabrielli (1659-1690), Sonata #1 in G major; Giovanni Benedetto Platti (1692-1763), Sonata #1 in D major, Series II; Giovanni Battista Cirri (1724-1808), Sonata #3 in G minor, Op. 5; and Luigi Boccherini (1743-1805), Sonata #2, in C major, G6. This paper includes biographical information concerning these composers and historical information on the development of the cello, bow, and instrument's technique, and the sonata during the centuries under discussion. Each of the abovementioned sonatas is analyzed and described in terms of the changes in the equipment each of the composers might have used, the development of technique, and the compositional evolution of the solo sonata as exemplified in the abovementioned works. By examining the relationship between certain musical events occurring in the seventeenth and eighteenth century, composers who were also cellists, the evolution of the design and construction of the violoncello and bow, the advance in performance techniques, and the development of the solo sonata, it is possible to trace how the different discoveries of that time were interrelated, and to create a clearer picture of what those revolutionary times might have been like.
2014-08-04T23:23:07Z
2014-08-04T23:23:07Z
2014-08-04T23:23:07Z
2014-05-31
Dissertation
http://dissertations.umi.com/ku:13311
http://hdl.handle.net/1808/14886
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/178042020-06-24T19:40:32Zcom_1808_8837com_1808_1260col_1808_14144col_1808_7158
The development of the modern tendency in oratorio
Coffelt, Gola William
2015-05-18T21:56:49Z
2015-05-18T21:56:49Z
2015-05-18T21:56:49Z
1922.
Thesis
http://hdl.handle.net/1808/17804
openAccess
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
University of Kansas
oai:kuscholarworks.ku.edu:1808/254042018-01-31T20:07:48Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Time Use and Reported Perceptions of University Voice Students During Self-Guided Practice Sessions: A Quantitative Content Analysis
Martin, Alan
Daugherty, Janes F
Brumberg, Jonathan
Grady, Melissa
Matney, William
Stephens, John
Music education
Music
behaviors
music
perceptions
practice
singing
time use
Little research has appraised the behaviors of musicians in practice rooms during self-guided practice sessions, and no study to date has investigated singers’ behaviors across multiple self-guided practice sessions. Therefore, the purpose of this study was to document by audio-recordings and questionnaires the audible behaviors and expressed attitudes of university vocalists (N = 40) across 5 self-guided practice sessions with attention to (a) duration of practice sessions compared to previously expressed estimations, (b) participants’ attitudes and strategies with respect to vocal practicing, and (c) audible behaviors occurring during the first 15 minutes of practice. Among primary results: (a) Singers overall evidenced during the course of this study a mean practice session duration of 28 minutes; (b) There were significant differences in practice durations between male and female participants, and among some participants grouped according to reported years of voice lessons (<1-3 years and 6-9 years); (c) Mean estimations of participants’ practice durations based on prior questionnaire data exceeded by 9 minutes actual mean practice time; (d) A majority (65%) of singers said they followed an established practice routine, including a significantly greater percentage of female than male participants and a significantly greater percentage of students reporting more than three years of prior voice lessons than those reporting fewer years; (e) Undergraduate students indicated to a significantly greater extent than graduate students they had received advice on how to practice from a studio voice teacher; (f) Participants, on average, said they practiced 5 days per week; (g) Analyses of the first 15 minutes of recorded lessons indicated that these voice students on average spent the largest percentage of time (43%) on singing of repertoire, and the second largest percentage of practice time (36%) on warm-ups and vocal technical exercises, with non-performance majors spending significantly more time on repertoire and less time on technique than voice performance majors; (h) To a significant degree, practice time devoted to technique generally increased and time devoted to repertoire generally decreased as years of reported voice lessons (<1 – 9 years) increased; (i) Among participants overall, results indicated no significant difference between previously described modal first vocal practice behaviors (addressing warming up and technique) and actual first behaviors; (j) Of the 200 individual practice sessions examined, 141 (70.5%) began with singing behaviors not focused on repertoire. Results were discussed in terms of directions for future research, singing voice pedagogy, and limitations of the study.
2017-11-16T05:02:41Z
2017-11-16T05:02:41Z
2017-11-16T05:02:41Z
2017-08-31
Dissertation
http://dissertations.umi.com/ku:15417
http://hdl.handle.net/1808/25404
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/295812019-11-05T23:51:42Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Reclaiming a Golden Past: Musical Institutions and Czech Identity in Nineteenth-Century Prague
Davidson, Amelia
Wong, Ketty
Schwartz, Roberta
Laird, Paul
Street, David A
Vassileva-Karagyozova, Svetlana
Music
European history
Performing arts
Artistic organizations
Conservatory
Czech lands
Identity
Nationalism
Opera
This dissertation explores the relationship between nineteenth-century musical activity in the Czech lands and Czech identity. The objectives of this study are to examine the history of significant musical institutions and organizations established during the nineteenth century, to analyze performance repertories for these entities, and to explore how the activities of these institutions are related to other components of Czech identity. I begin by investigating significant Czech identity markers that existed prior to the nineteenth century. These include a sense of cosmopolitanism established during the reigns of the Holy Roman Emperors Charles I and Rudolf II, a priority on religious reform and tolerance linked to the Hussite period, and a sense of cultural deprivation stemming from the conclusion of the Thirty Years’ War and the Counter-Reformation period. These foundational elements of Czech cultural identity provided the framework for the national revival of the late eighteenth and early nineteenth century, which was based in Enlightenment ideals, and for the nationalist movement of the mid-nineteenth century. Using three categories of artistic institutions as case studies—opera venues, including the Estates Theater, the Provisional Theater, and the National Theater; the Prague Conservatory and related music schools; and the amateur arts organizations Umělecká beseda and Hlahol—I examine the motivations for establishing these organizations and analyze their performance repertories to better understand how the contemporaneous idea of “Czechness” influenced and was influenced by these musical activities. The history of these entities and their performance repertories demonstrates that musicality was a meaningful aspect of Czech identity long before nationalist composers brought international attention to the Czech lands, and that in the communities involved with Czech musical life a stronger emphasis has frequently been placed on artistic identity than ethnic or nationalist identity.
2019-09-06T22:03:48Z
2019-09-06T22:03:48Z
2019-09-06T22:03:48Z
2019-05-31
Dissertation
http://dissertations.umi.com/ku:16614
http://hdl.handle.net/1808/29581
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/184122018-01-31T20:07:51Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
A Monastic Influence on André Raison: An Interpretation of his Messe du premier ton
Holland, Sarah Orr
Bauer, Michael
Camarda, Kyle
Higdon, James
Levin, Alicia
Pierce, Forrest
Music
Catholic liturgy
Chant schola
DuMont
French Classical
Organ
Raison
André Raison, a seventeenth century French Classical organist-composer, lived a life entirely devoted to the Catholic church. The primary purpose of this study is to point out the sacred characteristics found in Raison's Messe du premier ton. This is accomplished through the study of chant and liturgy, culminating in an alternatim pairing of Raison's Mass with Henri DuMont's Messe du premier ton. Raison's compositional style harkens back to Titelouze. He includes two pivotal moments that most composers of his time neglect (the Elevatio and Deo Gratias), showing his appreciation for the scope and breadth of the liturgy. The form and style of the music of Raison often runs parallel to the structure of the liturgy and provides a sense of fluidity to the liturgy. Finally, in contrast to some of his contemporaries, he remained true to the ecclesiastical modes. In light of these factors, Raison is perhaps not given as much acclaim as he deserves, considering his influence on Johann Sebastian Bach, on his student, Louis-Nicolas Clérambault, and the important work he did for the church.
2015-09-07T22:13:52Z
2015-09-07T22:13:52Z
2015-09-07T22:13:52Z
2014-12-31
Dissertation
http://dissertations.umi.com/ku:13786
http://hdl.handle.net/1808/18412
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/224942018-10-30T15:27:15Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Physical Activity, Aerobic Fitness, and Insulin-Like Growth Factor-1 in Individuals with Acute Stroke
Mattlage, Anna Elizabeth
Billinger, Sandra A
Siengsukon, Catherine
Smirnova, Irina
Swerdlow, Russell
Wright, Douglas
Aging
Neurosciences
Physical therapy
aerobic fitness
insulin-like growth factor 1
physical activity
recovery
rehabilitation
stroke
Studies show that individuals with subacute and chronic stroke in inpatient rehabilitation facilities and living in the community engage in very little physical activity. Furthermore, people post-stroke have been shown to have low aerobic fitness (peak VO2). Lack of physical activity and reduced aerobic fitness in individuals with stroke may affect their ability to ambulate and perform basic activities of daily living (ADLs). Evidence suggests that greater amounts of time spent in bed during inpatient rehabilitation is associated with poorer outcome on the modified Rankin Scale (mRS), a measure of functional independence, at three months post-stroke. However, no studies in the United States have objectively quantified the amount of activity performed in individuals with acute stroke and how sedentary time relates to functional ability at discharge from the hospital. This information is important for clinical practice in understanding how physical activity and exercise influence recovery after stroke. Moreover, in order to gain a more in-depth understanding of the potential benefits of physical activity, aerobic fitness, and exercise, we need to evaluate the response of potential neuroprotective factors after stroke that are influenced by modifiable lifestyle factors, such as aerobic fitness and physical activity. Insulin-like growth factor-1 (IGF-1), a known neuroprotective agent in animal models, may be among the possible growth factors influenced by lifestyle that are vital to recovery. When IGF-1 is administered by intranasal delivery, core stroke lesion size can be reduced up to 94%, while also improving functional status, compared to vehicle controls. In addition, both circulating levels of IGF-1 and IGFBP-3 can be influenced by physical activity and aerobic fitness in healthy individuals. Therefore, research is needed to better characterize physical activity levels and understand the interaction between physical activity levels, aerobic fitness, and IGF-1 response in individuals with acute stroke. The goal of the work undertaken in this dissertation is to quantify physical activity levels and determine the relationship between IGF-1 response, estimated aerobic fitness, and stroke outcomes following an acute stroke in humans. In order to achieve our goal, we first set out to objectively quantify physical activity levels in individuals with acute stroke and examine the relationship between sedentary time during the hospital stay and functional performance at discharge. In Chapter 2, our investigation of 32 individuals showed that individuals with acute stroke spent a large majority of time sedentary during their hospital stay. Sedentary time was positively related to the Physical Performance Test, even when controlling for baseline performance. This suggests that individuals who spent more hospital time sedentary performed worse on functional tasks prior to discharge, regardless of their performance at baseline. These results demonstrate that people recovering from stroke spend most of their hospital stay sedentary. This may have important implications for stroke recovery. Next, because physical activity is directly related to aerobic fitness and previous literature suggests that aerobic fitness is diminished in individuals with subacute and chronic stroke, in Chapter 3 we set out to examine whether estimated pre-stroke peak VO2 was related to function at hospital discharge. Our results suggest that non-exercise estimation of pre-stroke peak VO2 is easily administered within 48 hours of hospital admission in individuals with acute stroke. Analysis of the relationship between estimated pre-stroke peak VO2 and functional performance at discharge revealed no significant relationships when considering the total sample. However, when stratifying the sample by gender, significant relationships were observed in females between estimated pre-stroke peak VO2 and the Fugl-Meyer Assessment of lower extremity motor function. Females with higher aerobic fitness prior to stroke exhibited better motor function of the lower extremities at discharge from the hospital. However, no significant relationships were observed for men. Therefore, estimations of pre-stroke peak VO2 are feasible to use in individuals during the acute hospital setting. The results of this investigation provide important information for future studies for characterizing fitness prior to stroke and how it may relate to objective measures of physical function during stroke recovery and neuroprotective markers such as IGF-1. Further, because current literature suggests that IGF-1 is neuroprotective after stroke and in healthy individuals, IGF-1 levels can be influenced by physical activity and aerobic fitness, in Chapter 4 we set out to examine IGF-1 and its relationship to estimated pre-stroke peak VO2 levels in individuals with acute stroke. The results indicate that in 15 individuals with acute stroke, estimated pre-stroke peak VO2 is significantly related to circulating IGF-1 levels obtained within 72 hours of hospital admission. Individuals with higher than median IGF-1 levels possessed significantly better aerobic fitness prior to their stroke. These results suggest that improving aerobic fitness prior to stroke may be beneficial and provide neuroprotection by increasing baseline IGF-1 levels. Finally, many studies have seen that individuals with high IGF-1 levels soon after stroke have a greater chance at survival and more independence 3 months later. However, these studies may have a limited understanding of IGF-1’s neuroprotective qualities because they do not consider how the response of IGF-1 during the first weeks of stroke is important and only use general questionnaires to assess outcomes. Therefore, Chapter 5 aimed to characterize the response of IGF-1 during the first week of stroke and how it may be related to outcomes (i.e. discharge placement and independence). Individuals with decreases in IGF-1 levels during the first week of stroke had more desirable outcomes compared to individuals with increases in IGF-1 levels. Individuals with increases in IGF-1 levels and IGF-1 ratio (defined as IGF-1:IGFBP-3) during the first week had a longer length of stay in the hospital, had less independence and greater stroke severity at one month post-stroke, and went to inpatient facilities instead of directly home when discharged from the hospital. Baseline IGF-1 levels and IGF-1 ratio were not related to any outcomes and were not significantly different between those who went home or those who went to inpatient facilities. While other studies have shown that high baseline levels of IGF-1 are related to positive outcomes, our results may provide preliminary evidence that the change in IGF-1 levels and IGF-1 ratio during the first week of stroke are also important to recovery. Further work should be done to investigate the relationship between change in IGF-1 levels early after stroke and functional recovery. In conclusion, this body of work describes physical activity and sedentary levels of individuals with acute stroke while they are in the hospital and how activity relates to functional status at discharge. Further, discussion of using non-exercise peak VO2 in the hospital setting determined that predictive measures of aerobic fitness are practical and easy to use and may potentially have a relationship to both functional recovery and neuroprotection. Our results showed that individuals with acute stroke who have higher pre-stroke fitness levels have higher levels of IGF-1 compared to individuals with acute stroke with lower pre-stroke fitness levels. Finally, this collection of studies revealed that decreases in IGF-1 levels are related to positive short-term outcome during stroke recovery. This is the first investigation of how the response of IGF-1 during the first week post-stroke relates to outcomes and warrants future research. The presented work is novel and significant in that it provides objective measures of activity and neuroprotection very early after stroke and new evidence for the use of easy-to-administer assessments of fitness. These studies set important groundwork for additional research to provide greater detail accounts of the interaction of fitness, physical activity, IGF-1 levels, and functional recovery.
2017-01-06T04:29:44Z
2017-01-06T04:29:44Z
2017-01-06T04:29:44Z
2016-05-31
Dissertation
http://dissertations.umi.com/ku:14501
http://hdl.handle.net/1808/22494
https://orcid.org/0000-0003-1900-7344
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/85142020-08-27T14:21:35Zcom_1808_8837com_1808_1260col_1808_14144col_1808_7158
The Development of Lohengrin from Euryanthe
Emley, Pearl
2011-11-23T16:40:03Z
2011-11-23T16:40:03Z
2011-11-23T16:40:03Z
1913
Thesis
http://hdl.handle.net/1808/8514
en_US
openAccess
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
University of Kansas
oai:kuscholarworks.ku.edu:1808/192032020-06-24T19:10:02Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Some aspects of musica ficta in selected works of Johannes Rühling’s Tabulaturbuch auff Orgeln und Instrument, 1583
Patton, Glenn E.
Musica ficta
Rühling, Johannes
2015-12-16T17:25:22Z
2015-12-16T17:25:22Z
2015-12-16T17:25:22Z
1969
Thesis
http://hdl.handle.net/1808/19203
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/271072018-12-03T21:33:17Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Three Approaches to Transcription, and Two New Transcriptions for Trumpet and Piano
Warbis, Robert Trent
Leisring, Steve
Roust, Colin
Leisring, Steve
Roust, Colin
Gailey, Dan
Stevens, Paul
Alexander, Perry
Music
Musical composition
Music history
cornet
transcribe
transcription
trumpet
This document discusses the role of transcriptions in the trumpet literature and examines three different approaches to transcription for the trumpet. In short, transcriptions fill in gaps in the trumpet repertoire, create a new outlet for repertoire composed for other instruments, and make repertoire more accessible to the average trumpet player. The three approaches to transcription examined are: direct transcription of the solo part with minor changes; semi-direct transcription of the solo part with more extensive changes; and loose transcriptions, where many aspects of the solo are preserved but the transcription goes in its own direction. These approaches are examined through three pieces that are now a part of the standard trumpet repertoire: two different direct transcriptions of Ravel’s Pièce en forme de habanera, one by Neal Ramsay and Ronald C. Dishinger and one by Thierry Caens; Allen Chen’s semi-direct transcription of Bach’s Concerto in D Major, BWV 972; and Rafael Méndez’s loose transcription of Verdi’s aria “Caro nome,” from Rigoletto. In addition, I used the techniques described in my analysis of these approaches to create direct transcriptions for trumpet and piano of two Hugo Wolf lieder (“Verschwiegene Liebe” from Eichendorff-Lieder, and “Nimmersatte Liebe” from Mörike-Lieder) and a semi-direct transcription of a William Byrd virginal (“Will Yow Walke the Woods Soe Wylde” from My Ladye Nevells Booke of Virginal Music). These transcriptions were created in order to make these non-trumpet works accessible to the non-professional trumpet player, and to give a guide on how to create these types of transcriptions.
2018-10-26T21:25:51Z
2018-10-26T21:25:51Z
2018-10-26T21:25:51Z
2018-05-31
Dissertation
http://dissertations.umi.com/ku:15897
http://hdl.handle.net/1808/27107
https://orcid.org/0000-0001-7889-9704
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/130112020-10-19T14:40:29Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
An Analytic Approach to the Roman Sketches, Op. 7 by Charles T. Griffes
Woo, Suk Jung
Reber, Richard
Winerock, Jack H.
Schwartz, Roberta Freund
Murphy, Scott
Baron, Frank
Music
Performing arts
American composer
Griffes
Impressionist
Roman sketches
Op. 7
The White Peacock
Charles Griffes (1884-1920) was one of the influential American composers in the early twentieth century who sought and experimented with new musical idioms. He was conscious of the newest trends within a rapid changing musical world, resulting in the development of his individual harmonic language. He was often called the American Impressionist by his contemporary critics and authors, but this title needs to be re-examined in light of new research and analysis of his music. He not only absorbed Claude Debussy (1862-1918)'s and Maurice Ravel (1875-1937)'s impressionistic techniques, but also developed his own techniques to create his individual style. One of his well-known impressionistic works, the Roman Sketches, op. 7 reveals how he treated impressionistic techniques and how he established his own style within them. It is my intention to examine the Roman Sketchesfrom a formal, harmonic and pianistic standpoint in order to show the ways that Griffes used Debussy's and Ravel's impressionistic techniques and to further show how he developed his own techniques into an individual style.
2014-02-05T20:45:52Z
2014-02-05T20:45:52Z
2014-02-05T20:45:52Z
2013-12-31
Dissertation
http://dissertations.umi.com/ku:13055
http://hdl.handle.net/1808/13011
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/295832019-11-05T23:51:42Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Pictorial and Literary Evocations in the Programmatic Music of Liszt and Debussy
Song, Siying
Spooner, Steven
Roust, Colin
Stölzel, Ingrid
Smith, Scott
Suzeau, Patrick
Music
Claude Debussy
Franz Liszt
Literary
Pictorial
Abstract Franz Liszt (1811–1886) was extraordinary both as a virtuoso performer and an innovative composer of works in a variety of genres. As a modernist icon bridging the turn of the century, Claude Debussy (1862–1918) had a vast influence on his contemporaries and later generations of composers. Both the piano and society underwent substantial developments and changes during the lives of both Liszt and Debussy. The changes allowed composers to explore new realms of piano sounds. The exploration that Liszt and Debussy sought in their compositions brought a new aesthetic of approaching music and piano playing to audiences. Program music had been written by many composers for the keyboard from the Baroque era until today. Program music as a term refers instrumental music that involves descriptive or narrative effects created through tone painting, musical figurations, and other techniques. Compared to character pieces, which have a similar goal, program music tends to be applied to longer works that feature more complex descriptive or narrative ideas. Pictorial and literary inspirations are two essential non-musical elements in program music and are thus crucial to explore. By analyzing selected programmatic works of Liszt and Debussy, I emphasize how they used and developed pictorial and literary evocations in their program music and how they utilized the piano as a device to provide the sound world of visual and written programmatic sources. Additionally, I discuss and analyze the specific pianistic vocabulary and tools found in the music of Liszt and Debussy. The research includes two main parts. The first chapter contains three sections: an introduction of Liszt and Debussy, the developments to the instrument, and the social changes during these two composers’ lifetime, and the certain pictorial and literary sources that they evoked in their program music. The second chapter is also divided into three sections: a discussion and analysis of how Liszt and Debussy use the piano as a device to reflect certain pictorial and literary sources; a discussion of the new realm of sound and the piano techniques that they employed; and in the last section, the above materials will be reiterated briefly to reinforce the substance and importance of these works by Liszt and Debussy.
2019-09-06T22:10:30Z
2019-09-06T22:10:30Z
2019-09-06T22:10:30Z
2019-05-31
Dissertation
http://dissertations.umi.com/ku:16637
http://hdl.handle.net/1808/29583
https://orcid.org/0000-0002-7725-7846
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/219392018-01-31T20:07:47Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The Anne Landa Preludes of Carl Vine: musical characteristics and practical performance guidelines
Tang, Ying
Winerock, Jack
Smith, Scott McBride
Kirkendoll, Michael
Street, David Alan
Wang, Zhijian
Music
ABSTRACT Australian composer Carl Vine wrote The Anne Landa Preludes in 2006. Pianist Michael Kieran Harvey was the first performer to record this set in the same year. This collection of twelve small pieces is the successor to the Five Bagatelles, which were composed in 1994. In this dissertation, I will focus on the analysis of specific musical characteristics as well as performance guidelines with regard to the interpretation of these pieces.
2016-11-11T00:38:45Z
2016-11-11T00:38:45Z
2016-11-11T00:38:45Z
2016-05-31
Dissertation
http://dissertations.umi.com/ku:14698
http://hdl.handle.net/1808/21939
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/252372018-01-31T20:07:48Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Chanting the Propers: A Comparative Study of Selected English Sources for the Catholic Mass
Schmitz, Katherine Ann
Bauer, Michael
Bauer, Michael
Higdon, James
Murphy, Scott
Roust, Colin
Keel, William
Music
Religion
Religious history
chant
English
liturgy
Mass
propers
Vatican II
Following the Second Vatican Council, the texts of the Catholic Mass, including the Propers, were translated into the vernacular. This shift away from the Latin liturgical texts created the need for new musical settings to fit the new texts of the Propers. The function of the Propers was also altered in the transition between pre-Vatican II and post-Vatican II liturgies. English chant Propers have been published beginning in 1964 and continuing until the present day. Similarities and contrasts between these publications are found based on the following criteria: melodic and modal structure of the antiphons; chant versus modern notation; a simple listing of which Propers are set; the translation of the text; function and use in the Novus Ordo, including choral and congregational participation; and musical interpretation of the chants. Five modern sources of English Propers that have been selected for this study include: Simple English Propers (Adam Bartlett); Lumen Christi Simple Gradual (Bartlett); Lalemant Propers (Jeff Ostrowski); Proper of the Mass (Fr. Samuel Weber, O.S.B.); and St. Meinrad Entrance and Communion Antiphons for the Church Year (Fr. Columba Kelly, O.S.B.). The two publications by Adam Bartlett: Simple English Propers and Lumen Christi Simple Gradual receive particular attention in these areas.
2017-10-30T23:19:02Z
2017-10-30T23:19:02Z
2017-10-30T23:19:02Z
2017-05-31
Dissertation
http://dissertations.umi.com/ku:15360
http://hdl.handle.net/1808/25237
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/155142024-01-18T19:05:45Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The Use of Serbian Folksong in the Trumpet Music of Nikola Resanovic
Preisner, Stephen Thaddeus
Laird, Paul
Laird, Paul
Leisring, Stephen
Davidson, Michael
Popiel, Paul
Bergee, Martin
Music
Resanovic, Nikola
Serbian folk music
Serbian folksong
Trumpet
This document examines the trumpet compositions of the American composer Nikola Resanovic, and the influence of his Serbian heritage on his music. It contains a brief biography of the composer, and lends insight into the background of his style and composition. It includes a historical background regarding the use of the trumpet in Serbian culture, and its relation to the composer's music. The three compositions examined in this document are Resanovic's works specifically for trumpet. Sonata for Trumpet and Piano is his longest work for the instrument. The three movements contain elements of Serbian folk music, yet are each individual in their conception. His Blast from the Past, a work for two trumpets and compact disc accompaniment is one of the few electro-acoustic compositions in his catalogue. The final of the three compositions is his arrangement of the middle movement of his Sonata for Horn and Piano, Signal Tree. This work contains less overt references to Serbian folk music, but maintains a style of composition that bears similarities to both the composer's other works and to Balkan folk songs. These three pieces demonstrate Resanovic's diverse approach to composition. In addition, the music illustrates its worth in becoming part of the common repertoire for trumpet.
2014-11-04T05:18:38Z
2014-11-04T05:18:38Z
2014-11-04T05:18:38Z
2014-08-31
Dissertation
http://dissertations.umi.com/ku:13555
http://hdl.handle.net/1808/15514
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/216112018-01-31T20:07:48Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Goyescas: A Performer's Guide
Newbegin, Kristin
Laird, Paul
Music
Goyescas
Granados
Majismo
Opera
Periquet
Spanish
Abstract Opera in Spain developed slowly in comparison to its European neighbors in Italy, France, and Germany, whose traditions of opera were present beginning in the seventeenth century. Spain had a long tradition of spoken drama, many of which had robust musical components. The popularity of opera as a genre in other European countries perhaps inspired Spanish composers to create their own unique nationalistic style of opera in the seventeenth century: zarzuela. Zarzuela remained popular through the eighteenth and nineteenth centuries and eventually composers began to try their hand at writing opera in the nineteenth and twentieth centuries. One of the most recognized composers of Spanish opera during this period was Enrique Granados (1867-1916), who wrote the 1915 opera Goyescas. Unlike opera in the standard language canon, there are limited resources available to performers as a guide to Spanish opera and pronunciation. In creating a performer’s guide for Enrique Granados’ opera Goyescas, I hope to offer an additional resource to singers for an opera that has no existing phonetic transcription and one English translation currently available. This guide includes an introduction to the work, which contains information about the composer, librettist, and the artist who inspired the work. It also contains a summary of the opera’s plot and cultural influences that inspired writing the work, such as Goya’s artistic influence, the piano suite it was modeled after, and the majo culture. The most substantial portion of this guide is an original English translation of Fernando Periquet Zuaznábar’s libretto. The translation is accompanied by a word for word International Phonetic Alphabet transcription.
2016-10-05T02:37:39Z
2016-10-05T02:37:39Z
2016-10-05T02:37:39Z
2016-08-31
Dissertation
http://dissertations.umi.com/ku:14755
http://hdl.handle.net/1808/21611
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/53402020-07-23T16:03:00Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The Development of a Research Template to Assist Music Therapy Clinicians in Evidence-Based Practice
Edwards, Robin
Colwell, Cynthia
Wegner, Jane
Clair, Alicia A.
Hedden, Steven
Hedden, Debra
Music
Health sciences
Rehabilitation and therapy
Evidence-based practice
Evidence-based research
Music therapy
One of the most prevalent trends in healthcare today is the movement toward evidence-based practice. Evidence-based practice requires that health care providers base their treatment decisions not only on their own professional experiences and their client's needs and values, but also on current quality research outcomes. The American Music Therapy Association has been promoting evidence-based practice among its clinicians through a research initiative created to encourage the use of scholarly research within the profession. The purpose of this study was to develop a research template to assist music therapy clinicians in accessing clinically relevant information from an individual research study and evaluating the quality of that study to participate in evidence-based practice. Development of the research template occurred in three steps. First, the researcher consulted current literature on the topic of evidence-based practice and research to determine content and design of the template. Next, a focus group of five individuals known for their clinical and research expertise in music therapy examined the template and provided suggestions for improvement, as well as validity for the need for such a template in the profession. Finally, a sample group of music therapists completed an Initial Questionnaire (N=14), the research template on an assigned article and two participant-selected articles (n=12), and a Follow-Up Questionnaire (n=11). Thirty templates were completed across five different research articles. Responses on the questionnaires and completed research templates were analyzed to determine clarity of the individual items and the overall function of the template and were used to make necessary modifications to the template itself. Results indicate that the designed research template is useful for clinicians consulting the research literature to inform their clinical practice decisions and to determine the level of quality of a study. Implications for the role of the template in educational and continuing music therapy education settings to promote evidence-based practice in the field of music therapy are discussed.
2009-07-31T04:39:23Z
2009-07-31T04:39:23Z
2009-07-31T04:39:23Z
2009-04-23
Dissertation
http://dissertations.umi.com/ku:10269
http://hdl.handle.net/1808/5340
EN
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/184282018-01-31T20:07:48Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
EVALUATING GRADUATE STUDENT WRITING: DO STUDENTS WRITE FROM A STRENGTHS PERSPECTIVE?
Braun, Matthew J
Dunn, Winnie
Tomchek, Scott D
Daniels, Debora B
Wambach, Karen
Rinner, Louann
Health sciences
Speech therapy
Social sciences education
Family Centered Care
Strengths Based Approaches
Strengths Perspective
Therapeutic Sciences
Written Clinical Documentation
There is growing evidence supporting the use of strengths based approaches to serving families. Professionals can positively impact family outcomes by using strengths based language when interacting with families. The purpose of this study was to examine the nature with which graduate student clinicians write from a strengths perspective. Specifically, we explored whether first year graduate student clinicians in speech language pathology use strengths based/ability focused language when documenting observations of children's' communication and behavior during play. We created videos of typically developing children in natural environments and gathered narrative writing samples broken down by phrase (N = 693 phrases) from graduate student clinicians. Students (N =29) participated in each of two conditions (A- general prompt; B- clinic prompt). Using a coding system developed by the research team, we analyzed the nature with which the student clinicians included strengths based language in their written documentation. Our findings indicated that the student clinicians in the current study generally used more neutral, ability focused language (than deficit based language) in their writing. However, when the student clinicians were led to believe the child in the video was coming to the clinic for an evaluation, they used less strengths based language. Findings from this study provide valuable information about how first year graduate students write when documenting observations of child behavior and communication and may serve as a guidepost for how we design academic training programs with respect to clinical documentation. Additionally, these findings emphasize the importance of ensuring that clinical training mentors use strengths based practices across training sites.
2015-09-09T02:06:00Z
2015-09-09T02:06:00Z
2015-09-09T02:06:00Z
2015-05-31
Dissertation
http://dissertations.umi.com/ku:13824
http://hdl.handle.net/1808/18428
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/252362018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
All Tied Up: The Effect of Wearing a Necktie on Acoustic and Perceptual Measures of Male Choral and Solo Singing
Edwards, Evan R.
Daugherty, James F.
Grady, Melissa L.
Johnson, Christopher M.
Music
Music education
Performing arts
choral singing
expert listening panel
long-term average spectra
necktie
perceived phonatory ease
solo singing
The purpose of this study was to assess acoustically (long-term average spectra and multi-dimensional voice profile) and perceptually (participant perceived phonatory ease and expert listening panel) the effect of wearing a necktie on male singing in choral (Experiment 1) and solo (Experiment 2) settings. No study to date has assessed the potential effects of wearing neckties in both choral and solo vocal settings. Among primary results: (a) statistically significant differences in spectral energy between performances with and without a necktie in both the choral (2-4 kHz) and solo (0-10 kHz) settings, (b) increases in mean jitter and shimmer percentage measurements of solo singers with necktie, (c) significant reduction in perceived phonatory ease when singing while wearing a necktie in choral and solo settings, and (d) listener preferences for singing without a necktie in solo and homophonic choral settings. Results were discussed in terms of limitations of the study, suggestions for future research, and implications for voice pedagogy. Keywords: necktie, choral singing, solo singing, long-term average spectra, multi-dimensional voice profile, perceived phonatory ease, expert listening panel
2017-10-30T23:17:23Z
2017-10-30T23:17:23Z
2017-10-30T23:17:23Z
2017-05-31
Thesis
http://dissertations.umi.com/ku:15349
http://hdl.handle.net/1808/25236
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/252382018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Music Therapists and Work: Experiences of Occupational Oppression in the Profession of Music Therapy
Bybee, Molly R.
Hanson-Abromeit, Deanna
Biernat, Monica
Colwell, Cynthia
Matney, William
Music
Health care management
Creative Arts Therapy
Music Therapy
Occupational Oppression
Oppression
Occupational oppression is a system of invisible barriers created by those in power that reduces the professional’s ability to perform work at the highest level. Barriers result from a combination of beliefs related to the value or worth of set occupations and their members. Occupational oppression is based on the assumption that certain professions are inherently superior or inferior. Barriers result from a combination of beliefs related to the value or worth of set occupations and their members. Oppressive experiences have been described within music therapy literature on burnout. However, the phenomenon of occupational oppression has not been explored within the profession of music therapy. The purpose of this mixed-method study was to establish and describe the phenomenon of occupational oppression within the profession of music therapy. Experiences of oppression were described using Young’s five categories of oppression – marginalization, cultural imperialism, exploitation, violence, and powerlessness (1990). Participants, 634 currently practicing board-certified music therapists, completed an online survey that was comprised of multiple choice, Likert-scale, and short-answer questions. Results support the existence of occupational oppression within the profession of music therapy. A majority of participants identified as having experienced oppression within their workplaces (56%) and identified the profession as being oppressed (76.6%). All of Young’s five categories of oppression (1990) were reported within participants’ responses. Forms of cultural imperialism were described most frequently, followed by marginalization, exploitation, powerlessness, and violence. Descriptions of experienced oppression occurred both in respondents who did and did not identify as having experienced oppression, suggesting that music therapists may have difficulty labeling oppressive experiences. Acknowledging occupational oppression within the profession of music therapy may be a critical first step towards developing solutions to improve workplace experiences for music therapists.
2017-10-30T23:21:25Z
2017-10-30T23:21:25Z
2017-10-30T23:21:25Z
2017-05-31
Thesis
http://dissertations.umi.com/ku:15225
http://hdl.handle.net/1808/25238
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/216012018-01-31T20:07:49Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The Solo Organ Works of Jon Laukvik
Chang, Yoomi
Bauer, Michael
Higdon, James
Haaheim, Bryan Kip
Laird, Paul
Bergee, Martin
Music
contemporary
jazz
Laukvik
Norwegian
Organ
polychords
Jon Laukvik (b. 1952) has an international reputation as a performer, teacher, juror, editor, and author. He is perhaps most well known for his three-volume organ literature textbook entitled Historical Performance Practice in Organ Playing. The first volume has become a standard text throughout Europe and Asia and is widely used in the United States as well. In recent years, he has also emerged as a composer. Compositions involving organ include the following: eleven organ solo works, three pieces for organ four-hand, ten works for organ and solo instrument, and three works for organ and voice or choir. Laukvik developed a unique sound that is influenced by Renaissance and Baroque music, the works of later French composers, and jazz idioms. In addition to the contributions coming from these sources, he further employed techniques such as bitonality and chromatic alterations as central features of his style. There is a very limited body of scholarly writing about his music. He accepted a request to be interviewed for this study, which proved to be invaluable. Together with this interview, an intensive study of his works, and a comparison between his compositions and the works of other composers have served as primary sources for this lecture-recital. The purpose of this study is to illuminate these stylistic features of his organ music in the hope that this might bring further attention to a composer whose voice deserves to be heard in the contemporary organ world.
2016-10-05T02:04:48Z
2016-10-05T02:04:48Z
2016-10-05T02:04:48Z
2015-12-31
Dissertation
http://dissertations.umi.com/ku:14289
http://hdl.handle.net/1808/21601
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/194422018-12-13T18:25:07Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
A STUDY OF THE PIANO WORKS OF CHU WANGHUA, WITH AN EMPHASIS ON SIX PRELUDES
Li, Shu
Spooner, Steven
Schwartz, Roberta
Haaheim, Bryan
Kirkendoll, James
Zhao, Jane
Music
ABSTRACT From the early twentieth century to the present day, Chinese piano music has begun to enjoy enormous prosperity, integrating a modern and distinctive Chinese style with Western musical language. Chu WangHua is one of the most distinguished Chinese composers and pianists and has had great influence on the recent development of Chinese piano music. During his most turbulent compositional periods, Chu struggled with deep depression and pressure to succeed; however, he persisted in composing, his great passion. In his sixty-year compositional career, Chu produced a large body of repertoire, including piano works, concertos, symphonies, ensemble, string quartets and more; the majority of these are piano works. Six Preludes is one of Chu’s most representative and remarkable works written in the Chinese style. The six pieces in this set, named Bamboo in the Wind, Sound of Valley, On the Banks of the River, Berceuse, Elegie, and Memorial, are based on Chinese traditional folk tunes and instrumental music and incorporate Western musical style, harmonic language, and compositional technique. This study will examine Six Preludes, emphasizing the following musical aspects: traditional Chinese scales and modes, parallel harmony, counterpoint, and formal structure, to explore the distinctions between Chinese and Western styles. Chu WangHua’s unique approach to composition not only enables him to stand out from other Chinese composers, but also promotes Chinese piano music worldwide.
2016-01-01T22:59:12Z
2016-01-01T22:59:12Z
2016-01-01T22:59:12Z
2015-05-31
Dissertation
http://dissertations.umi.com/ku:14030
http://hdl.handle.net/1808/19442
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/194372018-01-31T20:07:50Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Ariadne auf Naxos: A Study in Transformation through Contrast and Coalescence
Fung, Etta
Broxholm, Julia
Laird, Paul
Street, David
Castle, Joyce
Hayes, Michelle
Music
Ariadne auf Naxos
Coloratura
Zerbinetta
Ariadne auf Naxos, by composer Richard Strauss and librettist Hugo von Hofmannsthal, concerns the simultaneous performance of a tragedy and a comedy at a rich man’s house in Vienna, and the conflicts that arise between the two groups. The primary focus of this paper is the character Zerbinetta, a coloratura soprano who is the main performer in the commedia dell’arte troupe. Following consideration of the opera’s historical background, the first segment of this paper examines Zerbinetta’s duet with the young Composer starting from “Nein Herr, so kommt es nicht…” in the Prologue, which reveals her coquettish yet complex character. The second section offers a detailed description of her twelve-minute aria “Großmächtige Prinzessin” in the opera, exploring the show’s various levels of satire. The last segment is an investigation of the differing perspectives of the performers and the audience during Zerbinetta’s tour de force. The basis for this study is the second version of Ariadne auf Naxos, which premiered in 1916.
2016-01-01T22:50:25Z
2016-01-01T22:50:25Z
2016-01-01T22:50:25Z
2015-05-31
Dissertation
http://dissertations.umi.com/ku:14062
http://hdl.handle.net/1808/19437
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/148732018-01-31T20:07:56Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Eric Ewazen's Trio for Clarinet, Viola, and Piano: A Performer's Perspective
Lam, Kai Yin Crystal
Smith, Scott McBride
Winerock, Jack
Reber, Richard
Levin, Alicia
Pasik-Duncan, Bozenna
Music
The purpose of this research paper is to provide an analysis of Trio for Clarinet, Viola, and Piano by the important twentieth-century American composer, Eric Ewazen. This paper will include information about his biography, two stylistic periods, stylistic approach, formal design, compositional technique, and the performers' point of view from Wakarusa Trio. Since the instrumentation is relatively unusual in this Trio, I will also discuss the unique qualities of his instrumental writing. I interviewed Ewazen about his life and his approaches to his Trio. Through this research, I want to introduce the new American music with this rare combination of instruments, as well as the musical world of Eric Ewazen, in which the Trio speaks for his musical language.
2014-08-04T23:04:03Z
2014-08-04T23:04:03Z
2014-08-04T23:04:03Z
2014-05-31
Dissertation
http://dissertations.umi.com/ku:13322
http://hdl.handle.net/1808/14873
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/148802018-01-31T20:07:56Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The Recently Rediscovered Works of Heinrich Baermann
Moore, Madelyn
Stomberg, Eric
Walzel, Robert
Popiel, Paul
Street, David Alan
Southard, Marylee
Zelnick, Stephanie
Maxey, Larry
Music
Performing arts
Baermann
Clarinet
Baermann, Heinrich
Performance practice
Romantic
Virtuoso
While Heinrich Baermann was one of the most famous virtuosi of the first half of the nineteenth century and is one of the most revered clarinetists of all time, it is not well known that Baermann often performed works of his own composition. He composed nearly 40 pieces of varied instrumentation, most of which, unfortunately, were either never published or are long out of print. Baermann's style of playing has influenced virtually all clarinetists since his life, and his virtuosity inspired many composers. Indeed, Carl Maria von Weber wrote two concerti, a concertino, a set of theme and variations, and a quintet all for Baermann. This document explores Baermann's relationships with Weber and other composers, and the influence that he had on performance practice. Furthermore, this paper discusses three of Baermann's compositions, critical editions of which were made during the process of this research. The ultimate goal of this project is to expand our collective knowledge of Heinrich Baermann and the influence that he had on performance practice by examining his life and three of the works that he wrote for himself.
2014-08-04T23:11:59Z
2014-08-04T23:11:59Z
2014-08-04T23:11:59Z
2014-05-31
Dissertation
http://dissertations.umi.com/ku:13413
http://hdl.handle.net/1808/14880
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/216162018-01-31T20:07:46Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Ransom
Burton, Christopher Douglas
Pierce, Forrest
Broxholm, Julia
Haaheim, Kip
Laird, Paul
Southard, Marylee
Music
Chamber
Composition
Opera
Ransom
Vocal
Voice
Ransom is an opera in two acts based on the short story The Ransom of Red Chief by O. Henry. A gang of robbers plot their final heist before retiring. During the job, they are discovered and attempt to make a hasty retreat. In the mayhem, one of their own is captured and they kidnap the Sheriff’s two children in return. It turns out that the children are a handful and the criminals are unable to hold onto them any longer. In exchange for getting rid of the kids, they turn themselves in. The opera is written for nine roles and a chorus. The work is accompanied by a chamber orchestra of ten musicians. In its entirety, Ransom lasts approximately one hour and 45 minutes.
2016-10-05T02:53:09Z
2016-10-05T02:53:09Z
2016-10-05T02:53:09Z
2016-05-31
Dissertation
http://dissertations.umi.com/ku:14574
http://hdl.handle.net/1808/21616
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/194362018-01-31T20:07:54Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Defining music therapy: integrating the Chinese perspective and the United States-influenced model of music therapy
Li, Bing
Register, Dena
Dvorak, Abbey
Hanson-Abromeit, Deanna
Music
Music education
Chinese
Cultural Perspectives
Definition
Music Therapy
This present study stems from my interest in the definition of music therapy in China, resulting from both my seven years of training in the United States and my personal Chinese background. While initially investigating the development of music therapy in China, a clear dissonance emerged between the Chinese perspective and the actual model of practice, which is influenced by practice in the United States. The core of this conflict is the philosophical argument of how exactly music therapy is defined. This fundamental disagreement may negatively impact further development of our profession. Thus, in an effort to make suggestions about solving this problem and resolving the discord between these perspectives, the purpose of this paper is to 1) analyze the existing definitions of music therapy in China to determine common principles, and 2) to subsequently suggest a model integrating the Five-element theory in traditional Chinese medicine (TCM) and the preexisting definitions of music therapy in China. Through investigation and discussion, five essential elements in music therapy are identified, including the therapist, the client, the music, the intervention outcome, and Evidence-Based Practice (EBP). Specific suggestions are made based on these elements in an attempt to combine strengths from both the TCM philosophy and the U.S.-influenced Chinese model, which will potentially promote the continued development of music therapy in China.
2016-01-01T22:49:02Z
2016-01-01T22:49:02Z
2016-01-01T22:49:02Z
2015-05-31
Thesis
http://dissertations.umi.com/ku:14082
http://hdl.handle.net/1808/19436
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/160562020-06-26T18:43:20Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
A Proposed Technique for Investigating the Relationship Between Musical Preferences and Personality Structure
Hahn, Marcus Emerson
2014-12-09T17:40:40Z
2014-12-09T17:40:40Z
2014-12-09T17:40:40Z
1954-03-01
Dissertation
Hahn, Marcus Emerson. (1954). "A Proposed Technique for Investigating the Relationship Between Musical Preferences and Personality Structure." University of Kansas.
http://hdl.handle.net/1808/16056
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/216122018-12-06T16:44:36Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The Interaction of Cello and Chinese Traditional Music
Jiang, Lan
Laird, Paul
Laut, Edward
Haaheim, Bryan kip
Neely, David Leslie
Bergee, Martin J.
Music
Cello
Chinese
Gu zheng
Interaction
Traditional
This document concerns the interaction of the cello and Chinese traditional music with an emphasis on three major areas. An historical introduction to western music in China includes descriptions of its early appearances and development, musical education influences, and how the cello became an important instrument in China. The second section is a discussion of techniques of western music and Chinese traditional music as used by Chinese composers, who write works in both styles separately and in admixtures of the two. The third section is a description of four Chinese works that include cello: “《二泉印月》” (Reflection of Moon in Er-Quan Spring), “《川腔》” (The Voice of Chuan), “《渔舟唱晚》” (The Melodies of the Fishing Night), and “《对话集I》” (Dialogue I). Analysis of these four works helps show how the cello has been assimilated into Chinese traditional music in both solo and ensemble fields, with specific looks at incorporating traditional performing techniques on the cello, the imitation of programmatic themes and aspects of Chinese culture in such works, and complex issues concerning aspects of performance. The purpose of this document is to help introduce Chinese traditional music to western ears and further my interest in combining western music and traditional Chinese music, perhaps helping an interesting musical synthesis to emerge.
2016-10-05T02:39:13Z
2016-10-05T02:39:13Z
2016-10-05T02:39:13Z
2016-08-31
Dissertation
http://dissertations.umi.com/ku:14738
http://hdl.handle.net/1808/21612
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/219232018-01-31T20:07:51Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Music Therapy Internship Directors' Perspectives on the Importance of Emotional Intelligence
Fitch, Katie
Colwell, Cynthia
Hanson-Abromeit, Deanna
Dvorak, Abbey
Music education
Music
Personality psychology
Emotional Intelligence
Music Therapy
Emotional Intelligence is one’s ability to perceive and use emotional information in oneself and in others, and to make decisions based on this information. It is made up of emotional competencies, which encompass perceptions and expressions of the self, relational interactions, decision-making, as well as coping and regulation skills. To date, little information is available concerning the observation and assessment of the emotional competencies in music therapy students as they navigate the internship application process. This study investigated the extent to which a student’s Emotional Intelligence impacts National Roster Internship Directors’ decision-making processes for determining a student’s suitability to their internships. Specifically, it examined the importance of Emotional Intelligence in determining student suitability, the methods used during the internship application process to assess the emotional competencies, and the importance of Emotional Intelligence as compared with other skills typically assessed. Fifty-four National Roster Internship Directors completed an online survey. Responses were collapsed and examined using descriptive statistics. Internship Directors indicated that Emotional Intelligence is an important factor in selecting their interns. All respondents indicated that the emotional competency, Empathy, was either ‘important’ or ‘very important’ (on a Likert-type scale ranging from ‘very unimportant’ to ‘very important’) in determining a student’s suitability. The development of consistent language regarding Emotional Intelligence may provide cohesion between Internship Directors and Academic Program Directors and better prepare students to thrive in the music therapy profession.
2016-11-11T00:13:16Z
2016-11-11T00:13:16Z
2016-11-11T00:13:16Z
2015-12-31
Thesis
http://dissertations.umi.com/ku:14383
http://hdl.handle.net/1808/21923
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/123432020-10-15T13:21:36Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Béla Bartók and the Natural Interpretation of Music
Bruggeman, Daniel Jared
Spooner, Steven
Spooner, Stephen
Winerock, Jack H.
Murphy, Scott
Laird, Paul
Talata, Zsolt
Music
Bartók, Bela
Bartók's fascination with Nature was religious in its devotion. This paper relates Bartók's love of Nature and folksong with musical interpretation. I explore Bartók's folk music arrangements for piano with extant recordings of the original peasant performance. Bartók referred to folk music as a natural phenomenon numerous times in his writings. By examining Bartók's views on Nature and folksong, it is possible to gain insight into natural musical interpretation.
2013-09-30T20:47:51Z
2013-09-30T20:47:51Z
2013-09-30T20:47:51Z
2013-05-31
Dissertation
http://dissertations.umi.com/ku:12742
http://hdl.handle.net/1808/12343
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/123412020-10-14T14:31:21Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia
Lafex, Arthur Edward
Levin, Alicia
Laird, Paul
Street, David A
Music
Dance
Performing arts
Ballet
Narrative
Nuitter
Paris
Romantic
Léo Delibes (1836-1891) wrote ballet scores that have inspired composers and have entertained generations of ballet lovers. His scores have been cited for their tunefulness, appropriateness for their narrative, and for their danceability. However, Delibes remains an obscure figure in music history, outside the musical canon of the nineteenth century. Likewise, his ballet music, whose harmonic resources are conventional and whose forms are variants of basic structures, has not received much scholarly and theoretical attention. This thesis addresses Delibes's music by examining his ballet score for Coppélia, its support of narrative and also its support of dance. Chapter 1 begins with a historical view of ballet and ballet music up to the time of Delibes. Following a biographical sketch of the composer, a review of aspects of the score for Giselle by his mentor, Adolphe Adam (1803-1856) establishes a background upon which Delibes's ballets can be considered. The thesis then examines Delibes's iconic ballet, Coppélia, for the music's support of narrative and of dance. Chapter 2 begins with an examination of its narrative music, that is, its music for pantomime and narrative episodes, studying Delibes's use of recurring themes and other devices. The study finds the use of rhythmic, melodic, and orchestral resources serves to support characterization. These are used to build themes that are recognizable and memorable to represent characters and events. Other parallels with Giselle are drawn at this time. Continuing on to music for set dances, Chapter 3 begins with an inquiry into literature written by dancers and music theoreticians to discover the links between human motion and music. Three factors emerge: the existence of a predictable regularity of pulse at several levels, the enchainment of musical motives and phrases that reflect and facilitate the dancer's own enchainment of dance steps, and an overarching factor such as melodiousness that the dancer can use to bring out the musicality of the performance. The chapter continues with a review of the dance music in Coppélia, finding in it the same basic structure as other music in the ballet, using themes with a national flavor in many instances. Chapter 4 continues with a sketch of ballet's revival in the period after Delibes and into the twentieth century. The document concludes with a review of three modern performances of Coppélia. Two of these are reconstructions of an earlier version, while the third is a recreation using a different scenario derived from the earlier version. The review demonstrates that the qualities of Delibes's music supporting narrative and dance continue to be effective when used by choreographer in his staging of the ballet.
2013-09-30T20:45:28Z
2013-09-30T20:45:28Z
2013-09-30T20:45:28Z
2013-05-31
Thesis
http://dissertations.umi.com/ku:12779
http://hdl.handle.net/1808/12341
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/259952018-04-17T17:46:33Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
The Art of Recital Programming: A History of the Development of Solo Piano Recitals with a Comparison of Golden Age and Modern-Day Concert Programs at Carnegie Hall
Ge, Rosy Yuxuan
Spooner, Steven
Smith, Scott McBride
Roust, Colin
Castle, Joyce
Ward, Robert
Music
Carnegie Hall
Piano
Programming
Recital
ABSTRACT The art of recital programming is a never-ending discovery, and rediscovery of hidden gems. Many things go in and out of fashion, but the core composers and repertoire played on piano recitals have remained the same. From antiquity to the twenty-first century, pianists have access to over tens of thousands original and arranged works for the keyboard, yet less than one-tenth of them are considered to be in the standard performance canon. From this, a fascinating question forms: why are pianists limiting themselves to such narrow repertoire? Many noted pianists of the twentieth and twenty-first century specialize in a certain composer or style. This is not to say that concert pianists are not playing other works. The typical programming of the “tour of styles” is so prevalent that within the last hundred years, the structure wavered little from the standard Franz Liszt and Clara Schumann set with their recitals. My research concentrates on iconic pianists from two eras: the Golden Age and the twenty-first century. Because of its prestigious position in the classical performance world, this study will focus on solo recitals performed at Carnegie Hall. Since 1891, countless performances have been presented in the hall and it is still considered one of the most sought-after venues for concert pianists. Through the analysis of pianists and their repertoire from the Golden Age and modern-day, I demonstrate what has and has not changed in over a century of recital programming. The increasing specialization of one composer or style contributes to the mundane state of most modern day piano recitals. By tracing the evolution of the recital and examining iconic musicians’ repertoire choices, student-pianists of the twenty-first century could draw inspiration and bring back some of the lightness and charm from the Golden Age.
2018-02-18T20:13:32Z
2018-02-18T20:13:32Z
2018-02-18T20:13:32Z
2017-12-31
Dissertation
http://dissertations.umi.com/ku:15574
http://hdl.handle.net/1808/25995
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/293242020-10-12T14:35:44Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
David Maslanka’s Liberation: A Conductor’s Analysis
Waldron, Nicholas Power
Popiel, Paul W
Smith, Matthew O
Toulouse, Sharon
Roust, Colin
Johnson, Christopher M
Music
Band
Choir
Chorus
David Maslanka
Liberation
Wind Ensemble
Abstract For more than forty years, David Maslanka (1943–2017) was a prolific composer for every musical medium. With significant contributions to chamber music, solo literature, vocal settings, and symphony orchestras, his works for wind band have garnered the most success. In addition to composing eight symphonies for band between 1985 and 2017, Maslanka's other significant works for band include, A Child’s Garden of Dreams (1981), Concerto for Alto Saxophone and Wind Ensemble (1999), Give Us This Day (2006), and Liberation (2010). His distinctive musical voice emerges in each of these works as he explores a wide gamut of emotions. Within his works for band, performers and audiences experience a composer with full control of the wind band’s range of forces and palette of colors. Through some of the most technically challenging literature written for wind band, Maslanka creates incredibly powerful moments comprised of surprisingly simple gestures. This document is an examination of David Maslanka’s piece for symphonic wind ensemble and chorus, Liberation. Included within this paper are sections covering: biographical information of the composer; Maslanka’s compositional approach; and information about the origin, inspiration, and source material, addressing formal structure, and performance considerations; in addition to appendices of errata, recommended program notes, and communication with the Maslanka Foundation.
2019-06-12T03:42:39Z
2019-06-12T03:42:39Z
2019-06-12T03:42:39Z
2019-05-31
Dissertation
http://dissertations.umi.com/ku:16359
http://hdl.handle.net/1808/29324
https://orcid.org/0000-0003-4966-8960
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/253982018-01-31T20:07:48Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
A Study of Coloristic Effects in Joan Tower’s Works for Piano: Petroushskates, Ivory and Ebony, and Sixth Fanfare for The Uncommon Woman
Chen, Nai-Yu
Winerock, Jack
Roust, Colin
Smith, Scott McBride
Kirkendoll, Michael
Bergee, Martin
Music
color
Ivory and Ebony
Joan Tower
Petroushskates
piano works
Sixth Fanfare for The Uncommon Woman
The purpose of this study is to examine Joan Tower’s treatment of sound and coloristic effects in selected chamber and solo works for piano. Prior to the twentieth century, timbre, modes, and other coloristic effects were often associated with a mood, character or emotion, and were primarily presented by various tonal intervals. With the rise of fin-de-siècle avant-garde trends such as impressionism, the association of color and music became integrated. As Jörg Jewanski has noted, the concept of color was equated with individual musical parameters in the twentieth century. One composer who has shown a particular interest in color is Joan Tower, who is celebrated as one of the most important contemporary American composers. This study will analyze factors of coloristic traits in three of Tower’s piano works. Tower consistently applies multiple musical elements in her works. For example, Tower has several musical influences including various composers that she wrote in the style of, such as Debussy, Messiaen, and Stravinsky. She also found out that a powerful tool in projecting pitch content is the use of register. In addition, she is interested in varied rhythmic patterns, which she has said results from her upbringing in South Africa.
2017-11-16T04:47:08Z
2017-11-16T04:47:08Z
2017-11-16T04:47:08Z
2017-05-31
Dissertation
http://dissertations.umi.com/ku:15354
http://hdl.handle.net/1808/25398
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/194452018-01-31T20:07:51Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Conducting Culture: Leonard Bernstein, the Israel Philharmonic Orchestra, and the Negotiation of Jewish American Identity, 1947-1967
Argyropoulos, Erica Kay
Laird, Paul R
Schwartz, Roberta
Levin, Alicia
Murphy, Scott
Tucker, Sherrie
Music
Judaic studies
Conducting
Conductors
Israel
Israel Philharmonic
Leonard Bernstein
Music in Israel
Leonard Bernstein’s relationship to his Jewish identity—his determination to nourish and sustain it—was one of the single most important aspects not only of his musical career, but also of his greater character. Throughout his life, his deep concern for his own Jewishness manifested as a persistent commitment to certain organizations. One of the most prominent of these was the Israel Philharmonic Orchestra, originally known as the Palestine Symphony Orchestra. This dissertation is a contribution to our knowledge of Bernstein’s work in Israel and explains the significance of his relationship to the Israel Philharmonic between the years of 1947 to 1967, chronologically exploring milestones that saw the benefit and evolution of both parties. Bernstein stood by the orchestra during Israel’s pre-statehood battles, the War of Independence, and the resultant conflicts with the United Nations; he attracted prominent musical associates to the cause, such as his mentor, Serge Koussevitzky. He helped the orchestra to raise the necessary funds for their first international tour in America, leading them in that venture. Through the years, he lobbied for a permanent home for the orchestra, and when their dream was finally realized, he traveled to Tel Aviv in 1957 to lead the dedication concert. When Israel prevailed in the Six-Day War in 1967, he proclaimed the victory from a mountaintop in dramatic fashion in the historic Mount Scopus concert on 9 July 1967. For their own part, the orchestra was there to witness Bernstein’s rise to prominence. They celebrated his early victories as a composer by performing both of his first two symphonies; in 1963, they premiered Bernstein’s third and final symphony, Kaddish, in Jerusalem: a deeply personal work that touched upon their mutual traumas at the hands of the Holocaust—with the composer at the podium. Although the collaboration between Bernstein and the orchestra has been the subject of great romanticism, this document demonstrates that the story of their partnership is far more complicated than it appears on the surface. Despite the difficulties of personality and circumstance that arose between the two parties, however, they remained dedicated to each other. While Bernstein’s energies were primarily directed at the advancement of his career in the United States, he retained his relationship to the Israel Philharmonic as a major priority throughout his rise to prominence and beyond.
2016-01-01T23:03:49Z
2016-01-01T23:03:49Z
2016-01-01T23:03:49Z
2015-08-31
Dissertation
http://dissertations.umi.com/ku:13994
http://hdl.handle.net/1808/19445
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/194242018-01-31T20:07:50Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
An Eclectic Combination of Classical and Jazz Idioms: Nikolai Kapustin's Piano Works
Choi, Jiwon
Spooner, Steven
Chun, Chung-Hoon Peter
Laird, Paul
Smith, Scott M
Suzeau, Patrick
Music
Kapustin
The piano music of Nikolai Kapustin is a sophisticated synthesis of classical traditions and jazz styles. He has absorbed jazz styles into standard classical form and his approach to jazz idioms is authentic and original compared to other classical composers such as Ravel, Debussy, Stravinsky, and Ligeti, who also wrote jazz-inspired pieces. Kapustin adopted the virtuosic playing of Oscar Peterson and Art Tatum, the unique style of Erroll Garner, and the rich texture and harmony of his experience with big bands. On the other hand, Kapustin’s use of forms conforms to the classical tradition and many of his works recall formal and technical influences of classical composers, especially from Romantic and Russian composers. The Twenty-Four Preludes, Op. 53, published in 1988, is one of Kapustin’s most satisfying works and an ambitious genre to exhibit his extraordinary grasp of both jazz and classical music. The Preludes incorporate a large range of jazz techniques and styles with a variety of rhythms, tempos, and melody as well as the clear structural organization of classical music. A classical pianist performing these works must possess a formidable technique and comprehensive understanding of jazz playing. This study examines on jazz idioms and classical influences in Kapustin’s music and how he combined them to create his own style. The document consists of three parts: biographical information and background, Kapustin’s unique musical voice and influences, and a detailed analysis of the classical and jazz blend found in the Twenty-Four Preludes, Op. 53, including performance considerations. I hope my study will elucidate his compositional brilliance and encourage even more pianists to explore his music.
2016-01-01T22:33:09Z
2016-01-01T22:33:09Z
2016-01-01T22:33:09Z
2015-05-31
Dissertation
http://dissertations.umi.com/ku:13982
http://hdl.handle.net/1808/19424
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/312962021-01-29T09:00:53Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Pre-existent music in the works of Peter Maxwell Davies
Tongier, Cheryl
Shumway, Stanley
Politoske, Daniel
Hoag, Charles
Ross, Carole
Pozdro, John
Music theory
2021-01-29T03:02:58Z
2021-01-29T03:02:58Z
2021-01-29T03:02:58Z
1983-05-31
Dissertation
http://hdl.handle.net/1808/31296
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/259962018-04-17T17:49:56Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Practices in Visual Media
Chart, Brock Andrew
Gailey, Dan
Pierce, Dr. Forrest
Osborn, Dr. Brad
Musical composition
Composition
Film
Film Music
Movie
Movie Score
Music
Practices in Visual Media At approximately 13 minutes in length Practices in Visual Media aims to explore composition with a wide variety of instrumentation, genre, and style inspired by different platforms of visual media. The idea of the piece was to recreate real-world scenarios that a commercial composer might encounter professionally. Each movement is based on a different form of visual media that I’ve rescored with original music: a movie trailer, cartoon theme song, TV commercial, and the soundtrack from a video game. I’ve also learned from personal experience that commercial composers are expected to have professional sounding products from the earliest stages of production. Audio production has become an integral part of the commercial composer’s skill set. When writing Practices in Visual Media, I transcribed and attempted to recreate several works from today’s leading film composers to learn more about the audio production techniques they used and tried to apply them to my own compositions. Another challenge this project presented is writing music to a scene without dialogue or other audio effects. In a real-world scenario composers are usually given a copy of the film in “picture lock” or the final edited down version that includes dialogue and some audio effects. The composer then scores the music to the “picture lock” version of the film. After the music has been recorded and mastered, the tracks are ready to be mixed with the dialogue and other audio effects. The final product of this process is one audio file that includes the music, dialogue and sound effects all together. Without access to the studios original audio files, which are almost impossible to acquire, there is no way to mute the music while keeping the dialogue and audio effects. Because of this, I was more careful in my writing and provided ample space with light orchestration when scoring under dialogue. IT Movie Trailer: The IT movie trailer was the most difficult movement to write because of the amount of editing involved. Movie trailers often cut to different scenes or camera shots frequently and sometimes in high action sequences they can change several times in just a few seconds. The original trailer music used by Warner Brothers divided the trailer into several distinct sections with different music for each. I approached the trailer in a similar fashion and cut the trailer into three sections. The main theme for the movement is based in D minor and is played by a celesta. Since the antagonist in the film is a clown and most of the story is based around children, I wanted the theme to sound like a “wind-up” music box. Music boxes make me think of innocence and memories of my childhood; the feelings from the music box mixed with the dark, ominous undertones from synthesizers layered together create a perfect setting for King’s classic novel. Rick and Morty Opening Theme: This cartoon is about a brilliant, alcoholic scientist named Rick and his less talented nephew, Morty, as they have adventures together through space, time, and other dimensions. To compliment the show’s themes of science and technology, I chose to use synthesizers for all of the instrumentation and sound effects in this movement to create a more electronic timbre. I admire the classic sci-fi soundtracks like Star Wars and 2001: A Space Odyssey and have noticed that they have a similar harmonic language. Most of the harmonic movement is based around thirds, which can create “other-worldly” sounds and feelings of unpredictability. I used similar harmonic motion in my movement. The main theme is in A minor, but throughout the piece I also use colors from A melodic minor. The piece starts in A minor which then moves to the tritone Eb, then to the mediant C#, and the submediants of A melodic minor, F and F#. The melody mostly outlines the harmonic movement while providing some tonal tension with suspensions on downbeats, and rhythmic tension with syncopation against the driving, repetitive percussion. Coca-Cola Commercial: In this movement I used the actor’s actions in the commercial to create my own story and lyrics for a short pop song; a typical teenage love story on a beach fueled with Coca-Cola. In my free time I listen to pop music and am particularly drawn to Motown and soul music. I used those artists as inspiration for this movement. I started this movement by writing the chorus or the “hook” first and building the verses around that. Creating a catchy chorus is difficult, but I’ve found that a melody that’s easy to sing, a rhythm that feels good to dance to, and lyrics that are easy to remember are great rules to follow. The tune is straightforward and mostly follows I – IV for the verse and on the chorus the harmony descends by whole steps and half steps from vi - V7/V ending with a IV - V - I in F. Lord of the Rings – Return of the King: Being a Lord of the Rings fanatic, I wanted to honor this movement closer to Howard Shore’s original score in terms of orchestration, timbre, and themes. Shore uses a full orchestra with a mixture of tonal and modal themes to act as leitmotivs for LOTR. In this scene the enemy army has the city surrounded and hopelessly outnumbered, but the warriors of Rohan are about to save the day. I use the strings to create tension and uneasiness in the opening as Gandalf is about to be struck down. Strings start to play the Rohan theme slowly as the Nazgul turns his head when he hears the war horns. At this point the piece still has dark undertones as the audience only sees camera shots of the enemies and warriors in shadow on the horizon. Horns then join Rohan’s theme giving the piece a warmer timbre as the camera changes shots to show the allied Rohan flag and army. The music comes to a standstill with horns in unison when the camera focuses on the Rohan King looking over the battlefield. War drums begin pounding as the camera cuts to the enemy surrounding the city and powerful brass in perfect fourths adds to the drama as the camera shifts to the worried faces of the protagonists. Brass and percussion continue to build the tension to a climax when the trumpets stack dissonant intervals against a low A pedal. The Rohan King rides away to shout battle orders and the percussion takes center stage again with added snare drum. Strings add a rhythmic motif over the percussion and the brass enters with a strong, triumphant D major chord as the camera pans out over the allied Rohan army. The repetitive percussion and strings provide momentum and unease as the final battle orders are given and enemy spears are lowered. Now orchestrated out for the brass, Rohan’s theme thunders over the percussion and strings as the Rohan King rides gallantly down the line inspiring his soldiers before the charge. Although I have used MIDI instruments in my recording ideally the piece would be performed with real musicians. No Man’s Sky: No Man’s Sky is a video game that was released in 2016 for PS4, Xbox 1, and PC. The game is different from others in the sci-fi genre because most of the gameplay focuses on exploration instead of the shooting found in more violent sci-fi games. The game uses an algorhythm that randomly generates planets that players can visit and explore. Each planet has drastically different environments with unique ecosystems full of plant and animal life based on the climate and makeup of the planet. Composing for video games is different than other forms of visual media because game developers usually ask for the music to be a mixture of through-composed music and “looped” music. Looping is an audio production technique where an audio file will continuously play itself over, and over again. This technique is used in video games because the music needs to adapt and flow seamlessly based on what the player is doing in the game. In No Man’s Sky each planet would have a bank of different loops of varying sizes; some will have only sound effects and more ambient textures while others will be more musical. Game developers can program the game to randomize the loops in each bank, and set up parameters to ensure no repetitions of the same loop. With this movement I challenged myself to create both a through-composed piece, and a loop for No Man’s Sky. For the opening I looked to classic sci-fi films like Star Wars or 2001: A Space Odyssey specifically in terms of orchestration with strings, brass and percussion as well as their rich harmonic language. Since No Man’s Sky is largely focused on exploration, I wanted the music to be shaped around curiosity, space, and imagination. The main theme is based in C Lydian but the piece doesn’t stay in the same key center for long. As for orchestration, the strings provide a warm texture with open fifths and extend out the seventh chord while the brass provide the melody, counterpoint, and support. The loop itself is minimal and exaggerates space, which I think adds to the feeling of isolation and exploring alone on a planet. I used a mixture of digital, and acoustic instrumentation with several audio effects, synthesizers, and sound effects to create my soundscapes. The loop begins with ambient sci-fi sound effects and provides an open atmosphere for the player to look around for the first time. An acoustic piano loaded with audio effects lays the groundwork for the tonality of the loop and the melody that has an improvisational tone which features perfect fifths and syncopation. Synthesizers then join in under the piano to provide more bass support and additional ambience. Starting in m. 33 the tail end of the piano melody is repeated over and over. With the reverb and the delay from the piano effects, the repetitive piano motif provides an interesting texture for a new melody to shine. Other synthesizers join in to change the overall groove of the loop and provide a more stable rhythmic pulse. In m. 41 synthesizers introduce the new melody and key center of F Lydian. A few bars later another synthesizer provides playful counterpoint over the melody and repeats. This repetition continues for a few cycles until the layers begin to drop out one by one thinning the texture down to the ambient sci-fi sounds from the beginning. The ambient sci-fi sounds clear out the aural palate before starting the loop again in 05:36:00 of the video. Writing Practices in Visual Media has been a challenging, but rewarding experience. It was a project rooted in professional development and to prepare myself for future, real-world scenarios. Since starting on the project I’ve talked with several filmmakers for feedback, criticism, and to find out exactly what a director thinks about when choosing music. I’ve gotten some excellent feedback from them and I was fortunate enough to be asked to write the music for a director in L.A., who’s making new short comedy for the Screen Actor’s Guild in September 2017 called Sunshine. I plan to continue rescoring more scenes from films and other visual media on my own time for personal development and my portfolio.
2018-02-18T20:14:58Z
2018-02-18T20:14:58Z
2018-02-18T20:14:58Z
2017-12-31
Thesis
http://dissertations.umi.com/ku:15588
http://hdl.handle.net/1808/25996
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/216032018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Teacher Time Use in an Elementary General Music Classroom
Martin, Tenessa G.
Hedden, Debra
Daugherty, James
Johnson, Christopher
Music education
Teacher education
General Music
Organization
Planning
Teacher Workload
Time Use
The workload of a teacher is often demanding, and according to a variety of studies, often causes teachers high levels of stress and early burnout. To better understand the composition of that workload, a descriptive case study was undertaken to investigate specific time use. Therefore, the purpose of this study was to learn how an elementary music teacher spent her time during the workday in teaching and non-teaching activities. The participant, purposefully selected on her schedule variety and willingness to participate, taught music in an elementary school in a Midwest suburban school district. Her teaching load included kindergarten through sixth grade (roughly ages 5-12) and seven blocks of class times per day with each grade being represented for forty-five minutes each, demonstrating a typical teaching assignment. The study was conducted using a three-pronged approach and focused on one music teacher in one elementary school. The data were collected from a self-reported time diary, direct observations, and an interview. Data were analyzed for the participant’s time diary and the observer’s diary for: (a) instructional time and non-instructional time and (b) particular activities related to each category; and for the interview, for narrative explanations of time usage. Results indicated that the participant was required to be present at work for seven hours and fifteen minutes each day. Of that time, the participant was required to teach class for five hours and fifteen minutes. Over the four-day investigation period, which included a self-reported time diary and direct observations from the researcher, the participant exceeded her requirement by a total of seven hours and thirty minutes, essentially working the equivalent of an additional day. Over the four-day investigation period, the results indicate the participant spent 1,270 minutes or 57.99% on instructional activities which centered on singing and playing instruments; and 905 minutes or 41.32% on non-instructional activities, particularly on set-up/cleanup time and personal business. The results also showed the participant was consistent in her time usage. From the interview, data demonstrated that time was a challenge and inadequate to complete necessary tasks. The findings in this study suggest that adequate preparation time is important to actual classroom teaching.
2016-10-05T02:08:31Z
2016-10-05T02:08:31Z
2016-10-05T02:08:31Z
2015-12-31
Thesis
http://dissertations.umi.com/ku:14286
http://hdl.handle.net/1808/21603
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/184072018-01-31T20:07:51Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Assessments of Voice Use, Voice Quality, and Perceived Singing Voice Function Among College/University Singing Students Ages 18-24 Through Simultaneous Ambulatory Monitoring With Accelerometer and Acoustic Transducers
Schloneger, Matthew Jon
Daugherty, James F.
Bergee, Martin J.
Broxholm, Julia
Garnett, David
Hunter, Eric J.
Johnson, Christopher M.
Music education
Speech therapy
Occupational health
ambulatory voice monitoring
vocal dose
vocal pedagogy
voice dosimeter
voice quality
voice use
Previous vocal dose studies have analyzed the duration, intensity and frequency (in Hz) of voice use among college/university singing students through ambulatory monitoring. However, no ambulatory studies of this population have acquired these vocal dose data simultaneously with acoustic measures of voice quality in order to facilitate direct comparisons of voice use with voice quality during the same voicing period. The purpose of this study was to assess the voice use, voice quality, and perceived singing voice function of college/university singing students (N = 19), ages 18-24 years, enrolled in both voice lessons and choir, through (a) measurements of vocal dose and voice quality collected over 3 full days of ambulatory monitoring with an unfiltered neck accelerometer signal acquired with the Sonovox AB VoxLog portable voice analyzer collar; (b) measurements of voice quality during singing and speaking vocal tasks acquired at 3 different times of day by the VoxLog collar's acoustic and accelerometer transducers; and (c) multiple applications of the Evaluation of the Ability to Sing Easily (EASE) questionnaire about perceived singing voice function. Vocal dose metrics included phonation percentage, dose time, cycle dose, and distance dose. Voice quality measures included fundamental frequency (F0), perceived pitch (P0), dB SPL, LTAS slope, alpha ratio, dB SPL 1-3 kHz, pitch strength, shimmer, jitter, and harmonic-to-noise ratio. Major findings indicated that among these students (a) higher vocal doses correlated significantly with greater voice amplitude, more vocal clarity, and less perturbation; (b) there were significant differences in vocal dose and voice quality among non-singing, solo singing, and choral singing time periods; (c) analysis of repeated vocal tasks with the acoustic transducer showed that F0, P0, SPL, and resonance measures displayed increases from morning to afternoon to evening; (d) less perceived ability to sing easily correlated positively with higher frequency and lower amplitude when analyzing repeated vocal tasks with the acoustic transducer; and (e) the two transducers exhibited significant and irregular differences in data simultaneously obtained for 8 of the 10 measures of voice quality.
2015-09-07T22:00:56Z
2015-09-07T22:00:56Z
2015-09-07T22:00:56Z
2014-12-31
Dissertation
http://dissertations.umi.com/ku:13784
http://hdl.handle.net/1808/18407
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/265842018-06-27T08:01:42Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Midwestern Music Camp 1936-1962
Moss, Marion Thomas
2018-06-26T16:20:59Z
2018-06-26T16:20:59Z
2018-06-26T16:20:59Z
1992
Thesis
http://hdl.handle.net/1808/26584
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/55912020-07-27T15:16:28Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
Relationships among high school choir teachers' self described teaching practices and sight-singing scores from a district/all-state audition event
White, Adam Griffith
Daugherty, James F.
Bergee, Martin J
Hedden, Debra
Music education
Music
Audition
Kansas
Sight singing
The purpose of this study was to assess possible relationships among (a) sight-singing scores of secondary choral music students (N=396) from the Northeast region of a Midwestern state at a district/all-state audition event and (b) self-reported sight-singing instructional methods employed by their teachers (N=44), both across the school year and in period of time prior to the district/all-state audition. Teacher participants completed a survey regarding the following: (a) teacher demographic data, (b) school demographic data, and (c) teaching practice. Survey data were compared to sight-singing scores using a Pearson Correlation. Weak positive relationships were discovered between student scores and (a) teacher understanding of the audition process (r= .33) and (b) daily sight-singing instruction (r= .29). No significant relationships were found among student sight-singing scores and reported sight-singing instructional methods. Results were discussed in terms of positive and negative correlations, limitations of the study, and suggestions for further research.
2009-11-03T00:00:01Z
2009-11-03T00:00:01Z
2009-11-03T00:00:01Z
2009-07-13
Thesis
http://dissertations.umi.com/ku:10475
http://hdl.handle.net/1808/5591
EN
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/53422020-07-23T15:43:08Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Oromotor Kinematics of Speech In Children and the Effect of an External Rhythmic Auditory Stimulus
LaGasse, Ashley Blythe
Clair, Alicia
Colwell, Cynthia
Bergee, Martin J
Barlow, Steven
Brady, Nancy
Music
Speech communication
Development
Entrainment
Music therapy
Oromotor
Speech
The purpose of this study was to determine the effect of an external auditory rhythmic stimulus on the kinematics of the oromotor musculature during speech production in children and adults. To this effect, the research questions were: 1) Do children entrain labiomandibular movements to an external auditory stimulus? 2) Does the ability to entrain labiomandibular movements to an external auditory stimulus change with age? 3) Does an external auditory stimulus change the coordination and stability of the upper lip, lower lip, and jaw when producing speech sounds? The oromotor kinematics of two groups of children, age eight to ten (n = 6) and eleven to fourteen (n = 6), were compared to the oromotor kinematics of adults (n = 12) while producing bilabial syllables with and without an external auditory stimulus. The kinematic correlates of speech production were recorded using video-based 4-dimensional motion capture technology and included measures of upper lip, lower lip and jaw displacement and their respective derivatives. The Spatiotemporal Index (a single number indication of motor stability and pattern formation) and Synchronization Error (a numerical indication of phase deviations) were calculated for each participant within each condition. There were no statistically significant differences between age groups for the Spatiotemporal Index or for Synchronization Error. Results indicated that there were statistically significant differences in the Spatiotemporal Index for condition; with Post-hoc tests indicating that the difference was between the first condition (no rhythm) and the second condition (self-paced rhythm). Results indicated that both child groups were able to synchronize to an external auditory stimulus. Furthermore, the older child group was able to establish oromotor synchrony with near-adult abilities.
2009-07-31T04:43:22Z
2009-07-31T04:43:22Z
2009-07-31T04:43:22Z
2009-04-14
Dissertation
http://dissertations.umi.com/ku:10237
http://hdl.handle.net/1808/5342
EN
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/167992018-01-31T20:08:04Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Preghiera in Italian Bel Canto Opera
White, Jennifer
Broxholm, Julia
Laird, Paul
Ferrell, Mark
Stephens, John
Searl, Jeff
Music
Opera
Prayer
This lecture explores the representation of prayer in opera during the bel canto era. During the operatic bel canto era, prayer scenes were featured with increasing frequency. The popularity of this practice was likely rooted in a Romantic trend towards utilizing religious ceremony for dramatic effect. Eventually, these scenes became a standard part of Romantic Italian opera in a variety of forms, but none so prevalent as the heroine's pleading. As the era developed, the language for referencing a religious figure used in prayers, the musical structure, the orchestration, and the way composers and librettists utilized these scenes within the dramatic context of the opera all changed and moved towards the grand preghiera scenes of Giuseppe Verdi. The scenes examined are: Gioachino Rossini's "Deh, tu reggi in tal momento" from La gazza ladra, Gaetano Donizetti's "Deh, tu di un'umile preghiera" from Maria Stuarda, "Madre pietosa Vergine" from Giuseppe Verdi's La forza del destino, "Deh calma o ciel" from Rossini's Otello, and Verdi's "Ave Maria" also from Otello. A detailed study of the scenes and arias above exemplifies how the politics, tastes, and sensibilities of the Italian people changed.
2015-02-25T03:46:10Z
2015-02-25T03:46:10Z
2015-02-25T03:46:10Z
2014-12-31
Dissertation
http://dissertations.umi.com/ku:13676
http://hdl.handle.net/1808/16799
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/216092018-01-31T20:07:51Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
NOISE AND VOCAL DOSES ACQUIRED BY AN ELEMENTARY SCHOOL MUSIC TEACHER ACROSS NINE DAYS: A DESCRIPTIVE CASE STUDY
Berroth, Jennifer L.
Daugherty, James F
Broxholm, Julia
Johnson, Christopher
Health education
Teacher education
Music education
descriptive case study
elementary music teachers
hearing care
noise dose
vocal dose
voice care
The purpose of this descriptive case study was to assess the status of vocal (KayPentax APM) and noise (Etymotic ER200D dosimeter) dosages acquired by an elementary school music teacher (N=1) during waking hours across (a) a full teaching week (5 days) and (b) 2 weekends (4 days), one prior to and one and after the teaching week. Various studies to date have examined vocal dosages acquired by music teachers. Other studies have analyzed noise dosages acquired by music teachers. No study, however, has yet examined vocal and noise dosages acquired simultaneously by the same music teacher. Primary findings indicated: (a) mean vocal distance doses and noise doses acquired during teaching hours exceeded doses acquired during non-teaching hours; (b) the most elevated Dd and noise dosage levels occurred during choir rehearsals and sixth grade general music classes; (c) the participant exceeded recommended NIOSH noise doses on 4 of the 5 teaching days. (d) comparison of noise dose percentage and vocal dose percentage during teaching hours indicated, overall, that voice dose percentage appeared to align directionally with noise dose percentage; (e) however, there were some class periods where vocal dose percentage exceeded noise dose percentage. These results were discussed in terms of proactive voice and hearing care for elementary school music teachers, possible relationships between acquired vocal and noise doses, limitations of the study, and suggestions for future research.
2016-10-05T02:31:35Z
2016-10-05T02:31:35Z
2016-10-05T02:31:35Z
2016-05-31
Thesis
http://dissertations.umi.com/ku:14691
http://hdl.handle.net/1808/21609
en
openAccess
Copyright held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/148782018-01-31T20:07:56Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Coaching the Brass Quintet: Developing Better Student Musicians Through Chamber Music
Miller, Albert Edward
Davidson, Michael
Watson, Scott
Street, Alan
Popiel, Paul
Bergee, Martin
Music
Music education
Brass
Chamber
Quintet
Trombone
Trumpet
The brass quintet is currently one of the most predominant outlets for brass players to gain vital chamber music experience in the university setting. As a result, the role of applied brass instructors at universities has evolved into a role that is not entirely different than that of a conductor. The applied instructor plays the role of chamber coach, often without the skills necessary to provide the students with the skills they need for chamber music playing. This document seeks to provide the novice brass chamber coach with a guide as to the role of the applied professor in the musical and extra-musical development of young players. It will provide vital information for the coach that includes rehearsal strategies as well as samples of common performance issues found in the repertoire. While the amount of different rehearsal strategies and concepts is vast, this document aims to give the novice coach a primer for the instruction of student chamber ensembles. The scope of the document is not meant to firmly set out a standard for rehearsals, but rather to give suggestions as to how the instructor can prepare students for successful chamber music experiences without having ever taught chamber music before.
2014-08-04T23:10:00Z
2014-08-04T23:10:00Z
2014-08-04T23:10:00Z
2014-05-31
Dissertation
http://dissertations.umi.com/ku:13357
http://hdl.handle.net/1808/14878
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/130102020-10-19T14:42:32Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Anthology of Opera Arias by African American Composers for Low Voice Singers of African Descent
McNichols, Robert Laron, Jr.
Stephens, John
Stephens, John
Castle, Joyce
Ferrell, Mark
Hodges-Persley, Nicole
Haaheim, Kip
Music
Performing arts
Theater
Anthony davis
Ellington, Duke
Okoye, Nkeiru
Joplin, Scott
Blanchard, Terence
Still, William Grant
Some helpful tools for opera singers today are aria anthologies. These anthologies provide music, synopsis, and translations of arias by various composers whose music represents the standard repertoire for each voice. These arias are used as a guide for both auditioning artists and potential opera professionals with hiring companies. Examples of such anthologies include G. Schirmer's group of Aria Anthologies, and G. Schirmer's group of American Aria Anthologies. One area of operatic repertoire that has not been included in such anthologies is those composed by African American composers. What I propose to do is research repertoire by some of the most prominent African American composers and group selected arias from their works into an anthology specifically for low voice, African American singers. The composers included in this anthology will be Terence Blanchard, Anthony Davis, Duke Ellington, Scott Joplin, Nkeiru Okoye, and William Grant Still.
2014-02-05T20:44:49Z
2014-02-05T20:44:49Z
2014-02-05T20:44:49Z
2013-12-31
Dissertation
http://dissertations.umi.com/ku:13037
http://hdl.handle.net/1808/13010
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/168002018-01-31T20:08:04Zcom_1808_1260com_1808_8837col_1808_1952col_1808_14144
Sources of Job Satisfaction and Dissatisfaction Among Public School Music Educators
Allen, Ashley Diane
Hedden, Debra
Hedden, Debra
Bergee, Martin
Farrah, Mariana
Johnson, Christopher M
Hedden, Steven K
Music education
Distress
eustress
job satisfaction
teacher stress
The purpose of the present study was to identify the elements of job satisfaction and dissatisfaction as a means of better understanding causes of eustress and distress in public school music educators. More specifically, job satisfaction and dissatisfaction were investigated through the lens of eustress and distress to find what factors existed for general music, band, choir, and orchestra directors in various school settings and for different experience levels. Participants (N = 4, men = 2, women = 2) were selected from two Midwestern states and included one elementary general music teacher, one middle-school choral director, one middle and high-school band director, and one elementary and middle-school orchestra conductor. Two of the participants taught in rural districts and two taught in urban districts. Their years of teaching experiences also varied, with two in their first three years of teaching and two with more than three years of teaching experience. Each participant was interviewed twice for approximately one hour per instance, and a time span of one month existed between the two interviews. They were asked questions about how the personnel in the school setting, the school environment, their teacher preparation and other factors influenced their experiences of job satisfaction and dissatisfaction. The researcher transcribed the interviews and coded the data, and through this process themes emerged that were later related to eustress and distress. Results indicated that the participants were generally satisfied in their current teaching positions, indicating student achievement, rapport, and respect from colleagues and administrators as their main sources of job satisfaction. Participants also identified factors of job dissatisfaction, noting feelings of being undervalued and treated unequally by colleagues and administrators, and lack of control over time and resources as their primary contributors to their dissatisfaction. The results of this study identified other issues, such as sense of control, professional development, and job effectiveness, which further aided the understanding of teachers' experiences of job satisfaction. Participants identified various ways they strove to increase their job satisfaction and create a balance in their professional lives. Recommendations and implications for teachers were discussed with respect to these results.
2015-02-25T03:50:26Z
2015-02-25T03:50:26Z
2015-02-25T03:50:26Z
2014-12-31
Dissertation
http://dissertations.umi.com/ku:13675
http://hdl.handle.net/1808/16800
en
openAccess
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
University of Kansas
oai:kuscholarworks.ku.edu:1808/219412018-01-31T20:07:52Zcom_1808_8837com_1808_1260col_1808_14144col_1808_1951
The Effect of Music Therapy on Joint Attention Skills in Children with Autism Spectrum Disorder
Davis, Megan
Colwell, Cynthia
Johnson, Christopher
Dakon, Jacob
Music
Psychology
Autism Spectrum Disorder
Behavioral
Joint Attention
Music Therapy
ABSTRACT The purpose of this study was to explore further whether children with Autism Spectrum Disorder displayed more joint attention behaviors—interacting and requesting joint attention—during music therapy, cooperative play, or independent play conditions. Joint attention is defined as the shifting of attention between an object or event and an individual. The effects of different types of music therapy interventions on these joint attention behaviors were also examined. Participants (n = 4) engaged in 3 session types: 1) cooperative music therapy, 2) cooperative play, and 3) independent play. Using a 15-second observe, 5-second record time sampling method, intervals were coded for the presence or absence of interacting and requesting behaviors. Data were graphed and a visual analysis of the data revealed that a higher percentage of interacting behaviors occurred during music conditions than both cooperative and independent play conditions across participants. Data for requesting behaviors was inconsistent across participants, and therefore the results were inconclusive. Graphic analysis of the effects of music therapy intervention types on joint attention behaviors revealed that when the participant and researcher played the same instrument more interactions occurred, whereas when the researcher and participant played different instruments more requesting behaviors occurred.
2016-11-11T00:41:12Z
2016-11-11T00:41:12Z
2016-11-11T00:41:12Z
2016-08-31
Thesis
http://dissertations.umi.com/ku:14825
http://hdl.handle.net/1808/21941
en
openAccess
Copyright held by the author.
University of Kansas
qdc///col_1808_14144/100