Music

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Start date: 1967End date: 1979

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    Black Gospel Music Styles, 1942-1975: Analysis and Implications for Music Education
    (1978) Baker, Barbara Wesley; Folstrom, Roger J.
    The purpose of this dissertation is to determine styles and style changes that have occurred in Black gospel music since 1942, and to document those changes with representative cassette recordings. Implications of those changes are presented for secondary music education and for prospective music teacher training. This study should provide a significant addition to the field of music, and to Black music, because of the creation of an analysis model that provides the framework for analysis of styles in Black gospel music. This study also provides access to another musical resource for use in the secondary school music classroom by linking the a nalysis of Black gospel to the practical, educative uses of Black gospel music.
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    The Complete Songs for Voice and Piano of Albert Roussel
    (1976) Stevens, James William; McClelland, Louise; Helm, Eugene; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)
    Although he was highly thought of during his lifetime, Albert Roussel (1869-1937) now falls into the category of the neglected. Some measure of fame is assured by his ballet Bacchus et Ariane, but aside from this masterpiece few of his compositions are regularly performed, especially outside France, The purpose of this project is to introduce Roussel's 39 songs, many of which, in my opinion, rank alongside the greatest masterpieces of 20th century French song. The project is comprised of two parts: a tape recording of myself singing all of the composer's songs for voice and piano, and an accompanying document which contains information on Roussel's life and composing style, the text and my translation of each song, and other information pertinent to the songs.
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    THE VIOLIN CONCERTOS, OPP. 2 AND 3, BY MADDALENA LAURA LOMBARDINI-SIRMEN (c.1735-c.1799)
    (1979) Berdes, Jane Louise Baldauf; Helm, E. Eugene; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)
    The 18th-century Venetian Maddalena Laura Lombardini-Sirmen had a complex international career as a protegee of Giuseppe Tartini, violin virtuosa, opera singer, and composer, yet original documents providing information about her are almost nil. This thesis assembles information about the life and works of this gifted woman musician and also provides a bibliographic study and analysis of her best known works: a set of six violin concertos (Opp . 2 and 3), Some 30 individual prints by three publishers--Dutch, French, and English--and 12 manuscripts have been located in 20 libraries of eight nations for these concertos, A discussion of Lombardini-Sirmen's style characteristics takes place within the context of concerto composition in the Lombardia-Venetia region of Tartini's influence and in that of the broader, European , pre-Haydn-and-Mozart sphere of influence, The discussion concludes that Lombardini-Sirmen's concertos belong to the high classical style period, In the Appendixes are a copy of Tartini's historic pedagogical "Letter" addressed to Lombardini-Sirmen (in an English translation by Charles Burney); a thematic index of the complete works by the composer and her husband, Lodovico Sirmen, A copy of the keyboard transcription of t he concertos, done by Tommaso Giordani and published in London circa 1773, is separately bound.
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    The Eleventh Fascicle of the Manuscript Florence, Biblloteca Mediceo-Laurenziana, Pluteus 29.1 : A Critical Edition and Commentary
    (1975) Aubrey, Elizabeth; Roesner, Edward H.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)
    The eleventh fascicle of the thirteenth-century manuscript Florence , Biblioteca Mediceo-Laurenziana, Pluteus 29.1 contains sixty monophonic Latin songs related to vernacular refrain forms of the period. Previous research has classified these songs as "rondelli," or Latin rondeaux, based upon their form . Their function as part of the thirteenth-century musical repertoire has received scant treatment by musicologists; thus far no definitive study of fascicle eleven has been undertaken. The purpose of this thesis is to examine the form of the pieces and to determine the probable use for which they were intended. The study first examines the manuscript itself and places it in its proper chronological and geographical position. The contents are described and the significance of the manuscript demonstrated. The style of the poetry and music of the songs in question are compared to twelfth- and thirteenth-century conductus style and are found to be closely related to that genre. The function and style of the conductus are described, and the suggestion is made that the songs in the Florence manuscript functioned in an analogous manner, so that they are best considered to be monophonic conducti. The form and style of the songs is presented in detail. The thirteenth-century theorists' definitions of the term "rondellus" are given, and it ls shown that the Florence pieces probably are not "rondelli." The study concludes with a complete edition of the songs with a critical commentary.
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    A History of Bands in the United States Navy
    (1967) McCuen, Joseph M.; McCorkle, Donald D.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)
    ALTHOUGH THE NAVY HAS HAD BANDS SINCE THE EARLY 19TH CENTURY, LITTLE HAS BEEN WRITTEN CONCERNING THE BACKGROUND, DEVELOPMENT, AND PURPOSE OF THIS DIVISION OF OUR NAVY. THIS WORK ENCOMPASSES A DETAILED STUDY OF THE ENTIRE BAND PROGRAM. IT BEGINS WITH THE ORIGIN OF NAVAL BANOS AND FOLLOWS THE GROWTH OF THE PROGRAM WITH A DISCUSSION OF THE U.S. NAVAL ACADEMY BAND, THE U.S. NAVY BAND, THE SCHOOL OF MUSIC, AND THE NUMEROUS GENERAL SERVICE BANDS. THESE INDIVIDUAL ORGANIZATIONS ARE AMPLIFIED BY DISCUSSING THE MUSICIANS AND THEIR MUSICAL ABILITIES, THE VARIOUS INSTRUMENTATIONS OF NAVAL BANDS, THE BANDLEADERS AND THEIR QUALIFICATIONS, THE MUSICAL REPERTOIRE OF THESE BANDS 1 THE CURRICULUM AT THE SCHOOL AND ITS EFFECTIVENESS IN TRAINING BANDSMEN, AND THE ABILITIES OF THESE BANDS AS CONCERT AND DANCE ORGANIZATIONS. FINALLY THE PROGRAM IS EVALUATED BY TWO SPECIAL REPORTS SUBMITTED TO AND AT THE REQUEST OF THE BUREAU OF NAVAL PERSONNEL; ONE REPORT BY A FORMER HEAD OF THE MUSIC PROGRAM, AND THE OTHER BY THE AMERICAN COUNCIL ON EDUCATION. THE WRITER ALSO INCLUDES HIS OWN SUGGESTIONS AND CONCLUSIONS BASED ON HIS KNOWLEDGE AS A NAVY MUSICIAN. THIS IS THE ONLY HISTORICAL DEVELOPMENT OF THIS SUBJECT AND HELPS TO EXPLAIN THE PLACE AND IMPORTANCE OF BANDS, BAND MUSIC, AND THE NAVAL MUSICIAN IN RELATION TO THE OTHER DIVISIONS OF THE NAVAL SERVICE.