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RISS 인기검색어
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- 발행기관 : Peabody Institute of the Johns Hopkins University (검색결과 6 건)
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Radloff, Nancy Saultz Peabody Institute of the Johns Hopkins University 2003 해외박사(DDOD)
This dissertation examines the role of the organ in the Anglican/Episcopal Church in America before 1830. It presents the musical practices in the English church and discusses how those practices were adopted and adapted by the colonial churches. Case studies of Christ Church and St. Peter's Church, Philadelphia, King's Chapel, Boston, and St. Philip's Church and St. Michael's Church, Charleston, include details about the musicians, instruments, and traditions of these parishes and illustrate the circumstances faced by parishes in different political and economic environments. The Philadelphia parishes, located in a city known for its independent spirit, flourished without a close connection to England and became self-generating. They tended to employ local organists rather than hiring musicians in England and bringing them to America. They also purchased organs locally rather than importing them. King's Chapel, Boston, struggled to maintain a music program during the colonial period. Resources were scarce, because Massachusetts gave political establishment to the Congregational rather than the Anglican church. St. Philip's and St. Michael's, Charleston, unlike the other parishes presented in this study, enjoyed all the benefits of political establishment. Colonial Charleston was closely tied to England. Church leaders during the colonial period imported English instruments, hired their organists in England, and duplicated the parish music programs of provincial English towns. This study also discusses organ repertory and how the organ was used in American churches during both the colonial and Federal periods. It presents the rubrics and traditions of the American Anglican/Episcopal church as documented in church records, personal letters, and musical anthologies. This information is tied to repertory, instrument specifications, and performance practices to present the story of what became the musical traditions of the American Episcopal church.
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The exotic rhythms of Don Ellis
Fenlon, Sean Patrick Peabody Institute of the Johns Hopkins University 2002 해외박사(DDOD)
This dissertation examines the rhythmic innovations of jazz musician and composer Don Ellis (1934–1978), both in Ellis's theory and in his musical practice. It begins with a brief biographical overview of Ellis and his musical development. It then explores the historical development of jazz rhythms and meters, with special attention to Dave Brubeck and Stan Kenton, Ellis's predecessors in the use of “exotic” rhythms. Three documents that Ellis wrote about his rhythmic theories are analyzed: “An Introduction to Indian Music for the Jazz Musician” (1965), <italic> The New Rhythm Book</italic> (1972), and <italic>Rhythm</italic> (c. 1973). Based on these sources a general framework is proposed that encompasses Ellis's important concepts and innovations in rhythms. This framework is applied in a narrative analysis of “Strawberry Soup” (1971), one of Don Ellis's most rhythmically-complex and also most-popular compositions.
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Wetherbee, Sarah Maude Peabody Institute of the Johns Hopkins University 2002 해외박사(DDOD)
In this dissertation I examine oboist Marcel Tabuteau's contribution to twentieth-century performance practice in the United States through his teaching at the Curtis Institute of Music and performing as principal oboist in the Philadelphia Orchestra. Tabuteau began his career with the Orchestra in 1915, and started teaching at the Curtis Institute in 1924. He worked at both organizations until his retirement in 1954. During this time Tabuteau established his musical legacy as both the founder of the American school of oboe playing and a progenitor of the Philadelphia school of woodwind style. It is not widely known, however, that he influenced and enriched American string playing as well. The primary aim of this paper is to document Tabuteau's influence on string performance and pedagogy and provide a written record of information that heretofore was available only through oral tradition. In addition, I examine the relationship between Tabuteau's French training, the teaching and performing style he developed in the United States, and administrative policies at the Curtis Institute of Music that enabled an oboist to make an invaluable contribution to string performance practice.
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