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Dissertations / Theses on the topic 'Music – california – history and criticism'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

Hilliard, Howard (Howard Louis). "The History of Horn Playing in Los Angeles from 1920 to 1970 : a Lecture Recital, Together With Three Recitals of Selected Works for Horn by M. Haydn, Franz, Britten, Mozart, Koetsier, Hindemith, Herzogenberg, Rossini, Stevens and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc1038828/.

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The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonic. This study details the introduction of soundtracks, the early studio orchestras, the contract studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonic and the studios, major figures from the subsequent freelance period such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club

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2

Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music." Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.

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555 pages<br>This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date h

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3

Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists

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4

Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.

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5

Brownlee, Jane. "The Transmission of Traditional Fiddle Music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.

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Brownlee, Jane. "The transmission of traditional fiddle music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.

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7

Stewart, Shawna Lynn. "Charles C. Hirt at the University of Southern California| Significant contributions and an enduring legacy." Thesis, University of Southern California, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564029.

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<p> Dr. Charles Hirt and the Department of Church and Choral Music at the University of Southern California (USC) produced some of America's most successful choral conductors and administrators. Many of those students are conducting or administrating at the finest colleges and universities, secondary schools, churches, and community choral organizations in the nation. From the earliest moments of his career, Charles Hirt himself received a seemingly endless string of accolades. Always focused on the betterment and future of the choral arts, he was a "founding father" of significant choral orga

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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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9

Sarmast, Ahmad Naser. "A survey of the history of music in Afghanistan, from ancient times to 2000 A.D., with special reference to art music from c.1000 A.D." Monash University, School of Music-Conservatorium, 2004. http://arrow.monash.edu.au/hdl/1959.1/9685.

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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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11

Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

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12

Willett, Toby T. "California as Music to American Ears: Migration, Technology, and Rock and Roll in the Golden State, 1946-2000." DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/264.

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Migrations and technological advances in California following World War II, spurred radical changes in the production and development of popular music, most notably rock and roll. California largely lacked the entrenched traditions of the American Northeast, and in many ways its exploding population translated into the growth of a culture built around embracing newer methodologies, whether technological innovations or radical artistic departures. In large part owing to its increasing ethnic diversity during the economic expansion, California was uniquely poised to become a center of incredibl

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13

Schmitz, Michael David. "Oriental influences in the piano music of Claude Achille Debussy." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187118.

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This paper explores the influences of Vietnamese and Indonesian music in the piano compositions of Claude Debussy. A brief background of Debussy's formative years and of pertinent social trends in Paris at the turn-of-the-century is provided. This paper then looks at two specific musical events that affected the way Debussy composed for the piano: the Javanese and Annamite exhibits at the Exposition Universelles de 1889 and 1900 in Paris. The musical styles and timbres of these two countries are explored, backed up by accounts of what Debussy actually experienced at the Expositions. Following

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14

Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.

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Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discurs

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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.

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16

Chapman, Christopher Adam 1964. "Regional traditions of Lao vocal music : lam siphandon and khap ngeum." Monash University, School of Music-Conservatorium, 2002. http://arrow.monash.edu.au/hdl/1959.1/7867.

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Peter, Timothy Layne. "Johann Mattheson's "Das Lied des Lammes": Progressive tendencies in the evangelist recitatives." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186414.

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This document examines the compositional style of Johann Mattheson's passion, Das Lied des Lammes. Specifically, this document will examine the stile recitativo of Italian opera seria in Hamburg during Mattheson's years at the Domkirche. Mattheson's ideas regarding the role of the recitative in his passions are verified in Mattheson's article entitled "Des fragenden Componist" (1724), which appeared in the fifth volume of his journal Critica Musica, thus giving clear evidence supporting a non-emotional approach with the evangelist recitatives. These new approaches found in Critica Musica, deri

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Matambo, Lotta Eleonoora. "The solo piano music of Einojuhani Rautavaara." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002311.

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Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part o

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19

Card, Patricia Pierce. "The influence of klezmer on twentieth-century solo and chamber concert music for clarinet with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others /." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/card%5Fpatricia/index.htm.

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Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.

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21

Burns, Kristine Helen. "The history and development of algorithms in music composition, 1957-1993." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902512.

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This dissertation traces the history and development of algorithms in musical composition from ca. 1957 to 1993 and attempts to clarify related terminology from the contexts of computer science, information science, and music theory and composition.The first of three sections begins with an extensive definition of the term algorithm. Because this term is relatively new to musical vocabulary, the definition appearing in this dissertation will include both musical and non-musical applications.Historically and currently, there are three major approaches to algorithmic composition with computers:

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22

Rhodes, Carol Shirley. "The dance of time: The evolution of the structural aesthetics of the prepared piano works of John Cage." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187153.

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John Cage, (1912-1992) pioneer in new music, innovator, inventor of the happening and philosopher, writer and artist was one of the most creative forces of the twentieth century. His earliest works were 25-tone contrapuntal compositions. He later developed a strong interest in writing for percussion ensembles and collected instruments that were both found and made. He conducted his own percussion orchestras and discovered that they were the answer to his philosophy of the sounds of the future. He considered percussion music the transition from keyboard-influenced music to music which allowed f

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CHINCOLI, Veronica. "Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s)." Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/62230.

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Defence date: 15 April 2019<br>Examining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo<br>This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainmen

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24

West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.

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25

Vendrix, Philippe Pierre 1964. "Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.

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L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.

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26

Ryan, Robin Ann 1946. ""A spiritual sound, a lonely sound" : leaf music of Southeastern aboriginal Australians, 1890s-1990s." Monash University, Dept. of Music, 1999. http://arrow.monash.edu.au/hdl/1959.1/8584.

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27

Smith, David John. "The instrumental music of Peter Philips : its sources, dissemination and style." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:d1af3140-2553-4f58-8437-a1eee66d7f13.

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There are fifty-one instrumental pieces by Philips, many of which occur in versions for ensemble, keyboard and lute. The sources have a wide geographical and chronological span. This research is based upon an extensive first-hand examination of the sources of Philips's instrumental music, and a detailed comparative study of the textual variants of each piece. The thesis divides into three parts. In the first, a biographical chapter relates Philips's instrumental music to the changing nature of his employment. Then the main sources of his instrumental music, the manuscripts copied by Francis Tr

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Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.

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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, <i>voix de ville</i>, dialogue, and <i>air de cour</i>. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including

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Johnston, Gregory Scott. "Protestant funeral music and rhetoric in seventeenth-century Germany : a musical-rhetorical examination of the printed sources." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27359.

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The present thesis is an investigation into the musical rhetoric of Protestant funeral music in seventeenth-century Germany. The study begins with an exposition on the present state of musicological inquiry into occasional music in the Baroque, focusing primarily on ad hoc funeral music. Because funeral music is not discussed in any of the basic music reference works, a cursory overview of existing critical studies is included. The survey of this literature is followed by a brief discussion of methodological obstacles and procedure with regard to the present study. Chapter Two comprises a gen

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Baquet, N. Eugene. "Blues Story: Narratives of Cultural Identity." Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/BaquetNE2006.pdf.

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31

Hausfeld, Gretchen Gayle. "The treatment of the bassoon in three chamber works of Igor Stravinsky." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186265.

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This document examines Stravinsky's treatment and use of the bassoon in three of his chamber works: L'Histoire du Soldat, Octet, and Septet. The research contained within will, in part, assess the extent to which Stravinsky has affected the development of the bassoon's role in a chamber ensemble, and will provide a general evaluation of his varied treatment of the bassoon in terms of technique, range, articulation, and ensemble. Another aspect of this study considers the possibility that Stravinsky wrote for the French system bassoon. A comparison of the two types of bassoon systems will demon

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Dube, Michelle Claire. "Prelude of Suite V for cello solo by J. S. Bach: Options for performance." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186392.

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There exists no autograph manuscript for the six suites for solo violoncello by J. S. Bach. Three manuscript copies of the suites by Anna Magdelena Bach, J. J. H. Westphal, and J. P. Kellner are available but vary in many aspects including pitches, slur markings, and scordatura tuning. These differences make it difficult for the cellist to determine what most accurately displays Bach' s intentions for performance. A version of Suite V for the lute survives in its original manuscript form by J. S. Bach. Although much of the version is not playable on the cello, due to the lute's many strings, s

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James, Douglas Goff. "Luigi Rinaldo Legnani: His life and position in European music of the early nineteenth century, with an annotated performance edition of selections from 36 Capricci per Tutti I Tuoni Maggiori E Minori, Opus 20." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186632.

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Luigi Legnani (1790-1877) was an important guitarist/composer of the early nineteenth century Italian Romantic school. In addition, he was also a highly skilled singer, violinist, and luthier. Legnani's guitar compositions represent the logical next step after Giuliani; fully evocative of the operatic vocal style characterized by Rossini, and technically adventurous in much the way Paganini's compositions were for the violin, although not to the same degree. His contributions to guitar literature form an important link in the chain of compositional and technical development during the nineteen

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34

Nercessian, Andy Hagop. "Marxism-Leninism, national identity, and the perception of Armenian music." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619554.

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35

Perry, Shirley Mercedes. "Selected Psalms, Old Verses and Spiritual Songs of the Canadian Doukhobors: Transcription and musical analysis." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185897.

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The purpose of this research was to select songs specific to the Doukhobor song repertoire which were not previously notated and to record, notate and analyze the melodies for use in music education. The first limitation of the study was to focus on the sacred repertoire which is comprised of three genre of song, namely the Psalms, the Old Verses and the Spiritual Songs. A comparison of the song titles of Old Verses and Spiritual Songs which are found in the two major Canadian Doukhobor song text collections was made with other Russian song text collections to determine a subset of songs uniqu

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36

Keightley, Keir. "The history and exegesis of pop : reading "All summer long"." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22458.

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The study of popular music has experienced an astonishing growth in the past two and a half decades; however, the detailed analysis of musical texts has lagged far behind other areas, such as the sociology of the youth audience and analysis of the visual components of music video. This thesis undertakes a survey of recent approaches to popular music at the textual level, before examining the construction of an individual song, the Beach Boys' 1964 recording of "All Summer Long". While many parameters affecting the creation of the cultural significance of the text in question are discussed, ult

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Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.

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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the develo

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Linekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.

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39

Kotze, Hanneli. "Agogiek in historiese perspektief met spesiale verwysing na die 18de eeu." Thesis, Stellenbosch : Stellenbosch University, 1987. http://hdl.handle.net/10019.1/65460.

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Thesis(M.Mus.) -- Stellenbosch University, 1987.<br>VOORWOORD Die twintigste eeu beleef 'n besondere belangstelling in die outentieke uitvoering van ou musiek en dit is 'n studieveld wat reeds uitgebreid nagevors is. Desondanks bestaan daar steeds baie vraagstukke aangaande sekere uitvoeringspraktyke en styltipes en hoe ouer die musiek, hoe meer problematies word 'n outentieke uitvoering, veral as gevolg van die groot verskille tussen die moderne en ou instrumente, die speeltegnieke en die dikwels ontoereikende notasie. Die teoriee wat die twintigste eeuse musici aangaande die uitvoering

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Hurley, Therese. "Jeanne d'Arc on the 1870s Musical Stage: Jules Barbier and Charles Gounod's Melodrama and Auguste Mermet's Opera." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12991.

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The purpose of this study is to examine the presentation of Joan of Arc's life in two lyric works, Jules Barbier and Charles Gounod's Jeanne d'Arc (1873) and Auguste Mermet's Jeanne d'Arc (1876), that premiered in Paris following the upheaval of the Franco-Prussian War and Paris Commune. Relying on Parisian journals of the day, I follow two trends: some critics called for a historically-informed presentation of Joan's life and others appealed to retain certain supernatural elements, specifically the Fairy Tree and the Voices, of Joan's story. In addition to these trends, I consider an article

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Stein, Eric 1973. ""Living right and being free" : country music and modern American conservatism." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21267.

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The rising popularity of country music in the United States since WWII is a cultural phenomenon intimately related to the ascendance of conservative values, leaders, and movements over the same period. By routinely celebrating themes like heterosexual love, the patriarchal nuclear family, hard work, individualism, freedom, patriotism, religion, and small-town life, country music provided the soundtrack for the insurgent conservatism of politicians like George Wallace, Richard Nixon, and Ronald Reagan. In the sixties and seventies, while other forms of popular music (rock, folk, soul) articulat

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McMahon, Orlene Denice. "Listening to the French new wave : the film music and composers of postwar French art cinema." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610716.

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Stafford, Andrew. "Pig city : from The Saints to Savage Garden." Thesis, Queensland University of Technology, 2004.

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She comes from Ireland, she's very beautiful I come from Brisbane, and I'm quite plain Pig City - The Go-Betweens, Lee Remick If popular music really is a universal language, it's curious how easily a song - even a commercially obscure one - can come to symbolise a city's identity. The stories of London, Liverpool, Manchester, Dunedin, Detroit, Memphis, Nashville, New York, New Orleans, San Francisco and Seattle are inextricably entwined with the music made there. Robert Forster, however, could never have imagined that his self-deprecating paean to an actress would become so fabled in h

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Broman, Per F. "Bengt Hambræus's notion of World Music : philosophical and aesthetical boundaries." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28042.

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The concept of World Music is important for the explanation of various twentieth-century musical phenomena but its application to virtually every genre of music creates an inevitable confusion. In the 1980s, World Music was a term useful for describing popular music in fusion with ethnic music. That fact has lead many to an association of the term exclusively with that new genre. In this study I define World Music in Western art-music---from an historical perspective as well as with regard to musical style, ideology, and aesthetics and give examples of various composers' approaches. In the ide

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Cheung, Kwok-hung Stephen, and 張國雄. "Traditional music and ethnicity : a study of Hakka shange." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195958.

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This research is an investigation into Hakka shange 客家山歌 (Hakka mountain songs) and their relationship with Hakka ethnicity, with principal discussions on the interplay between music making and ethnic/cultural identity in the Hakka populations. Hakka is a complex ethnic and cultural phenomenon which stepped into the limelight of history beginning in the 19th century. This study includes research into archival materials for an in-depth understanding of Hakka ethnicity and Hakka shange in the context of historical development, aiming to obtain new information/data and insights into historical da

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Powell, Steven. "Dread rites : an account of Rastafarian music and ritual process in popular culture." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55647.

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Bach, Edward Stanley. "A performance project on selected works of five contemporary composers : Malcolm Arnold, Robert Henderson, Stan Friedman, John Elmsley, Lucia Dlugoszweski." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32135.

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The principal objective of this dissertation is to discuss music for unaccompanied trumpet and trumpet and tape composed after 1965. The discussion of these works will emphasize a method of preparation for each work. New techniques and effects that modern-day trumpet players will need to master will be pursued with relationship to each composition under consideration. Each chapter is dedicated to one composition. The introductory chapter discusses the execution of difficult leaps which is one of the most common challenges in the majority of modern trumpet music. Technique books and general su

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Bhimani, Nazlin. "Kaikhosru Sorabji’s critical writings on British music in The New Age (1924-1934)." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25348.

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This thesis examines the music criticism of Kaikhosru Shapurji Sorabji (1892- ), a well known composer and music critic active in England from the early 1920s to the late 1940s. Although many authors have referred to Sorabji's music and criticism, neither has been treated in a substantive manner. The present study focuses on Sorabji's contributions to The New Age, a weekly journal, and particularly on his articles therein dealing with contemporary British composers. It is of interest that Sorabji's criticism deals with a vibrant period of music history, known as the English Renaissance. An ex

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Samball, Michael L. (Michael Loran). "The Influence of Jazz on French Solo Trombone Repertory." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.

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This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century

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Holman, Jones Stacy Linn 1966. "Music for torching." 2001. http://hdl.handle.net/2152/10542.

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