![]() 81 APPENDICES Appendix One: Letter of Invitation.84 Appendix Two: Cover Letter. RESPONDENTS’ BOWING AND FINGERING SUGGESTIONS. 57 Rhythm.59 Practice Techniques and Strategies. 10 Thematic and Structural Analysis, Précis. 2 Limitations of the Study.4 Context and Development of Barber’s Compositional Style. Gerald Fischbach, Gregory Fulkerson, Debbie Haferkamp, Sidney Harth, Jacques Israelievitch, Joseph Kaminsky, John Kendall, Bayla Keyes, Sherry Kloss, Curtis Macomber, Adele Maxfield, Vera McCoy-Sullentic, Elmar Oliveira, Doris Preucil, William Preucil, Manuel Ramos, Joseph Silverstein, Andrew Sords, Roman Totenberg, Almita Vamos, and Roland Vamos. I would like to give a special thanks to the survey participants for their time and energy: Clarisse Atcherson, Barbara Barber, Rachel Barton-Pine, Ronda Cole, Dr. James Richards, Betsy Rose, and especially my parents. I would also like to thank Vera Parkins, Winnie Sullivan, Edward Dolbashian, Dr. for allowing me to use the excerpts in this dissertation (see Appendix Five for a copy of G. ![]() 14Ī DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTSīALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2009Ĭopyright © 2009 by Jessica Kinzie Hunter Platt All rights reserved A METHODOLOGY OF STUDY FOR SAMUEL BARBER’S CONCERTO FOR VIOLIN AND ORCHESTRA OP.
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