A Brief History Of Music

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568 (Completed as @ 31st July 2009) [email protected] Contents: 1. Introduction and History of Music 2. Aspects of Style 3. Dance Ethnology 4. Early 20th Century Music 5. Gender and Performance 6. Jazz Studies 7. Jazz, Film and Opera 8. Music Composition 9. Ethnicity in Music 10. Philosophical Skills The above contents are in accordance with the requirements as laid down by the University, as to what is to be contained within this dissertation, in addition to Chapters 1 and 9, in order to make the dissertation as comprehensive as possible.

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Preface Music is an ever evolving subject and activity that has different genres and types, not to mention the various applications of music to various situations, such as in enjoyment & entertainment (recreation), military applications, therapy (Herve comes to mind), and productivity in the work place. The purpose of this dissertation is to give the reader a perspective of music found and not found in the literature and other sources. I dedicate this dissertation to the faculty and personnel of Belford University for believing in my abilities and affording me the challenge of putting my knowledge, research and thoughts down onto paper.

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Chapter 1: Introduction and History of Music Music is the science and art of creating noise to form a pattern that can both be listened to and identified accordingly. Music can also be defined as the science of harmonically sounds; instrumental or vocal harmony (2) The discovery of music is approximately 50 000 years old (1), and early modern humans have believe it or not, migrated originally from Africa to all habitable continents throughout the world. It goes without saying that go anywhere in the world, music in some form or other is played, sung and performed. Meaning that even tribal people have their own system of music, and it goes with out saying that scientists and anthropologists have determined that music must have been present in the ancestral population, prior to the dispersal of the Homo sapiens (humans) throughout the world. It is interesting to note that even musical instruments especially the stringed instruments have been invented and constructed in different parts of the world with similar concepts and principles in design albeit it that the different parts of the world are unrelated to each other. (However Western influence no doubt changes all of that)! If Greek Legend is to be believed, it would have been a twang of a bowstring that made the god Apollo aware of the musical properties of a vibrating string. It is a man by the name of Jubal in the Holy Scriptures who invented the use of musical instruments. The ancient Egyptians and King David played with the harp. The lyre was also played by King David and his people. It is interesting that there is an illustration in Wade – Matthews, Max and Thompson, Wendy, Music an Illustrated Encyclopedia of musical instruments and the great composers, 2004, Lorenz Books, show an illustration of a Romanian child playing the gardon a relation of cello. Which just goes to demonstrate that right throughout the world the people of every country have designed their own kind of indigenous instruments, being percussion, wood winds and string instruments. With the crossing of the oceans of the world, the colonizing of other lands by predominantly Western Kingdoms, there has been a transplanting of music into colonies; slaves developing their own kind of music in new lands, indigenous peoples developed their own kinds of music and the development of the different genres of music as well. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Below are illustrations taken from Waldo S Pratt’s book on the “History of Music’, 1907 and other sources, which illustrates the types of stringed instruments that have in times gone by been used, not to mention how they differ.

Figure 1: Examples of very old stringed instruments

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Figure 2: Modern day stringed instruments with drums and a saxophone

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Figure 3: Japanese Stringed instruments A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Figure 4: Japanese Kotos

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Figure 5: Indian stringed instruments A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Figure 6: Middle Eastern Stringed Instruments

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Figure 7: Persian Guitar

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Figure 8: Modern Day Violin taken from Darren Hendley’s History of Classical Music The above illustrations are but an example of stringed instruments that have been constructed right throughout the world. It is interesting how mankind has developed instruments unrelated from country to country. Contrasting old instruments with new instruments. Music was started with the cavemen who developed hunting instruments, and what any animal with horns was hunted down, the horns hollowed out by the primitive men, and made into musical instruments. The Shofar or rams horn, developed by the Jews for religious service, which is still in use today during the Rosh Hashanah festival in synagogues right throughout the world. The ancient Chinese had their system of music many thousands of years ago, if the above illustrations stringed and related instruments are anything to go by. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Music is one of the oldest of arts, in which mankind began ato sing as soon as language was formed and developed, which according to some sources occurred approximately 10,000 BC as hunting tools (mentioned supra) were produced, which led to the development of musical instruments such as a rams horn. However according to Britten, B and Holst, “The Wonderful World of Music”, 1958, Macdonald: London, it has not been established how long ago music was first used or invented. Also in Russell, J, “A History of Music”, 1957, George G. Harrap & Co. Ltd, no mention is made as to the origins of music. In Wise, P and Van der Spuy, M, “Musical History and General Knowledge of Music, (year of publication unknown), Nassou Beperk, and music were developed by two ancient civilizations, being the Greeks and the Jews, and crediting Jubal, Miriam, Deborah and King David (with his harp) and Elijah (with his minstrel). The ancient Egyptians also long before King David, Jubal, etc. had developed and used harps as being the instruments of choice. According to Pratt, W S, “The History of Music”, 1907, New York, G. Schirmer, the ancient Egyptians are mentioned with the use of musical instrumentation. See illustrations infra. However according to Fry, P S, “The Wonderful Story of the Jews”, © 1970, Purnell, London, credits David as the first person to use musical instrumentation such as the harp, whilst another source credits Jubal with the first use of musical instrumentation. Harps and lyres would be the instruments of choice. The overriding perspective from a Western Judeo – Christian perspective, David must be regarded as the first person to have made use of musical instrumentation, although others such as the ancient Chinese and Japanese had developed musical instruments long before David or his associates such as Jubal did. The Romans also had their system of music, for example according to Richard Fawkes in his History of Classical Music, Naxos, makes mention that the Romans used the organ and played this instrument whilst they were feeding Christians to the lions in the stadiums of Rome.

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Figure 9: Harp that was used in ancient Egypt Now to proceed to the start of classical music, for which one must now take a good look at the Middle Ages right through to the Renaissance in music, and bear in mind that Pope Gregory in about 660 AD had musicians put down his religious music to paper, round A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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about the same time he was sending missionaries to England to win the English over to Christianity. It must not be forgotten that Christianity was adopted as official religion of the Roman Empire; the Roman Catholic Church is what comes to mind. The first person to compose classical music was a nun by the name of Hildegard of Bingen (1098 – 1179), who founded her own convent, wrote scientific and religious papers and composed plainsong settings to her own poetry, and her major works were Ordo Virtutum and Symphonia Armonie Celestium Revelationum. A feat for a woman in a time when women were not permitted in Church, or were not to be seen or heard. If one listens to her music, it sounds more tuneful then the Gregorian Chants. Below are lists obtained from the Internet from a website called www.classiccat.net and it is interesting to note that that website lists Wipo of Burgundy as the first composer. - 1500top 995 Burgundy, Wipo of (1,2) 1098 Bingen, Hildegard von (3,3) 1170 Vogelweide, Walther von der (1,1) 1250 Codax, Martin (2,2) 1300 Machaut, Guillaume de (1,1) 1320 Firenze, Lorenzo da (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1375 Power, Leonel (1,1) 1400 Dufay, Guillaume (1,1) 1410 Ockeghem, Johannes (1,1) 1450 Isaac, Heinrich (2,2) Pres, Josquin des (4,5) 1459 Mouton, Jean (1,1) 1465 Cornysh, William (1,1) 1468 Encina, Juan del (4,5) 1470 Tromboncino, Bartolomeo (2,2) 1474 Capirola, Vincenzo (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1475 Silva, Andreas De (1,1) 1480 Dalza, Joan Ambrosio (1,1) 1483 Mantua, Jacquet de (1,1) 1485 Willaert, Adrian (2,2) Janequin, Clément (4,4) Spinacino, Francesco (1,1) 1486 Senfl, Ludwig (2,2) 1490 Sermisy, Claudin de (3,4) 1491 Tudor, King Henry VIII (1,1) 1494 Attaingnant, Pierre (2,2) 1495 Narváez, Luys de (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Taverner, John (2,2) There have been numerous people and bodies that have composed music and also performed music both secular and religious, such as the trouveres of Northern France and the troubadours of Southern France, the Minnesingers of Germany and the minstrels. We are still at the medieval period, and now will migrate to the Baroque Era, with the following names listed infra. 1500 - 1600top 1500 Morales, Cristóbal de (2,3) Susato, Tielman (1,1) Passereau, Pierre (1,4) Milan, Luis de (6,7) Valderrabano, Enriquez de (1,1) 1504 Arcadelt, Jacob (3,5) 1505 Tallis, Thomas (7,10) 1507 Bakfark, Bálint (1,1) 1508 Mudarra, Alonso (3,3) 1510 Clemens non Papa, Jacobus (1,2) Nola, Giovanni Domenico da A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(1,1) Certon, Pierre (1,2) 1515 Escobedo, Bartolomé de (1,1) Gabrieli, Andrea (1,1) 1517 Scandello, Antonio (1,1) 1520 Animuccia, Giovanni (1,1) Szamotulski, Waclaw (1,1) Arbeau, Thoinot (1,1) 1525 Palestrina, Giovanni Pierluigi da (23,35) Ortiz, Diego (3,4) Galilei, Vincenzo (1,1) Fuenllana, Miguel de (4,8) 1528 Jeune, Claude le (1,1) Guerrero, Francisco (3,3) 1530 Farrant, Richard (1,1) Donato, Baldassare (1,1) Azzaiolo, Filippo (3,3) 1531 A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Costeley, Guillaume (1,1) 1532 Lasso, Orlando di (9,11) 1535 Gomólka, Mikolaj (1,1) 1540 Utendal, Alexander (1,1) Johnson, John (4,4) 1543 Byrd, William (8,15) 1545 Caccini, Giulio (4,8) 1548 Victoria, Tomás Luis de (25,79) 1550 Holborne,, Anthony (2,2) Gastoldi, Giovanni Giacomo (4,4) Gallus, Jacobus (3,3) Vecchi, Orazio (1,1) 1553 Eccard, Johannes A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(1,1) 1554 Bevin, Elway (1,1) 1555 Lobo, Alonso (1,1) 1556 Gabrieli, Giovanni (5,5) Nenna, Pomponio (1,1) 1557 Morley, Thomas (7,11) 1558 Richardson, Ferdinando (2,2) 1560 Viadana, Lodovico (3,5) 1561 Gesualdo, Carlo (2,3) Philips, Peter (1,1) 1562 Bull, John (1,1) Sweelinck, Jan Pieterszoon (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1563 Dowland, John (20,25) 1564 Hassler, Hans Leo (3,4) 1565 Pilkington, Francis (2,2) Aichinger, Gregor (1,1) 1566 Piccinini, Alessandro (1,2) 1567 Campion, Thomas (2,2) Monteverdi, Claudio (13,20) 1568 Banchieri, Adriano (4,4) 1570 Molinaro, Simone (1,1) 1571 Fontana, Giovanni Battista (1,1) Praetorius, Michael (5,6)

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1574 Wilbye, John (1,1) 1575 Kapsberger, Johannes Hieronymus (4,6) 1576 Weelkes, Thomas (3,3) 1580 Johnson, Robert (1,1) 1582 Ravenscroft, Thomas (1,1) Allegri, Gregorio (1,1) Jeep, Johannes (1,2) 1583 Gibbons, Orlando (4,4) Frescobaldi, Girolamo (14,15) 1584 Friderici, Daniel (1,1) 1585 Schütz, Heinrich (26,34) 1586 Falconieri, Andrea (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Schein, Johann Hermann (3,3) 1587 Scheidt, Samuel (2,2) 1588 Robinson, Thomas (3,3) 1590 Eyck, Jacob van (1,1) 1595 Scheidemann, Heinrich (2,2) Merula, Tarquinio (1,1) 1597 Marini, Biagio (3,3) 1598 Bertoli, Giovanni Antonio (1,1) 1600 - 1700top 1603 Uccellini, Marco (1,1) 1604 Albert, Heinrich (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1605 Carissimi, Giacomo (4,5) 1611 Hammerschmidt, Andreas (1,2) Bruna, Pablo (1,2) 1615 Corbetta, Francesco (1,1) 1616 Froberger, Johann Jakob (1,1) 1620 Noordt, Anthoni van (1,1) 1625 Gallot, Jacques (1,1) 1626 Couperin, Louis (4,4) Legrenzi, Giovanni (2,2) 1627 Kerll, Johann Kaspar (1,1) 1632 Lully, Jean-Baptiste (3,3) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1637 Storace, Bernardo (1,1) Buxtehude, Dietrich (9,12) Pasquini, Bernardo (1,1) 1639 Melani, Alessandro (1,1) 1640 Sanz, Gaspar (15,20) 1644 Biber, Heinrich I.F. von (1,1) Cabanilles, Joan Baptista (1,1) Stradella, Alessandro (1,1) 1645 Charpentier, Marc-Antoine (7,7) 1650 Visée, Robert de (5,5) Raison, André (1,1) 1653 Corelli, Arcangelo (3,4) Muffat, Georg (2,2) Pachelbel, Johann (11,21) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1654 Roncalli, Ludovico (2,2) 1656 Marais, Marin (2,2) 1659 Jacquet de La Guerre, Elisabeth (1,1) Purcell, Henry (21,31) 1660 Fischer, Johann Caspar Ferdinand (1,1) Kuhnau, Johann (1,1) Scarlatti, Alessandro (2,3) 1667 Lotti, Antonio (4,5) 1668 Couperin, François (5,5) 1670 Caldara, Antonio (2,4) Kellner, David (4,5) O'Carolan, Turlough (1,1) 1671 Albinoni, Tomaso (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1673 Clarke, Jeremiah (1,4) 1674 Zamboni, Giovanni (1,1) 1675 Bencini, Pietro Paolo (1,1) 1677 Bach, Johnann Ludwig (1,1) Clari, Giovanni Carlo Maria (1,1) 1678 Vivaldi, Antonio (23,30) 1679 Kaufmann, Georg Friedrich (1,1) Zelenka, Jan Dismas (1,1) 1681 Telemann, Georg Philipp (17,18) 1682 Rathgeber, Valentin (1,1) 1683 Heinichen, Johann David (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Rameau, Jean-Philippe (3,4) 1684 Cernohorský, Bohuslav Matej (1,1) Walther, Johann Gottfried (1,1) 1685 Handel, George Frideric (37,67) Bach, Johann Sebastian (242,521) Scarlatti, Domenico (71,107) 1686 Marcello, Benedetto (3,3) Porpora, Nicola (1,1) Weiss, Silvius Leopold (3,4) 1688 Fasch, Johann Friedrich (2,2) 1690 Brescianello, Guiseppe Antonio (1,1) Stölzel, Gottfried Heinrich (1,1) 1692 Tartini, Giuseppe (1,1) 1693 Sammartini, Giuseppe A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(1,1) Werner, Gregor Joseph (1,1) 1694 Daquin, Louis-Claude (1,1) 1695 Locatelli, Pietro (1,1) 1696 Liguori, Alphonsus (2,2) 1697 Leclair, Jean-Marie (1,1) 1698 Broschi, Riccardo (1,1) Now we must proceed to migrate from the Baroque Era into the Classical period, as follows: 1700 - 1800top 1700 Blavet, Michel (1,1) 1706 Martini, Giovanni Battista (2,2) 1708 Kopriva, Václav Jan A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(1,1) 1709 Corrette, Michel (2,2) 1710 Pergolesi, Giovanni Battista (5,12) Bach, Wilhelm Friedemann (1,1) 1711 Boyce, William (1,1) 1712 Stanley, John (3,3) 1713 Krebs, Johann Ludwig (3,3) 1714 Homilius, Gottfried August (1,1) Bach, Carl Philipp Emanuel (4,5) Gluck, Christoph Willibald von (4,8) 1715 Wagenseil, Georg Christoph (1,1) 1717 A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Stamitz, Johann (2,2) 1719 Mozart, Leopold (1,1) 1729 Soler, Antonio (1,1) 1731 Dusek, Frantisek Xaver (1,1) 1732 Haydn, Franz Joseph (44,64) 1733 Giordani, Tommaso (1,5) 1735 Bach, Johan Christian (2,2) 1736 Albrechtsberger, Johann Georg (3,3) 1737 Haydn, Johann Michael (4,4) 1739 Dittersdorf, Karl Ditters von A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(3,3) 1740 Paisiello, Giovanni (1,1) 1743 Boccherini, Luigi (5,5) 1746 Billings, William (4,5) 1747 Kozeluh, Leopold (2,2) 1749 Cimarosa, Domenico (8,8) 1751 Bortnyansky, Dmitry (1,2) 1752 Clementi, Muzio (9,11) 1754 Hoffmeister, Franz Anton (1,1) 1756 Mozart, Wolfgang Amadeus (129,263|2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1757 Pleyel, Ignaz (2,2) 1759 Paradis, Maria Theresia von (1,1) 1760 Dussek, Jan Ladislav (3,3) Cherubini, Luigi (1,1) 1761 Gaveaux, Pierre (1,1) 1763 Danzi, Franz (2,2) 1765 Eybler, Joseph Leopold (1,1) 1767 Gragnani, Filippo (1,1) 1768 Jadin, Louis-Emmanuel (1,1) 1770 Carulli, Ferdinando (5,5) Rinck, Johann Christian Heinrich A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(1,1) Reicha, Anton (4,4) Beethoven, Ludwig van (125,299) 1774 Spontini, Gaspare (1,1) 1778 Sor, Fernando (23,31) Neukomm, Sigismund von (1,1) Hummel, Johann Nepomuk (2,2) 1781 Giuliani, Mauro (7,9) Diabelli, Anton (1,1) 1782 Field, John (5,7) Paganini, Niccolò (4,9|1) 1784 Spohr, Louis (2,4|1) Aguado, Dionisio (1,1) 1786 Kuhlau, Friedrich (2,2) Weber, Carl Maria von (7,8) 1787 A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Gruber, Franz (1,4) 1788 Sechter, Simon (2,2) 1789 Bochsa, Nicholas Charles (1,1) 1790 Legnani, Luigi (1,1) 1791 Hérold, Ferdinand (1,1) Czerny, Carl (1,1) Mozart, Franz Xaver Wolfgang (1,1) Meyerbeer, Giacomo (3,4) 1792 Carcassi, Matteo (3,4) Rossini, Gioachino (14,24) 1796 Berwald, Franz (1,1) 1797 Schubert, Franz (68,154|1) Donizetti, Gaetano (6,9) 1798 A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Lvov, Alexis (1,1) What about Franz Xaver Mozart the son of Wolfgang Amedeus Mozart, who was Mozart’s last child and lived until approximately 1850, who himself composed two piano concertos for example. We now migrate to the Romantic Era, which can be regarded as Drama and Poetry in Music, and the composers listed infra are as follows:

1800 - 1850top 1801 Kalliwoda, Johann Wenzel (1,1) Bellini, Vincenzo (12,14) 1803 Adam, Adolphe (2,2) Berlioz, Hector (10,20) 1804 Strauss, Johann (sr.) (3,4) Glinka, Mikhael (5,10) 1805 Saint-Lubin, Léon de (1,1) Gauntlett, Henry John (1,2) 1806 Coste, Napoléon (2,3) Mertz, Johann Kaspar A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(4,5) Burgmüller, Johann (1,2) 1809 Mendelssohn-Bartholdy, Felix (43,83) 1810 Baermann, Carl sr. (1,1) Chopin, Frédéric (94,436|1) Schumann, Robert (58,131) 1811 Thomas, Ambroise (1,1) Liszt, Franz (74,182) 1813 Wagner, Richard (11,32) Verdi, Giuseppe (19,66) Alkan, Charles Valentin (8,10) 1814 Walmisley, Thomas Attwood (1,1) 1818 Gounod, Charles (9,23|1) 1819 Suppé, Franz von (2,2) Offenbach, Jacques A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(2,4) 1821 Doppler, Franz (1,1) 1822 Franck, César (11,17) 1823 Lalo, Édouard (2,3) Kirchner, Theodor (1,1) 1824 Smetana, Bedrich (2,3) Reinecke, Carl (2,2) Goltermann, Georg (1,1) Bruckner, Anton (13,23) 1825 Strauss, Johann (jr) (10,12) 1826 Lowry, Robert (1,2) Foster, Stephen Collins (1,1) 1829 Gottschalk, Louis Moreau (1,1) Rubinstein, Anton (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Josef Joachim (1831 to 1905) 1832 Genin, Paul Agricole (1,1) 1833 Brahms, Johannes (85,220) Borodin, Alexander (2,2) 1835 Rubinstein, Nikolai (1,1) Wieniawski, Henryk (4,4) Saint-Saëns, Camille (18,28) 1836 Delibes, Leo (3,4) Gomes, Antônio Carlos (1,1) 1837 Balakirev, Mily Alexeyevich (4,7) Guilmant, Alexandre (4,4) Dubois, Théodore (2,2) 1838 Bruch, Max (3,5) Bizet, Georges (6,17) 1839 Rheinberger, Joseph (3,3) Mussorgsky, Modest (5,13) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1840 Tchaikovsky, Pyotr Ilyich (33,72) Goetz, Hermann (1,1)

1841 Chabrier, Emmanuel (1,1) Pedrell, Felipe (1,1) Dvořák, Antonín (35,51) Tausig, Carl (2,2) 1842 Audran, Edmond (1,1) Massenet, Jules (4,7) Sullivan, Arthur (5,8) Pasculli, Antonio (1,1) 1843 Ziehrer, Carl Michael (1,1) Grieg, Edvard (31,81| 1) Popper, David (2,2) 1844 Widor, Charles-Marie (3,4) Sarasate, Pablo de (3,4) Rimsky-Korsakov, Nikolai (7,10) Gigout, Eugène (2,3) Taffanel, Paul (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Nietzsche, Friedrich (11,11) 1845 Fauré, Gabriel (26,45) 1846 Denza, Luigi (1,1) Tosti, Francesco Paolo (12,16) Strauss, Richard (30,36) 1847 Klughardt, August (1,1) 1848 Duparc, Henri (5,7) Parry, Hubert (1,2) 1849 Godard, Benjamin (1,1) Then we list composers from the Romantic Era to the Late Romantic Period and then post Romantic Period to Early 20th Century into modern music, with belive it or not, the element of Jazz and Ragtime music being factored in, the composers listed infra are as follows: 1850 - 1900top 1850 Scharwenka, Frans Xaver (1,1) 1851 Indy, Vincent d' A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(1,1) 1852 Stanford, Charles Villiers (2,5) Tárrega, Francisco (23,34) 1853 Messager, André (2,2) 1854 Catalani, Alfredo (1,1) Janacek, Leos (6,10) Moszkowski, Moritz (6,10) Giménez, Gerónimo (1,1) Sousa, John Philip (29,33) 1855 Chausson, Ernest (2,2) Liadov, Anatol (10,10) 1856 Sinding, Christian (1,1) 1857 Leoncavallo, Ruggero (2,4) Bagley, Edwin Eugene (1,1) Elgar, Edward (11,15) Chaminade, Cécile (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1858 Goens, Daniel van (1,1) Puccini, Giacomo (11,47) 1859 Ippolitov-Ivanov, Mikhail (2,2) Foerster, Josef Bohuslav (1,1) 1860 Wolf, Hugo (11,20) Albéniz, Isaac (10,24) Mahler, Gustav (8,18) Paderewski, Ignacy Jan (3,3) 1861 Catoire, Georges (3,4) Arensky, Anton (1,2) Macdowell, Edward Alexander (3,8) 1862 Delius, Frederick (1,1) Emmanuel, Maurice (1,1) Zimmerman, Charles A. (1,1) Debussy, Claude (40,112|1) Boëllmann, Léon (1,3) 1863 Nazareth, Ernesto (60,62) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Siloti, Alexander (13,16|1) Mascagni, Pietro (3,4) Calace, Raphael (4,4) 1864 Lauber, Joseph (1,1) Gretchaninoff, Alexander (1,1) 1865 Magnard, Albéric (2,2) Nielsen, Carl (4,4) Dukas, Paul (3,3) Sibelius, Jean (7,7) Eugene D’Albert 1866 Manjon, Antonio Jimenez (1,1) Kalinnikov, Vasily (1,1) Busoni, Ferruccio (15,25) Satie, Eric (14,24) Cilea, Francesco (2,3) 1867 Peterson-Berger, Wilhelm (1,1) Granados, Enrique (23,31) Beach, Amy (1,1) 1868 Joplin, Scott (38,69) 1870 Godowsky, Leopold A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(6,10) Lehár, Franz (1,1) Stojowski, Zygmunt (1,1) Pryor, Arthur (2,2) Vierne, Louis (2,2) 1871 Christiansen, F. Melius (1,1) Zemlinsky, Alexander von (1,1) 1872 Malats, Joaquin (1,1) Scriabin, Alexander (37,80) Büsser, Henri-Paul (1,1) Borowski, Felix (1,1) Vasilenko, Sergei (1,1) Alfvén, Hugo (1,1) Vaughan Williams, Ralph (15,17) 1873 Reger, Max (6,6) Rachmaninov, Sergei (32,136) Roger-Ducasse, Jean (1,1) Serrano, José (1,1) Rabaud, Henri (1,1) Handy, William Christopher (1,1) Jongen, Joseph (1,1) 1874 Cardillo, Salvatore (1,2) Schönberg, Arnold (8,10) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Holst, Gustav von (7,11) Ives, Charles (5,5) 1875 Gliere, Reinhold (1,1) Kreisler, Fritz (4,4) Ravel, Maurice (22,68) Ketèlbey, Albert (6,6) Hahn, Reynaldo (4,5) Coleridge-Taylor, Samuel (1,1) Curtis, Ernesto de (2,3) 1876 Wolf-Ferrari, Ermanno (3,5) Falla, Manuel de (8,18| 1) Casals, Pablo (1,1) 1877 Tchesnokov, Pavel (2,3) Bortkiewicz, Serge (5,7) Dohnányi, Ernst von (1,1) Karg-Elert, Sigfrid (3,5) Leontovych, Mykola (1,1) 1878 Palmgren, Selim (2,2) Llobet, Miguel (1,1) Caplet, André (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1879 Donaudy, Stefano (1,1) Bridge, Frank (1,1) Grovlez, Gabriel (1,1) Tournier, Marcel (1,1) Respighi, Ottorino (11,14) Sagreras, Julio Salvador (4,5) 1880 Medtner, Nikolai (5,6) Bloch, Ernest (2,2) Willan, Healey (2,3) 1881 Bartók, Béla (19,24) Enescu, George (2,2) López Buchardo, Carlos (1,1) Fillmore, Henry (2,2) Cadman, Charles Wakefield (1,1) 1882 Stravinsky, Igor (11,19) Grainger, Percy (8,9) Hurum, Alf (1,1) Szymanowski, Karol (4,8) Ponce, Manuel (5,5) Turina, Joaquín (5,6) Kodály, Zoltán (3,3) 1883 Casella, Alfredo (1,1) Pernambuco, João (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Webern, Anton (3,5) 1884 Texidor, Jaime (1,1) 1885 Kern, Jerome (3,3) Berg, Alban (6,11) Scott, James (2,2) Barrios, Agustín (9,15) 1886 Pujol, Emilio (1,1) Schoeck, Othmar (1,1) Guridi, Jesús (1,1) 1887 Villa-Lobos, Heitor (18,26) Eller, Heino (1,1) Romberg, Sigmund (2,3) Lamb, Joseph (1,1) Gardel, Carlos (1,1) 1888 Berlin, Irving (3,4) 1889 Dinicu, Grigoras (1,3) 1890 Murray, Alan (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Petersen, Wilhelm (1,1) Gal, Hans (2,2) Gurney, Ivor (1,1) Martin, Frank (2,2) Morton, Jelly Roll (1,1) Martinu, Bohuslav (11,14) 1891 Stutschewsky, Joachim (1,1) King, Karl (3,3) Moreno-Torroba, Federico (6,8) Prokofiev, Sergei (18,32) Porter, Cole (1,1) Grandjany, Marcel (1,1) 1892 Honegger, Arthur (4,4) Tailleferre, Germaine (1,1) Niles, John Jacob (1,1) Milhaud, Darius (5,6) Howells, Herbert (3,5) Hernández, Rafael (1,1) Guion, David Wendel (1,1) 1893 Segovia, Andrés (2,2) Mompou, Federico (6,6) Moore, Douglas (1,1) Wiechowicz, Stanislaw (1,1) Ornstein, Leo (23,31) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1894 Piston, Walter (2,2) Schulhoff, Erwin (1,1) Layton, Turner (1,1) Warlock, Peter (1,2) 1895 Brustad, Bjarne (1,1) Castelnuovo-Tedesco, Mario (1,1) Still, William Grant (1,1) Jacob, Gordon (2,3) Orff, Carl (1,7) Lecuona, Ernesto (7,11) Borovička, Antonín (1,1) Hindemith, Paul (14,16) Kempff, Wilhelm (3,6) 1896 Tansman, Alexandre (2,2) Szeligowski, Tadeusz (1,1) 1897 Obradors, Fernando (1,1) Cowell, Henry (3,3) Matos Rodriguez, Gerardo (1,2) Rocha Vianna, Alfredo da (2,2) Bernard, Felix (1,1) Korngold, Erich Wolfgang (1,1) Ben-Haim, Paul (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1898 Ullmann, Viktor (1,1) Eisler, Hanns (1,1) Gershwin, George (16,32) Youmans, Vincent (1,1) 1899 Poulenc, Francis (22,34) Vladigerov, Pancho (10,11) Thompson, Randall (4,6) Ellington, Edward Kennedy "Duke" (8,9) Young, Victor (1,1) Dawson, William Levi (5,6) Bardos, Lajos (2,3) Coward, Noel (1,1) 1900 - top 1900 Warren, Elinor Remick (9,9) Weill, Kurt (5,5|1) Krenek, Ernst (1,1) Marks, Gerald (1,2) Copland, Aaron (5,9) 1901 Apostel, Hans Erich (1,1) Loewe, Frederick (2,4) Crawford-Seeger, Ruth (1,1) Hairston, Jester (3,4) Finzi, Gerald (2,3) Work, John Wesley III (1,1) Rodrigo, Joaquin (4,5) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1902 Duruflé, Maurice (3,9) Kaper, Bronislau (2,2) Walton, William (1,2) Willson, Meredith (2,2) Fain, Sammy (1,1) Rodgers, Richard (8,12) 1903 Sainz de la Maza, Eduardo (2,2) Nyíregyházi, Ervin (1,1) Khachaturian, Aram (4,5) Barroso, Ary (1,1) Arrieu, Claude (1,1) Lavry, Marc (1,1) 1904 Dallapiccola, Luigi (2,2) Kabalevsky, Dmitri (5,6) 1905 Scelsi, Giacinto (1,1) Halffter, Ernesto (1,1) Arlen, Harold (1,2) Bozza, Eugène (2,2) Seiber, Matyas (1,1) Jolivet, André (1,1) Poston, Elisabeth (1,3) Styne, Jule (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1906 Karas, Anton (2,2) Biebl, Franz (1,6) Shostakovich, Dimitri (19,34) Jezek, Jaroslav (2,2) Cooke, Arnold (1,1) Fuga, Sandro (1,1) Ronell, Ann (1,1)

1907 Langlais, Jean (1,1) Wilder, Alec (1,1) Rozsa, Miklos (1,1) Saygun, Adnan (1,2) 1908 Distler, Hugo (1,1) Anderson, Leroy (5,5) Tveitt, Geirr (2,4) Stevens, Halsey (1,1) Messiaen, Olivier (8,8) Carter, Elliott (4,4) 1909 Genzmer, Harald (1,1) Litaize, Gaston (1,1) 1910 A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Barber, Samuel (14,22) Loesser, Frank (1,1) Schuman, William (1,1) Prima, Louis (1,2) Bowles, Paul (1,1) 1911 Alain, Jehan (1,1) Simeone, Harry (2,2) Menotti, Gian Carlo (2,2) Rota, Nino (4,4) 1912 Guastavino, Carlos (2,2) Françaix, Jean (6,6) Dahl, Ingolf (1,1) Cage, John (1,1) 1913 Lutoslawski, Witold (4,5) Etler, Alvin (2,2) Bettinelli, Bruno (1,1) Gould, Morton (3,3) Britten, Benjamin (7,10) 1914 Fine, Irving (1,1) 1915 Persichetti, Vincent (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1916 Estévez, Antonio (1,1) Halloran, Jack (1,1) Dutilleux, Henri (1,1) Ginastera, Alberto (5,10) Babbitt, Milton (1,1) Reis, Dilermando (1,1) Sancan, Pierre (1,2) 1917 Smith-Brindle, Reginald (4,4) Gardner, John (1,1) Lauro, Antonio (4,4) Monk, Thelonious (1,1) 1918 Bernstein, Leonard (6,12) 1919 Kirchner, Leon (2,2) Manz, Paul (1,1) Ustvolskaya, Galina (1,1) Nelhybel, Vaclav (5,5) Duarte, John W. (2,3) Young, Gordon (1,1) Klein, Gideon (1,1) 1920 Parker, Charlie (2,2) 1921 A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Ramirez, Ariel (4,7) Reed, Alfred (10,10) Piazzolla, Astor (15,20) Bergsma, William (1,1) Gold, Ernest (1,1) Adler, Richard (1,1) Nixon, Roger (2,2) Arnold, Malcolm (2,3)

1922 Walker, George (2,3) Bonfá, Luiz (1,1) 1923 Kalabis, Viktor (4,5) Williams, Clifton (2,3) Jones, Thad (2,2) Ligeti, György (7,9) Rorem, Ned (2,2) 1924 Nestico, Sammy (1,1) 1925 Parker, Alice (2,2) Mechem, Kirke (2,2) Somers, Harry (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Berio, Luciano (2,2) 1926 Feldman, Morton (1,1) Castérède, Jacques (1,1) Davis, Miles (1,1) Floyd, Carlisle (1,1) Smith, William O. (2,2) 1927 Jobim, Antonio Carlos (5,5) Kander, John (1,1) Diemer, Emma Lou (1,1) 1928 Lukáš, Zdeněk (2,2) Damase, Jean-Michel (1,1) Adler, Samuel (1,1) Tučapský, Antonín (1,1) Musgrave, Thea (1,1) Druckman, Jacob (1,1) Stockhausen, Karlheinz (1,1) Rautavaara, Einojuhani (1,1) Morricone, Ennio (1,1) 1929 Houdy, Pierick (1,1) Eben, Petr (1,1) Muczynski, Robert (2,2) Crumb, George (1,1) Farberman, Harold A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(1,1) Nelson, Ron (3,3) 1930 Dubois, Pierre Max (1,1) Sondheim, Stephen (1,1) Bolling, Claude (2,3) Gulda, Friedrich (1,1) Bart, Lionel (1,1) Świder, Józef (2,2) Beck, John Ness (2,2) 1931 Morel, Jorge (2,2) Ortolani, Riz (1,1) 1932 Spencer, Willametta (1,1) Williams, John T. (7,7) Schifrin, Lalo (1,1) Zawinul, Joe (1,1) Chance, John Barnes (1,1) 1933 Ichiyanagi, Toshi (1,1) Schafer, R. Murray (1,1) Penderecki, Krzysztof (1,1) Górecki, Henryk Mikolaj (1,1) 1934 Kelly, Bryan (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Curitiba, Henrique de (1,1) Schnittke, Alfred (1,1) 1935 Sheriff, Noam (1,1) Lorentzen, Bent (1,1) Ringger, Rolf Urs (2,2) Butterley, Nigel (1,1) Marzi, Bepi de (1,2) Schickele, Peter (1,1) Pärt, Arvo (3,3) Manzanero, Armando (1,1) 1936 Eröd, Iván (1,1) Reimann, Aribert (4,4) Bennett, Richard Rodney (1,1) Matarazzo, Maysa (1,1) 1937 Woolfenden, Guy (1,1) Grau, Alberto (1,1) 1938 Montaña, Gentil (1,1) Hemphill, Julius (3,3) Corigliano, John (1,1) Bolcom, William (6,8) Tower, Joan (2,2) Borgo, Elliot Del (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1939 Brouwer, Leo (3,4) McCabe, John (1,1) Jager, Robert E. (1,1) 1940 Hancock, Herbie (1,1) 1941 Gilardino, Angelo (1,1) Corea, Chick (2,2) 1942 Rainger, Ralph (1,1) Bantzer, Claus (1,1) 1943 Tcherepnin, Ivan (1,1) Lauridsen, Morten (6,8) Vangelis (2,2) Curnow, James (1,1) Maslanka, David (1,1) Edwards, Ross (1,1) 1944 Tavener, John (2,6) Jenkins, Karl (3,5) Biberian, Gilbert (1,1) Schönberg, Claude-Michel A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(1,2) Douglas, Bill (2,2) Thomas, Michael Tilson (1,1) 1945 Gregson, Edward (1,1) Lee, Thomas Oboe (1,1) Rutter, John (19,28) Rosner, Arnold (1,1) Holsinger, David (8,8) 1946 Wilson, Dana (3,3) Kuwahara, Yasuo (1,1) Cocciante, Richard (1,1) Boyd, Anne (1,1) Isaacson, Michael (1,1) 1947 Domeniconi, Carlo (1,1) Holmes, Rupert (1,1) Orbán, György (1,1) Pacchioni, Giorgio (1,1) 1948 Schwartz, Stephen (1,2) Webber, Andrew Lloyd (3,6) Berkeley, Michael (1,1) D'Rivera, Paquito (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1949 Busto, Javier (5,5) Wilby, Philip (1,1) Paulus, Stephen (1,1) Sirota, Robert (1,1) Gawthrop, Daniel E. (1,1) Ran, Shulamit (2,2) 1950 Kendrick, Graham (1,1) Aguiar, Ernani (1,2) Larsen, Libby (4,5) 1951 Sparke, Philip (1,1) 1952 Hyla, Lee (1,1) Assad, Sergio (2,2) 1953 Machado, Celso (1,1) Stroope, Z. Randall (4,5) Clausen, René (3,3) Mintzer, Bob (1,1) Meij, Johan de (4,6) 1954 Daugherty, Michael (2,3) Stamp, Jack (3,3) Camphouse, Mark (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Kuryokhin, Sergey (1,1) Vine, Carl (1,1) 1955 Chilcott, Robert "Bob" (4,4) Dyens, Roland (2,2) 1956 Danielpour, Richard (1,1) Roost, Jan Van der (2,2) 1957 Ellerby, Martin (1,2) Hogan, Moses (2,2) Melillo, Stephen (8,8) 1958 Ticheli, Frank (30,47) Smith, Robert W. (9,9) York, Andrew (5,5) 1959 Leek, Stephen (3,3) Uematsu, Nobuo (1,1) 1960 Kernis, Aaron Jay (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Larson, Jonathan (1,1) Swerts, Piet (1,1) Ito, Yasuhide (1,1) 1961 Liebermann, Lowell (1,1) 1962 Buchenberg, Wolfram (1,1) Hyldgaard, Søren (1,1) 1963 Mäntyjärvi, Jaakko (2,2) Basler, Paul (2,2) 1964 Kanno, Yoko (1,1) 1966 Ferran, Ferrer (1,1) Hazo, Samuel (4,6) Doss, Thomas (1,1) 1968 Hesketh, Kenneth (1,1) 1969 Wachner, Julian (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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1970 Whitacre, Eric (8,15) 1972 Mitsuda, Yasunori (3,3) 1973 Appermont, Bert (1,1) 1975 Dorman, Avner (1,1)

Chapter 2: Aspect of style. There has through the dawn of ages been different styles and genres of music from time immemorial to the present day, some worth listening to and some horrible to listen to. If one looks at the country list of the composers listed supra as obtained from www.classiccat.net one sees very clearly from what part of the world these composers have come from, such as:

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Argentina Gardel, Carlos (1,1) Ginastera, Alberto (5,10) Guastavino, Carlos (2,2) López Buchardo, Carlos (1,1) Morel, Jorge (2,2) Piazzolla, Astor (15,20) Ramirez, Ariel (4,7) Sagreras, Julio Salvador (4,5) Schifrin, Lalo (1,1) Armenia Khachaturian, Aram (4,5) Australia Boyd, Anne (1,1) Butterley, Nigel (1,1) Edwards, Ross (1,1) Grainger, Percy (8,9) Leek, Stephen (3,3) Traditional Australian (2,2) Vine, Carl (1,1) Austria Albrechtsberger, Johann Georg (3,3) Apostel, Hans Erich (1,1) Berg, Alban (6,11) Bruckner, Anton (13,23) Czerny, Carl (1,1) Diabelli, Anton (1,1) Dittersdorf, Karl Ditters von (3,3) Doss, Thomas (1,1) Eröd, Iván (1,1) Eybler, Joseph Leopold (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Gal, Hans (2,2) Gruber, Franz (1,4) Gulda, Friedrich (1,1) Hammerschmidt, Andreas (1,2) Haydn, Franz Joseph (44,64) Haydn, Johann Michael (4,4) Hummel, Johann Nepomuk (2,2) Karas, Anton (2,2) Korngold, Erich Wolfgang (1,1) Kreisler, Fritz (4,4) Mozart, Franz Xaver Wolfgang (1,1) Mozart, Leopold (1,1) Mozart, Wolfgang Amadeus (129,263|2) Neukomm, Sigismund von (1,1) Paradis, Maria Theresia von (1,1) Pleyel, Ignaz (2,2) Schönberg, Arnold (8,10) Schubert, Franz (68,154|1) Sechter, Simon (2,2) Strauss, Johann (jr) (10,12) Strauss, Johann (sr.) (3,4) Stutschewsky, Joachim (1,1) Ullmann, Viktor (1,1) Wagenseil, Georg Christoph (1,1) Webern, Anton (3,5) Werner, Gregor Joseph (1,1) Wolf, Hugo (11,20) Zawinul, Joe (1,1) Zemlinsky, Alexander von (1,1) Ziehrer, Carl Michael (1,1) Belgium Appermont, Bert (1,1) Arcadelt, Jacob (3,5) Clemens non Papa, Jacobus (1,2) Dufay, Guillaume (1,1) Franck, César (11,17) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Isaac, Heinrich (2,2) Jongen, Joseph (1,1) Lasso, Orlando di (9,11) Ockeghem, Johannes (1,1) Pres, Josquin des (4,5) Roost, Jan Van der (2,2) Susato, Tielman (1,1) Swerts, Piet (1,1) Utendal, Alexander (1,1) Willaert, Adrian (2,2) Brazil Aguiar, Ernani (1,2) Assad, Sergio (2,2) Barroso, Ary (1,1) Bonfá, Luiz (1,1) Curitiba, Henrique de (1,1) Gomes, Antônio Carlos (1,1) Jobim, Antonio Carlos (5,5) Machado, Celso (1,1) Matarazzo, Maysa (1,1) Nazareth, Ernesto (60,62) Pernambuco, João (2,2) Reis, Dilermando (1,1) Rocha Vianna, Alfredo da (2,2) Villa-Lobos, Heitor (18,26) Bulgaria Vladigerov, Pancho (10,11) Byelorussia Berlin, Irving (3,4) Canada Douglas, Bill (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Houdy, Pierick (1,1) Schafer, R. Murray (1,1) Somers, Harry (1,1) China Lee, Thomas Oboe (1,1) Traditional Chinese (2,2) Colombia Montaña, Gentil (1,1) Croatia Suppé, Franz von (2,2) Cuba Brouwer, Leo (3,4) D'Rivera, Paquito (2,2) Lecuona, Ernesto (7,11) Traditional Cuban (1,1) Czech Republic Biber, Heinrich I.F. von (1,1) Borovička, Antonín (1,1) Cernohorský, Bohuslav Matej (1,1) Dusek, Frantisek Xaver (1,1) Dussek, Jan Ladislav (3,3) Dvořák, Antonín (35,51) Eben, Petr (1,1) Foerster, Josef Bohuslav (1,1) Janacek, Leos (6,10) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Jezek, Jaroslav (2,2) Kalabis, Viktor (4,5) Kalliwoda, Johann Wenzel (1,1) Klein, Gideon (1,1) Kopriva, Václav Jan (1,1) Kozeluh, Leopold (2,2) Lukáš, Zdeněk (2,2) Mahler, Gustav (8,18) Martinu, Bohuslav (11,14) Nelhybel, Vaclav (5,5) Popper, David (2,2) Schulhoff, Erwin (1,1) Smetana, Bedrich (2,3) Traditional Czech (1,1) Tučapský, Antonín (1,1) Zelenka, Jan Dismas (1,1) What about the following: • Pavel Haass • Hans Krasa Denmark Buxtehude, Dietrich (9,12) Hyldgaard, Søren (1,1) Lorentzen, Bent (1,1) Nielsen, Carl (4,4) Reinecke, Carl (2,2) What about Niels Gade who composed a fair amount of works and also Hans Christian Lumbaye who was known as the “Strauss of the North” Estonia A composer by the name of Tobias A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Eller, Heino (1,1) Pärt, Arvo (3,3) Finland Mäntyjärvi, Jaakko (2,2) Palmgren, Selim (2,2) Rautavaara, Einojuhani (1,1) Sibelius, Jean (7,7) France Adam, Adolphe (2,2) Alain, Jehan (1,1) Alkan, Charles Valentin (8,10) Arbeau, Thoinot (1,1) Arrieu, Claude (1,1) Attaingnant, Pierre (2,2) Audran, Edmond (1,1) Berlioz, Hector (10,20) Bizet, Georges (6,17) Blavet, Michel (1,1) Bochsa, Nicholas Charles (1,1) Bolling, Claude (2,3) Bozza, Eugène (2,2) Burgundy, Wipo of (1,2) Büsser, Henri-Paul (1,1) Caplet, André (1,1) Castérède, Jacques (1,1) Certon, Pierre (1,2) Chabrier, Emmanuel (1,1) Chaminade, Cécile (2,2) Charpentier, Marc-Antoine (7,7) Chausson, Ernest (2,2) Cocciante, Richard (1,1) Corrette, Michel (2,2) Coste, Napoléon (2,3) Costeley, Guillaume (1,1) Couperin, François (5,5) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Couperin, Louis (4,4) Damase, Jean-Michel (1,1) Daquin, Louis-Claude (1,1) Debussy, Claude (40,112|1) Delibes, Leo (3,4) Dubois, Pierre Max (1,1) Dubois, Théodore (2,2) Dukas, Paul (3,3) Duparc, Henri (5,7) Duruflé, Maurice (3,9) Dutilleux, Henri (1,1) Dyens, Roland (2,2) Emmanuel, Maurice (1,1) Fauré, Gabriel (26,45) Françaix, Jean (6,6) Gallot, Jacques (1,1) Gaveaux, Pierre (1,1) Genin, Paul Agricole (1,1) Gigout, Eugène (2,3) Godard, Benjamin (1,1) Gounod, Charles (9,23|1) Grandjany, Marcel (1,1) Grovlez, Gabriel (1,1) Guilmant, Alexandre (4,4) Hérold, Ferdinand (1,1) Honegger, Arthur (4,4) Indy, Vincent d' (1,1) Jacquet de La Guerre, Elisabeth (1,1) Jadin, Louis-Emmanuel (1,1) Janequin, Clément (4,4) Jeune, Claude le (1,1) Jolivet, André (1,1) Lalo, Édouard (2,3) Langlais, Jean (1,1) Leclair, Jean-Marie (1,1) Litaize, Gaston (1,1) Machaut, Guillaume de (1,1) Magnard, Albéric (2,2) Mantua, Jacquet de (1,1) Marais, Marin (2,2) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Massenet, Jules (4,7) Messager, André (2,2) Messiaen, Olivier (8,8) Milhaud, Darius (5,6) Mouton, Jean (1,1) Muffat, Georg (2,2) Passereau, Pierre (1,4) Poulenc, Francis (22,34) Rabaud, Henri (1,1) Raison, André (1,1) Rameau, Jean-Philippe (3,4) Ravel, Maurice (22,68) Reicha, Anton (4,4) Roger-Ducasse, Jean (1,1) Saint-Lubin, Léon de (1,1) Saint-Saëns, Camille (18,28) Sancan, Pierre (1,2) Satie, Eric (14,24) Schönberg, Claude-Michel (1,2) Sermisy, Claudin de (3,4) Taffanel, Paul (1,1) Tailleferre, Germaine (1,1) Tcherepnin, Ivan (1,1) Thomas, Ambroise (1,1) Tournier, Marcel (1,1) Traditional French (4,4) Traditional Normandian (1,1) Vierne, Louis (2,2) Visée, Robert de (5,5) Widor, Charles-Marie (3,4) What about Floremond Ronger also known as Hervé, who was also a pioneer in music therapy. Germany Aichinger, Gregor (1,1) Albert, Heinrich (1,1) Bach, Carl Philipp Emanuel (4,5) Bach, Johan Christian (2,2) Bach, Johann Sebastian (242,521) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Bach, Johnann Ludwig (1,1) Bach, Wilhelm Friedemann (1,1) Baermann, Carl sr. (1,1) Bantzer, Claus (1,1) Beethoven, Ludwig van (125,299) Biebl, Franz (1,6) Bingen, Hildegard von (3,3) Boëllmann, Léon (1,3) Brahms, Johannes (85,220) Bruch, Max (3,5) Buchenberg, Wolfram (1,1) Burgmüller, Johann (1,2) Danzi, Franz (2,2) Distler, Hugo (1,1) Eccard, Johannes (1,1) Eisler, Hanns (1,1) Fasch, Johann Friedrich (2,2) Fischer, Johann Caspar Ferdinand (1,1) Friderici, Daniel (1,1) Froberger, Johann Jakob (1,1) Genzmer, Harald (1,1) Gluck, Christoph Willibald von (4,8) Goetz, Hermann (1,1) Goltermann, Georg (1,1) Handel, George Frideric (37,67) Hassler, Hans Leo (3,4) Heinichen, Johann David (1,1) Hindemith, Paul (14,16) Hoffmeister, Franz Anton (1,1) Homilius, Gottfried August (1,1) Jeep, Johannes (1,2) Kapsberger, Johannes Hieronymus (4,6) Karg-Elert, Sigfrid (3,5) Germany (cont.) Kaufmann, Georg Friedrich (1,1) Kellner, David (4,5) Kempff, Wilhelm (3,6) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Kerll, Johann Kaspar (1,1) Kirchner, Theodor (1,1) Klughardt, August (1,1) Krebs, Johann Ludwig (3,3) Kuhlau, Friedrich (2,2) Kuhnau, Johann (1,1) Mendelssohn-Bartholdy, Felix (43,83) Meyerbeer, Giacomo (3,4) Nietzsche, Friedrich (11,11) Offenbach, Jacques (2,4) Orff, Carl (1,7) Pachelbel, Johann (11,21) Petersen, Wilhelm (1,1) Praetorius, Michael (5,6) Rathgeber, Valentin (1,1) Reger, Max (6,6) Reimann, Aribert (4,4) Rinck, Johann Christian Heinrich (1,1) Scharwenka, Frans Xaver (1,1) Scheidemann, Heinrich (2,2) Scheidt, Samuel (2,2) Schein, Johann Hermann (3,3) Schumann, Robert (58,131) Schütz, Heinrich (26,34) Spohr, Louis (2,4|1) Stamitz, Johann (2,2) Stockhausen, Karlheinz (1,1) Stölzel, Gottfried Heinrich (1,1) Strauss, Richard (30,36) Telemann, Georg Philipp (17,18) Vogelweide, Walther von der (1,1) Wagner, Richard (11,32) Walther, Johann Gottfried (1,1) Weber, Carl Maria von (7,8) Weill, Kurt (5,5|1) Weiss, Silvius Leopold (3,4)

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Greece Vangelis (2,2) Hungary Bardos, Lajos (2,3) Bartók, Béla (19,24) Dohnányi, Ernst von (1,1) Kodály, Zoltán (3,3) Lehár, Franz (1,1) Ligeti, György (7,9) Liszt, Franz (74,182) Orbán, György (1,1) Romberg, Sigmund (2,3) Rozsa, Miklos (1,1) Seiber, Matyas (1,1) What about the famous violinist and composer Josef Joachim Ireland Dowland, John (20,25) Field, John (5,7) O'Carolan, Turlough (1,1) Stanford, Charles Villiers (2,5) Traditional Irish (11,13) Israel Ben-Haim, Paul (2,2) Dorman, Avner (1,1) Lavry, Marc (1,1) Ran, Shulamit (2,2) Sheriff, Noam (1,1) Traditional Jewish (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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What about Rami Bar-Niv Italy Albinoni, Tomaso (2,2) Allegri, Gregorio (1,1) Animuccia, Giovanni (1,1) Azzaiolo, Filippo (3,3) Banchieri, Adriano (4,4) Bellini, Vincenzo (12,14) Bencini, Pietro Paolo (1,1) Berio, Luciano (2,2) Bertoli, Giovanni Antonio (1,1) Bettinelli, Bruno (1,1) Boccherini, Luigi (5,5) Brescianello, Guiseppe Antonio (1,1) Broschi, Riccardo (1,1) Busoni, Ferruccio (15,25) Caccini, Giulio (4,8) Calace, Raphael (4,4) Caldara, Antonio (2,4) Capirola, Vincenzo (2,2) Carcassi, Matteo (3,4) Cardillo, Salvatore (1,2) Carissimi, Giacomo (4,5) Carulli, Ferdinando (5,5) Casella, Alfredo (1,1) Castelnuovo-Tedesco, Mario (1,1) Catalani, Alfredo (1,1) Cherubini, Luigi (1,1) Cilea, Francesco (2,3) Cimarosa, Domenico (8,8) Clari, Giovanni Carlo Maria (1,1) Clementi, Muzio (9,11) Corbetta, Francesco (1,1) Corelli, Arcangelo (3,4) Curtis, Ernesto de (2,3) Dallapiccola, Luigi (2,2) Dalza, Joan Ambrosio (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Denza, Luigi (1,1) Domeniconi, Carlo (1,1) Donato, Baldassare (1,1) Donaudy, Stefano (1,1) Donizetti, Gaetano (6,9) Falconieri, Andrea (1,1) Firenze, Lorenzo da (1,1) Fontana, Giovanni Battista (1,1) Frescobaldi, Girolamo (14,15) Fuga, Sandro (1,1) Gabrieli, Andrea (1,1) Gabrieli, Giovanni (5,5) Galilei, Vincenzo (1,1) Gastoldi, Giovanni Giacomo (4,4) Gesualdo, Carlo (2,3) Gilardino, Angelo (1,1) Giordani, Tommaso (1,5) Giuliani, Mauro (7,9) Gragnani, Filippo (1,1) Legnani, Luigi (1,1) Legrenzi, Giovanni (2,2) Leoncavallo, Ruggero (2,4) Liguori, Alphonsus (2,2) Locatelli, Pietro (1,1) Lotti, Antonio (4,5) Lully, Jean-Baptiste (3,3) Marcello, Benedetto (3,3) Marini, Biagio (3,3) Martini, Giovanni Battista (2,2) Marzi, Bepi de (1,2) Mascagni, Pietro (3,4) Melani, Alessandro (1,1) Menotti, Gian Carlo (2,2) Merula, Tarquinio (1,1) Molinaro, Simone (1,1) Monteverdi, Claudio (13,20) Morricone, Ennio (1,1) Nenna, Pomponio (1,1) Nola, Giovanni Domenico da (1,1) Ortolani, Riz (1,1) Pacchioni, Giorgio (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Paganini, Niccolò (4,9|1) Paisiello, Giovanni (1,1) Palestrina, Giovanni Pierluigi da (23,35) Pasculli, Antonio (1,1) Pasquini, Bernardo (1,1) Pergolesi, Giovanni Battista (5,12) Piccinini, Alessandro (1,2) Porpora, Nicola (1,1) Puccini, Giacomo (11,47) Respighi, Ottorino (11,14) Roncalli, Ludovico (2,2) Rossini, Gioachino (14,24) Rota, Nino (4,4) Sammartini, Giuseppe (1,1) Scandello, Antonio (1,1) Scarlatti, Alessandro (2,3) Scarlatti, Domenico (71,107) Scelsi, Giacinto (1,1) Spinacino, Francesco (1,1) Spontini, Gaspare (1,1) Storace, Bernardo (1,1) Stradella, Alessandro (1,1) Tartini, Giuseppe (1,1) Tosti, Francesco Paolo (12,16) Traditional Italian (7,8) Tromboncino, Bartolomeo (2,2) Uccellini, Marco (1,1) Vecchi, Orazio (1,1) Verdi, Giuseppe (19,66) Viadana, Lodovico (3,5) Vivaldi, Antonio (23,30) Wolf-Ferrari, Ermanno (3,5) Zamboni, Giovanni (1,1) Japan Ichiyanagi, Toshi (1,1) Ito, Yasuhide (1,1) Kanno, Yoko (1,1) Kuwahara, Yasuo (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Mitsuda, Yasunori (3,3) Traditional Japanese (1,1) Uematsu, Nobuo (1,1) Liechtenstein Rheinberger, Joseph (3,3) Lithuania Godowsky, Leopold (6,10) Mexico Manzanero, Armando (1,1) Ponce, Manuel (5,5) Netherlands Eyck, Jacob van (1,1) Goens, Daniel van (1,1) Meij, Johan de (4,6) Noordt, Anthoni van (1,1) Sweelinck, Jan Pieterszoon (2,2) Nigeria Traditional Nigerian (1,1) Norway Brustad, Bjarne (1,1) Christiansen, F. Melius (1,1) Grieg, Edvard (31,81|1) Hurum, Alf (1,1) Sinding, Christian (1,1) Tveitt, Geirr (2,4) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Not Applicable Anonymus (before 1900) (26,31) Church Music (31,43) Papua New Guinea Traditional Papua (1,1) Paraguay Barrios, Agustín (9,15) Peru Traditional Peruvian (2,2) Poland Chopin, Frédéric (94,436| 1) Gomólka, Mikolaj (1,1) Górecki, Henryk Mikolaj (1,1) Lutoslawski, Witold (4,5) Moszkowski, Moritz (6,10) Paderewski, Ignacy Jan (3,3) Penderecki, Krzysztof (1,1) Stojowski, Zygmunt (1,1) Świder, Józef (2,2) Szamotulski, Waclaw (1,1) Szeligowski, Tadeusz (1,1) Szymanowski, Karol (4,8) Tansman, Alexandre A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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(2,2) Tausig, Carl (2,2) Traditional Polish (1,1) Wiechowicz, Stanislaw (1,1) Wieniawski, Henryk (4,4) Puerto Rico Hernández, Rafael (1,1) Romania Bakfark, Bálint (1,1) Dinicu, Grigoras (1,3) Enescu, George (2,2) Traditional Romanian (2,2) Russia Arensky, Anton (1,2) Balakirev, Mily Alexeyevich (4,7) Borodin, Alexander (2,2) Catoire, Georges (3,4) Glinka, Mikhael (5,10) Gretchaninoff, Alexander (1,1) Ippolitov-Ivanov, Mikhail (2,2) Kabalevsky, Dmitri (5,6) Kalinnikov, Vasily (1,1) Kuryokhin, Sergey (1,1) Liadov, Anatol (10,10) Lvov, Alexis (1,1) Medtner, Nikolai (5,6) Mussorgsky, Modest (5,13) Prokofiev, Sergei (18,32) Rachmaninov, Sergei (32,136) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Rimsky-Korsakov, Nikolai (7,10) Rubinstein, Anton (1,1) Rubinstein, Nikolai (1,1) Schnittke, Alfred (1,1) Scriabin, Alexander (37,80) Shostakovich, Dimitri (19,34) Stravinsky, Igor (11,19) Tchaikovsky, Pyotr Ilyich (33,72) Tchesnokov, Pavel (2,3) Traditional Russian (2,2) Ustvolskaya, Galina (1,1) Vasilenko, Sergei (1,1) Slovenia Gallus, Jacobus (3,3) Mertz, Johann Kaspar (4,5) Spain Aguado, Dionisio (1,1) Albéniz, Isaac (10,24) Bruna, Pablo (1,2) Busto, Javier (5,5) Cabanilles, Joan Baptista (1,1) Casals, Pablo (1,1) Codax, Martin (2,2) Encina, Juan del (4,5) Escobedo, Bartolomé de (1,1) Falla, Manuel de (8,18|1) Spain (cont.) Ferran, Ferrer (1,1) Fuenllana, Miguel de (4,8) Giménez, Gerónimo (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Granados, Enrique (23,31) Guerrero, Francisco (3,3) Guridi, Jesús (1,1) Halffter, Ernesto (1,1) Llobet, Miguel (1,1) Lobo, Alonso (1,1) Malats, Joaquin (1,1) Manjon, Antonio Jimenez (1,1) Milan, Luis de (6,7) Mompou, Federico (6,6) Morales, Cristóbal de (2,3) Moreno-Torroba, Federico (6,8) Mudarra, Alonso (3,3) Narváez, Luys de (2,2) Obradors, Fernando (1,1) Ortiz, Diego (3,4) Pedrell, Felipe (1,1) Pujol, Emilio (1,1) Rodrigo, Joaquin (4,5) Sainz de la Maza, Eduardo (2,2) Sanz, Gaspar (15,20) Sarasate, Pablo de (3,4) Segovia, Andrés (2,2) Serrano, José (1,1) Silva, Andreas De (1,1) Soler, Antonio (1,1) Sor, Fernando (23,31) Tárrega, Francisco (23,34) Texidor, Jaime (1,1) Traditional Catalan (4,4) Traditional Spanish (11,11) Turina, Joaquín (5,6) Valderrabano, Enriquez de (1,1) Victoria, Tomás Luis de (25,79)

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Sweden Alfvén, Hugo (1,1) Berwald, Franz (1,1) Peterson-Berger, Wilhelm (1,1) Traditional Swedish (2,2) Whant about Staemar Switzerland Bloch, Ernest (2,2) Lauber, Joseph (1,1) Martin, Frank (2,2) Ringger, Rolf Urs (2,2) Schoeck, Othmar (1,1) Senfl, Ludwig (2,2) Turkey Saygun, Adnan (1,2) Traditional Ladino (1,1) U.S.A. Adler, Richard (1,1) Adler, Samuel (1,1) Arlen, Harold (1,2) Babbitt, Milton (1,1) Bagley, Edwin Eugene (1,1) Basler, Paul (2,2) Beach, Amy (1,1) Beck, John Ness (2,2) Bennett, Richard Rodney (1,1) Bergsma, William (1,1) Bernard, Felix (1,1) Bernstein, Leonard (6,12) Billings, William (4,5) Bolcom, William (6,8) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Borgo, Elliot Del (1,1) Bowles, Paul (1,1) Cadman, Charles Wakefield (1,1) Cage, John (1,1) Camphouse, Mark (2,2) Carter, Elliott (4,4) Chance, John Barnes (1,1) Clausen, René (3,3) Copland, Aaron (5,9) Corea, Chick (2,2) Corigliano, John (1,1) Cowell, Henry (3,3) Crawford-Seeger, Ruth (1,1) Crumb, George (1,1) Curnow, James (1,1) Dahl, Ingolf (1,1) Danielpour, Richard (1,1) Daugherty, Michael (2,3) Davis, Miles (1,1) Dawson, William Levi (5,6) Diemer, Emma Lou (1,1) Druckman, Jacob (1,1) Ellington, Edward Kennedy "Duke" (8,9) Etler, Alvin (2,2) Fain, Sammy (1,1) Farberman, Harold (1,1) Feldman, Morton (1,1) Fillmore, Henry (2,2) Fine, Irving (1,1) Floyd, Carlisle (1,1) Foster, Stephen Collins (1,1) Gawthrop, Daniel E. (1,1) Gershwin, George (16,32) Gold, Ernest (1,1) Gottschalk, Louis Moreau (1,1) Gould, Morton (3,3) Guion, David Wendel (1,1) Hairston, Jester (3,4) Halloran, Jack (1,1) Hancock, Herbie (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

86

Handy, William Christopher (1,1) Hazo, Samuel (4,6) Hemphill, Julius (3,3) Hogan, Moses (2,2) Holmes, Rupert (1,1) Holsinger, David (8,8) Hyla, Lee (1,1) Isaacson, Michael (1,1) Ives, Charles (5,5) Jager, Robert E. (1,1) Jones, Thad (2,2) Joplin, Scott (38,69) Kander, John (1,1) Kaper, Bronislau (2,2) Kern, Jerome (3,3) Kernis, Aaron Jay (1,1) King, Karl (3,3) Kirchner, Leon (2,2) Krenek, Ernst (1,1) Lamb, Joseph (1,1) Larsen, Libby (4,5) Larson, Jonathan (1,1) Lauridsen, Morten (6,8) Layton, Turner (1,1) Liebermann, Lowell (1,1) Loesser, Frank (1,1) Loewe, Frederick (2,4) Lowry, Robert (1,2) Macdowell, Edward Alexander (3,8) Manz, Paul (1,1) Marks, Gerald (1,2) Maslanka, David (1,1) Mechem, Kirke (2,2) Melillo, Stephen (8,8) Mintzer, Bob (1,1) Monk, Thelonious (1,1) Moore, Douglas (1,1) Morton, Jelly Roll (1,1) Muczynski, Robert (2,2) Murray, Alan (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

87

Nelson, Ron (3,3) Nestico, Sammy (1,1) Niles, John Jacob (1,1) Nixon, Roger (2,2) Nyíregyházi, Ervin (1,1) Ornstein, Leo (23,31) Parker, Alice (2,2) Parker, Charlie (2,2) Paulus, Stephen (1,1) Persichetti, Vincent (1,1) Piston, Walter (2,2) Porter, Cole (1,1) Prima, Louis (1,2) Pryor, Arthur (2,2) Rainger, Ralph (1,1) Reed, Alfred (10,10) Rodgers, Richard (8,12) Ronell, Ann (1,1) Rorem, Ned (2,2) Rosner, Arnold (1,1) Schickele, Peter (1,1) Schuman, William (1,1) Schwartz, Stephen (1,2) Scott, James (2,2) Simeone, Harry (2,2) Sirota, Robert (1,1) Smith, Robert W. (9,9) Smith, William O. (2,2) Sondheim, Stephen (1,1) Sousa, John Philip (29,33) Spencer, Willametta (1,1) Stamp, Jack (3,3) Stevens, Halsey (1,1) Still, William Grant (1,1) Stroope, Z. Randall (4,5) Styne, Jule (1,1) Thomas, Michael Tilson (1,1) Thompson, Randall (4,6) Ticheli, Frank (30,47) Tower, Joan (2,2) Traditional American (4,4) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

88

Wachner, Julian (1,1) Walker, George (2,3) Warren, Elinor Remick (9,9) Whitacre, Eric (8,15) Wilder, Alec (1,1) Williams, Clifton (2,3) Williams, John T. (7,7) Willson, Meredith (2,2) Wilson, Dana (3,3) Work, John Wesley III (1,1) York, Andrew (5,5) Youmans, Vincent (1,1) Young, Gordon (1,1) Young, Victor (1,1) Zimmerman, Charles A. (1,1) Ukraine Bortkiewicz, Serge (5,7) Bortnyansky, Dmitry (1,2) Doppler, Franz (1,1) Gliere, Reinhold (1,1) Leontovych, Mykola (1,1) Siloti, Alexander (13,16|1) United Kingdom Anderson, Leroy (5,5) Arnold, Malcolm (2,3) Barber, Samuel (14,22) Bart, Lionel (1,1) Berkeley, Michael (1,1) Bevin, Elway (1,1) Biberian, Gilbert (1,1) Borowski, Felix (1,1) Boyce, William (1,1) Bridge, Frank (1,1) Britten, Benjamin (7,10) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

89

Bull, John (1,1) Byrd, William (8,15) Campion, Thomas (2,2) Chilcott, Robert "Bob" (4,4) Clarke, Jeremiah (1,4) Coleridge-Taylor, Samuel (1,1) Cooke, Arnold (1,1) Cornysh, William (1,1) Coward, Noel (1,1) Delius, Frederick (1,1) Duarte, John W. (2,3) Elgar, Edward (11,15) Ellerby, Martin (1,2) Farrant, Richard (1,1) Finzi, Gerald (2,3) Gardner, John (1,1) Gauntlett, Henry John (1,2) Gibbons, Orlando (4,4) Gregson, Edward (1,1) Gurney, Ivor (1,1) Hesketh, Kenneth (1,1) Holborne,, Anthony (2,2) Holst, Gustav von (7,11) Howells, Herbert (3,5) Jacob, Gordon (2,3) Jenkins, Karl (3,5) Johnson, John (4,4) Johnson, Robert (1,1) Kelly, Bryan (2,2) Kendrick, Graham (1,1) Ketèlbey, Albert (6,6) McCabe, John (1,1) Morley, Thomas (7,11) Musgrave, Thea (1,1) Parry, Hubert (1,2) Philips, Peter (1,1) Pilkington, Francis (2,2) Poston, Elisabeth (1,3) Power, Leonel (1,1) Purcell, Henry (21,31) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

90

Ravenscroft, Thomas (1,1) Richardson, Ferdinando (2,2) Robinson, Thomas (3,3) Rutter, John (19,28) Smith-Brindle, Reginald (4,4) Sparke, Philip (1,1) Stanley, John (3,3) Sullivan, Arthur (5,8) Tallis, Thomas (7,10) Tavener, John (2,6) Taverner, John (2,2) Traditional English (11,12) Traditional Scottish (3,3) Traditional Welsh (1,1) Tudor, King Henry VIII (1,1) Vaughan Williams, Ralph (15,17) Walmisley, Thomas Attwood (1,1) Walton, William (1,2) Warlock, Peter (1,2) Webber, Andrew Lloyd (3,6) Weelkes, Thomas (3,3) Wilby, Philip (1,1) Wilbye, John (1,1) Willan, Healey (2,3) Woolfenden, Guy (1,1) Unknown Traditional Caribian (1,1) Uruguay Matos Rodriguez, Gerardo (1,2) Venezuela Estévez, Antonio (1,1) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

91

Grau, Alberto (1,1) Hahn, Reynaldo (4,5) What about Teresa Carenjo and José Serebrier (NAXOS) Now if one were to look at say Venezuela for example one sees a name missing, namely Theresa Carenjo a pupil of Louis Morreaux Gottschalk a famous American composer and one time a wife of a pupil of Liszt, the English German composer by the name of Eugene D'Albert. It is interesting to note that a Venezuela has more symphony orchestras in comparison to other countries, which is a fact not known by many. The styles in music from a Western Musical Perspective, would have been as follows, namely 

The Middle Ages to the Renaissance period being from say 600 AD, but officially from say 1136 right through to say 1597.



The Baroque Era from 1600 to 1750.



The Classical Period from 1750 to 1830.



The Romantic Era from in my opinion from 1790 to about say 1895.



The Rise of Nationalism during the Romantic Era say from 1848 right through to the 1940's and beyond.



The Later Romantics in my opinion from 1890 right throughout the twentieth century.



The Early Twentieth Century.



Music since World War Two.

Popularity of classical composers would have been as follows:

1 Beethoven, Ludwig van 4 Chopin, Frédéric 7 Albinoni, Tomaso A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

92

10 Debussy, Claude 13 Haydn, Franz Joseph 16 Mendelssohn-Bartholdy, Felix 19 Pachelbel, Johann 22 Shostakovich, Dimitri 25 Gershwin, George 28 Paganini, Niccolò 31 Strauss, Richard 34 Strauss, Johann (jr) 37 Strauss, Johann (sr.) 40 Bach, Carl Philipp Emanuel 43 Satie, Eric 46 Barber, Samuel 49 Purcell, Henry 52 Khachaturian, Aram 55 Boccherini, Luigi 58 Scarlatti, Domenico 61 Borodin, Alexander 64 Britten, Benjamin 67 Bruch, Max 70 Smetana, Bedrich 73 Hindemith, Paul 76 Weber, Carl Maria von 79 Scriabin, Alexander 82 Sousa, John Philip 85 Lasso, Orlando di 88 Pergolesi, Giovanni Battista 91 Kreisler, Fritz 94 Sor, Fernando 97 Pres, Josquin des 100 Lully, Jean-Baptiste 103 Respighi, Ottorino 106 Glinka, Mikhael 109 Buxtehude, Dietrich 112 Reger, Max 115 Stroope, Z. Randall 118 Rameau, Jean-Philippe 121 Kabalevsky, Dmitri 124 Brouwer, Leo 127 Tallis, Thomas 130 Donizetti, Gaetano A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

93

133 Williams, John T. 136 Lalo, Édouard 139 Carulli, Ferdinando 142 Milhaud, Darius 145 Alkan, Charles Valentin 148 Enescu, George 151 Bellini, Vincenzo 154 Arnold, Malcolm 157 Stockhausen, Karlheinz 160 Czerny, Carl 163 Sparke, Philip 166 Nelhybel, Vaclav 169 Wieniawski, Henryk 172 Haydn, Johann Michael 175 Traditional Spanish 178 Arensky, Anton 181 Moszkowski, Moritz 184 Burgundy, Wipo of 187 Chaminade, Cécile 190 Wolf, Hugo 193 Ponce, Manuel 196 Saygun, Adnan 199 Paderewski, Ignacy Jan 202 Tudor, King Henry VIII 205 Appermont, Bert 208 Lecuona, Ernesto 211 Carcassi, Matteo 214 Tartini, Giuseppe 217 Korngold, Erich Wolfgang 220 Beach, Amy 223 Ellington, Edward Kennedy "Duke" 226 Gliere, Reinhold 229 Domeniconi, Carlo 232 Ornstein, Leo 235 Vogelweide, Walther von der 238 Nazareth, Ernesto 241 Couperin, Louis 244 Ketèlbey, Albert 247 Kapsberger, Johannes Hieronymus A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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250 253 256 259 262 265 268 271 274 277 280 283 286 289 292 295 298 301 304 307 310 313 316 319 322 325 328 331 334 337 340 343 346 349 352 355 358 361 364 367 370

Rheinberger, Joseph Liadov, Anatol Dittersdorf, Karl Ditters von Banchieri, Adriano Janequin, Clément Traditional Chinese Guerrero, Francisco O'Carolan, Turlough Gastoldi, Giovanni Giacomo Lotti, Antonio Ramirez, Ariel Schuman, William Hassler, Hans Leo Albert, Heinrich Schulhoff, Erwin Hahn, Reynaldo Vladigerov, Pancho Meyerbeer, Giacomo Bertoli, Giovanni Antonio Tavener, John Mitsuda, Yasunori Coste, Napoléon Davis, Miles Dyens, Roland Piccinini, Alessandro Brescianello, Guiseppe Antonio Gretchaninoff, Alexander Field, John Muczynski, Robert Jacob, Gordon Rubinstein, Nikolai Bull, John Dutilleux, Henri Roost, Jan Van der Arlen, Harold Roncalli, Ludovico Lukáš, Zdeněk Cowell, Henry Krebs, Johann Ludwig Soler, Antonio Borowski, Felix

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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373 Fillmore, Henry 376 Pleyel, Ignaz 379 Corea, Chick 382 Bolling, Claude 385 Mertz, Johann Kaspar 388 Beck, John Ness 391 Jobim, Antonio Carlos 394 Cocciante, Richard 397 Gardner, John 400 Orbán, György 403 Ortiz, Diego 406 Weiss, Silvius Leopold 409 Firenze, Lorenzo da 412 Bolcom, William 415 Rubinstein, Anton 418 Bardos, Lajos 421 Persichetti, Vincent 424 Visée, Robert de 427 Eben, Petr 430 Swerts, Piet 433 Cernohorský, Bohuslav Matej 436 Rozsa, Miklos 439 Gallot, Jacques 442 Rodgers, Richard 445 Palmgren, Selim 448 Fischer, Johann Caspar Ferdinand 451 Martini, Giovanni Battista 454 Traditional American 457 Clausen, René 460 Tromboncino, Bartolomeo 463 Marini, Biagio 466 Boyd, Anne 469 Tchesnokov, Pavel 472 Pilkington, Francis 475 Campion, Thomas 478 Messager, André 481 Traditional Scottish 484 Halffter, Ernesto 487 Audran, Edmond 490 Hyldgaard, Søren A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

96

493 496 499 502 505 508 511 514 517 520 523 526 529 532 535 538 541 544 547 550 553 556 559 562 565 568 571 574 577 580 583 586 589 592 595 598 601 604 607 610 613

Menotti, Gian Carlo D'Rivera, Paquito Genin, Paul Agricole Goltermann, Georg Pernambuco, João Woolfenden, Guy Broschi, Riccardo Foerster, Josef Bohuslav Thomas, Ambroise Fine, Irving Calace, Raphael Passereau, Pierre Crawford-Seeger, Ruth Tailleferre, Germaine Corbetta, Francesco Warlock, Peter Cornysh, William Schönberg, Claude-Michel Magnard, Albéric Bevin, Elway Traditional Peruvian Nenna, Pomponio Escobedo, Bartolomé de Bart, Lionel Brustad, Bjarne Johnson, Robert Tower, Joan Lee, Thomas Oboe Ullmann, Viktor Jeune, Claude le Traditional Ladino Kerll, Johann Kaspar Mechem, Kirke Vasilenko, Sergei Cardillo, Salvatore Jadin, Louis-Emmanuel Kern, Jerome Liguori, Alphonsus Tausig, Carl Catoire, Georges Robinson, Thomas

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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616 619 622 625 628 631 634 637 640 643 646 649 652 655 658 661 664 667 670 673 676 679 682 685 688 691 694 697 700 703 706 709 712 715 718 721 724 727 730 733 736

Seiber, Matyas Work, John Wesley III Kirchner, Theodor Druckman, Jacob Poston, Elisabeth Richardson, Ferdinando Floyd, Carlisle Curtis, Ernesto de Larson, Jonathan Simeone, Harry Mintzer, Bob Lowry, Robert Kaper, Bronislau Rosner, Arnold Grau, Alberto Walker, George Wachner, Julian Lavry, Marc Obradors, Fernando Kuryokhin, Sergey Ringger, Rolf Urs Douglas, Bill Lehár, Franz Adler, Samuel Apostel, Hans Erich Basler, Paul Bernard, Felix Borovička, Antonín Casals, Pablo Christiansen, F. Melius Curitiba, Henrique de Distler, Hugo Donaudy, Stefano Eisler, Hanns Eybler, Joseph Leopold Fontana, Giovanni Battista Gabrieli, Andrea Gawthrop, Daniel E. Gold, Ernest Grandjany, Marcel Guridi, Jesús

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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739 742 745 748 751 754 757 760 763 766 769 772 775 778 781 784 787 790 793 796 799 802 805 808 811 814 817 820

Hancock, Herbie Hérold, Ferdinand Houdy, Pierick Jager, Robert E. Kander, John Klughardt, August Layton, Turner López Buchardo, Carlos Manzanero, Armando Matarazzo, Maysa Molinaro, Simone Murray, Alan Neukomm, Sigismund von Nyíregyházi, Ervin Parker, Charlie Porpora, Nicola Ronell, Ann Sechter, Simon Sondheim, Stephen Stojowski, Zygmunt Suppé, Franz von Traditional Cuban Traditional Papua Tučapský, Antonín Vangelis Wilby, Philip Youmans, Vincent Zimmerman, Charles A.

2 Mozart, Wolfgang Amadeus 5 Tchaikovsky, Pyotr Ilyich 8 Brahms, Johannes 11 Schubert, Franz 14 Liszt, Franz 17 Grieg, Edvard 20 Verdi, Giuseppe 23 Mahler, Gustav 26 Prokofiev, Sergei 29 Bartók, Béla 32 Bach, Johan Christian A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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35 Rossini, Gioachino 38 Rimsky-Korsakov, Nikolai 41 Sibelius, Jean 44 Joplin, Scott 47 Holst, Gustav von 50 Orff, Carl 53 Adam, Adolphe 56 Bruckner, Anton 59 Monteverdi, Claudio 62 Vaughan Williams, Ralph 65 Schönberg, Arnold 68 Corelli, Arcangelo 71 Offenbach, Jacques 74 Poulenc, Francis 77 Ginastera, Alberto 80 Messiaen, Olivier 83 Granados, Enrique 86 Dowland, John 89 Couperin, François 92 Smith, Robert W. 95 Lauridsen, Morten 98 Allegri, Gregorio 101 Whitacre, Eric 104 Byrd, William 107 Ligeti, György 110 Mozart, Franz Xaver Wolfgang 113 Sarasate, Pablo de 116 Berg, Alban 119 Schnittke, Alfred 122 Massenet, Jules 125 Langlais, Jean 128 Webern, Anton 131 Cimarosa, Domenico 134 Jenkins, Karl 137 Mascagni, Pietro 140 Balakirev, Mily Alexeyevich 143 Schickele, Peter 146 Frescobaldi, Girolamo 149 Lutoslawski, Witold 152 Cage, John A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

100

155 158 161 164 167 170 173 176 179 182 185 188 191 194 197 200 203 206 209 212 215 218 221 224 227 230 233 236 239 242 245 248 251 254 257 260 263 266 269 272 275

Meij, Johan de Barrios, Agustín Górecki, Henryk Mikolaj Ticheli, Frank Nielsen, Carl Dufay, Guillaume Traditional Japanese Williams, Clifton Bloch, Ernest Scarlatti, Alessandro Ockeghem, Johannes Camphouse, Mark Alain, Jehan Church Music Sullivan, Arthur Bach, Johnann Ludwig Biebl, Franz Arcadelt, Jacob Stamitz, Johann Weill, Kurt Sanz, Gaspar Vierne, Louis Doss, Thomas Ellerby, Martin Medtner, Nikolai Delius, Frederick Busto, Javier Berlin, Irving Traditional English Webber, Andrew Lloyd Lauro, Antonio Reinecke, Carl Clarke, Jeremiah Bach, Wilhelm Friedemann Traditional French Bozza, Eugène Milan, Luis de Mäntyjärvi, Jaakko Ippolitov-Ivanov, Mikhail Paradis, Maria Theresia von Hazo, Samuel

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

101

278 281 284 287 290 293 296 299 302 305 308 311 314 317 320 323 326 329 332 335 338 341 344 347 350 353 356 359 362 365 368 371 374 377 380 383 386 389 392 395 398

Reicha, Anton Traditional Russian Carissimi, Giacomo Billings, William Zelenka, Jan Dismas Duparc, Henri Smith-Brindle, Reginald Boëllmann, Léon Wilson, Dana Hogan, Moses Caldara, Antonio Paisiello, Giovanni Hairston, Jester Gallus, Jacobus Stamp, Jack Pujol, Emilio Galilei, Vincenzo Kalinnikov, Vasily Ichiyanagi, Toshi Popper, David Kempff, Wilhelm Susato, Tielman Daquin, Louis-Claude Maslanka, David King, Karl Borgo, Elliot Del York, Andrew Martin, Frank Crumb, George Nelson, Ron Stanley, John Capirola, Vincenzo Karg-Elert, Sigfrid Porter, Cole Gould, Morton Howells, Herbert Traditional Catalan Berwald, Franz Krenek, Ernst Feldman, Morton Kuhlau, Friedrich

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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401 Arbeau, Thoinot 404 Scheidt, Samuel 407 Casella, Alfredo 410 Goens, Daniel van 413 Larsen, Libby 416 Assad, Sergio 419 Foster, Stephen Collins 422 Schein, Johann Hermann 425 Ben-Haim, Paul 428 Mudarra, Alonso 431 Dusek, Frantisek Xaver 434 Doppler, Franz 437 Bennett, Richard Rodney 440 Leek, Stephen 443 Siloti, Alexander 446 Stölzel, Gottfried Heinrich 449 Hemphill, Julius 452 Sainz de la Maza, Eduardo 455 Traditional Welsh 458 Fuenllana, Miguel de 461 Warren, Elinor Remick 464 Mouton, Jean 467 Chabrier, Emmanuel 470 Bruna, Pablo 473 Pryor, Arthur 476 Dalza, Joan Ambrosio 479 Pasculli, Antonio 482 Catalani, Alfredo 485 Malats, Joaquin 488 Dubois, Pierre Max 491 Karas, Anton 494 Pasquini, Bernardo 497 Duarte, John W. 500 Godard, Benjamin 503 Gregson, Edward 506 Rinck, Johann Christian Heinrich 509 Heinichen, Johann David 512 Cabanilles, Joan Baptista 515 Jolivet, André 518 Uematsu, Nobuo A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

103

521 524 527 530 533 536 539 542 545 548 551 554 557 560 563 566 569 572 575 578 581 584 587 590 593 596 599 602 605 608 611 614 617 620 623 626 629 632 635 638 641

Ravenscroft, Thomas Certon, Pierre Tosti, Francesco Paolo Dahl, Ingolf Bagley, Edwin Eugene Prima, Louis Willan, Healey Holborne,, Anthony Viadana, Lodovico Serrano, José Gurney, Ivor Büsser, Henri-Paul Rabaud, Henri Philips, Peter Bortnyansky, Dmitry Danielpour, Richard Klein, Gideon Wagenseil, Georg Christoph Pedrell, Felipe Willaert, Adrian Manz, Paul Traditional Nigerian Lamb, Joseph Roger-Ducasse, Jean Bantzer, Claus Falconieri, Andrea Kaufmann, Georg Friedrich McCabe, John Noordt, Anthoni van Jongen, Joseph Legnani, Luigi Scelsi, Giacinto Somers, Harry Farrant, Richard Legrenzi, Giovanni Kelly, Bryan Texidor, Jaime Sancan, Pierre Schwartz, Stephen Edwards, Ross Scott, James

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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644 647 650 653 656 659 662 665 668 671 674 677 680 683 686 689 692 695 698 701 704 707 710 713 716 719 722 725 728 731 734 737 740 743 746 749 752 755 758 761 764

Vine, Carl Valderrabano, Enriquez de Wilbye, John Walmisley, Thomas Attwood Tournier, Marcel Grovlez, Gabriel Wiechowicz, Stanislaw Muffat, Georg Thomas, Michael Tilson Taffanel, Paul Scandello, Antonio Szamotulski, Waclaw Dvořák, Antonín Narváez, Luys de Aichinger, Gregor Babbitt, Milton Bencini, Pietro Paolo Bochsa, Nicholas Charles Cadman, Charles Wakefield Castelnuovo-Tedesco, Mario Clari, Giovanni Carlo Maria Dallapiccola, Luigi Dohnányi, Ernst von Dorman, Avner Emmanuel, Maurice Fain, Sammy Froberger, Johann Jakob Gauntlett, Henry John Genzmer, Harald Gomes, Antônio Carlos Guion, David Wendel Halloran, Jack Handy, William Christopher Hesketh, Kenneth Isaacson, Michael Jezek, Jaroslav Kendrick, Graham Kuhnau, Johann Liebermann, Lowell Machaut, Guillaume de Marks, Gerald

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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767 770 773 776 779 782 785 788 791 794 797 800 803 806 809 812 815 818

Melani, Alessandro Monk, Thelonious Musgrave, Thea Nixon, Roger Ortolani, Riz Penderecki, Krzysztof Power, Leonel Scheidemann, Heinrich Silva, Andreas De Spencer, Willametta Storace, Bernardo Taverner, John Traditional Czech Traditional Polish Uccellini, Marco Vecchi, Orazio Willson, Meredith Zawinul, Joe

3 Bach, Johann Sebastian 6 Vivaldi, Antonio 9 Handel, George Frideric 12 Rachmaninov, Sergei 15 Wagner, Richard 18 Ravel, Maurice 21 Schumann, Robert 24 Albéniz, Isaac 27 Saint-Saëns, Camille 30 Stravinsky, Igor 33 Puccini, Giacomo 36 Fauré, Gabriel 39 Bizet, Georges 42 Berlioz, Hector 45 Elgar, Edward 48 Mussorgsky, Modest 51 Copland, Aaron 54 Rutter, John 57 Piazzolla, Astor 60 Telemann, Georg Philipp 63 Bernstein, Leonard A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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66 Villa-Lobos, Heitor 69 Palestrina, Giovanni Pierluigi da 72 Gounod, Charles 75 Pärt, Arvo 78 Franck, César 81 Falla, Manuel de 84 Anderson, Leroy 87 Tárrega, Francisco 90 Delibes, Leo 93 Bingen, Hildegard von 96 Victoria, Tomás Luis de 99 Rodrigo, Joaquin 102 Gabrieli, Giovanni 105 Janacek, Leos 108 Anonymus (before 1900) 111 Gluck, Christoph Willibald von 114 Martinu, Bohuslav 117 Ives, Charles 120 Clementi, Muzio 123 Dukas, Paul 126 Schütz, Heinrich 129 Nietzsche, Friedrich 132 Reed, Alfred 135 Holsinger, David 138 Melillo, Stephen 141 Duruflé, Maurice 144 Charpentier, Marc-Antoine 147 Gesualdo, Carlo 150 Grainger, Percy 153 Aguado, Dionisio 156 Busoni, Ferruccio 159 Szymanowski, Karol 162 Hummel, Johann Nepomuk 165 Marcello, Benedetto 168 Sweelinck, Jan Pieterszoon 171 Giuliani, Mauro 174 Segovia, Andrés 177 Sagreras, Julio Salvador 180 Honegger, Arthur A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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183 Widor, Charles-Marie 186 Traditional Irish 189 Chance, John Barnes 192 Morley, Thomas 195 Chausson, Ernest 198 Mozart, Leopold 201 Françaix, Jean 204 Rota, Nino 207 Traditional Italian 210 Macdowell, Edward Alexander 213 Praetorius, Michael 216 Albrechtsberger, Johann Georg 219 Spohr, Louis 222 Berio, Luciano 225 Caccini, Giulio 228 Finzi, Gerald 231 Aguiar, Ernani 234 Carter, Elliott 237 Hoffmeister, Franz Anton 240 Burgmüller, Johann 243 Marais, Marin 246 Gibbons, Orlando 249 Diabelli, Anton 252 Dinicu, Grigoras 255 Encina, Juan del 258 Turina, Joaquín 261 Godowsky, Leopold 264 Rautavaara, Einojuhani 267 Walton, William 270 Kozeluh, Leopold 273 Attaingnant, Pierre 276 Leoncavallo, Ruggero 279 Gardel, Carlos 282 Boyce, William 285 Cherubini, Luigi 288 Gottschalk, Louis Moreau 291 Curnow, James 294 Stanford, Charles Villiers 297 Kuwahara, Yasuo A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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300 303 306 309 312 315 318 321 324 327 330 333 336 339 342 345 348 351 354 357 360 363 366 369 372 375 378 381 384 387 390 393 396 399 402 405 408 411 414 417 420

Gigout, Eugène Azzaiolo, Filippo Locatelli, Pietro Indy, Vincent d' Codax, Martin Daugherty, Michael Thompson, Randall Kalliwoda, Johann Wenzel Bortkiewicz, Serge Giordani, Tommaso Reis, Dilermando Moreno-Torroba, Federico Guilmant, Alexandre Montaña, Gentil Arrieu, Claude Dussek, Jan Ladislav Piston, Walter Morales, Cristóbal de Danzi, Franz Isaac, Heinrich Corrette, Michel Traditional Romanian Sinding, Christian Animuccia, Giovanni Fasch, Johann Friedrich Parry, Hubert Cilea, Francesco Tansman, Alexandre Kanno, Yoko Weelkes, Thomas Dawson, William Levi Morton, Jelly Roll Ferran, Ferrer Lobo, Alonso Eröd, Iván Ustvolskaya, Galina Corigliano, John Leclair, Jean-Marie Mompou, Federico Bakfark, Bálint Matos Rodriguez, Gerardo

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423 Senfl, Ludwig 426 Buchenberg, Wolfram 429 Peterson-Berger, Wilhelm 432 Sammartini, Giuseppe 435 Morel, Jorge 438 Dubois, Théodore 441 Parker, Alice 444 Bettinelli, Bruno 447 Young, Gordon 450 Litaize, Gaston 453 Schifrin, Lalo 456 Bridge, Frank 459 Jacquet de La Guerre, Elisabeth 462 Clemens non Papa, Jacobus 465 Baermann, Carl sr. 468 Ran, Shulamit 471 Goetz, Hermann 474 Saint-Lubin, Léon de 477 Gragnani, Filippo 480 Still, William Grant 483 Gruber, Franz 486 Sermisy, Claudin de 489 Gal, Hans 492 Kopriva, Václav Jan 495 Zamboni, Giovanni 498 Eller, Heino 501 Rorem, Ned 504 Guastavino, Carlos 507 Spinacino, Francesco 510 Rathgeber, Valentin 513 Eyck, Jacob van 516 Stradella, Alessandro 519 Coward, Noel 522 Tveitt, Geirr 525 Johnson, John 528 Ziehrer, Carl Michael 531 Leontovych, Mykola 534 Chilcott, Robert "Bob" 537 Stutschewsky, Joachim 540 Blavet, Michel A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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543 546 549 552 555 558 561 564 567 570 573 576 579 582 585 588 591 594 597 600 603 606 609 612 615 618 621 624 627 630 633 636 639 642 645 648 651 654 657 660 663

Manjon, Antonio Jimenez Gilardino, Angelo Berkeley, Michael Romberg, Sigmund Kirchner, Leon Denza, Luigi Schafer, R. Murray Diemer, Emma Lou Holmes, Rupert Llobet, Miguel Costeley, Guillaume Rocha Vianna, Alfredo da Etler, Alvin Smith, William O. Kellner, David Lvov, Alexis Traditional Venezuelan Biberian, Gilbert Hurum, Alf Traditional Australian Biber, Heinrich I.F. von Świder, Józef Werner, Gregor Joseph Machado, Celso Scharwenka, Frans Xaver Tcherepnin, Ivan Friderici, Daniel Moore, Douglas Loewe, Frederick Paulus, Stephen Butterley, Nigel Cooke, Arnold Jeep, Johannes Sheriff, Noam Wilder, Alec Bowles, Paul Kalabis, Viktor Niles, John Jacob Traditional Normandian Stevens, Halsey Rainger, Ralph

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666 669 672 675 678 681 684 687 690 693 696 699 702 705 708 711 714 717 720 723 726 729 732 735 738 741 744 747 750 753 756 759 762 765 768 771 774 777 da 780 783

Hyla, Lee Young, Victor Lorentzen, Bent Raison, André Szeligowski, Tadeusz Kodály, Zoltán Adler, Richard Alfvén, Hugo Barroso, Ary Bergsma, William Bonfá, Luiz Caplet, André Castérède, Jacques Coleridge-Taylor, Samuel Damase, Jean-Michel Donato, Baldassare Eccard, Johannes Estévez, Antonio Farberman, Harold Fuga, Sandro Gaveaux, Pierre Giménez, Gerónimo Gomólka, Mikolaj Gulda, Friedrich Hammerschmidt, Andreas Hernández, Rafael Homilius, Gottfried August Ito, Yasuhide Jones, Thad Kernis, Aaron Jay Lauber, Joseph Loesser, Frank Mantua, Jacquet de Marzi, Bepi de Merula, Tarquinio Morricone, Ennio Nestico, Sammy Nola, Giovanni Domenico Pacchioni, Giorgio Petersen, Wilhelm

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786 789 792 795 798 801 804 807 810 813 816 819

Reimann, Aribert Schoeck, Othmar Sirota, Robert Spontini, Gaspare Styne, Jule Traditional Caribian Traditional Jewish Traditional Swedish Utendal, Alexander Walther, Johann Gottfried Wolf-Ferrari, Ermanno Zemlinsky, Alexander von

The above being the main composers, where recorded and printed (published) Music might be found.

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Chapter 3: Dance Ethnology. Here is an extract taken as is, from http://www.kimberlymiguelmullen.com/about.php which is as follows: “About Kimberly Miguel Mullen "To dance was at once to worship and to pray...the gods themselves danced, as the stars dance in the sky...To dance is to take part in the cosmic control of the world." -- Havelock Ellis, Dance of Life About Kimberly Miguel Mullen brings to the world of dance strength, humility, and natural grace augmented by extensive training and research in the US, the Caribbean, and Brazil. With a Master's degree in dance from UCLA and international training experience, she makes a unique contribution to the field and spirit of dance ethnology. Her style embraces all genres of dance enabling her to work in both traditional and contemporary performance realms. Kimberly's performance and choreography credits include concert, theater, film and television. The Los Angeles Times calls Mullen, "spectacularly supple," owing to her comprehensive mastery of the dance discipline. Artist Statement to dance is more than executing steps. For me, dance is life. My love for dance is rooted in the process of training with Master teachers and traveling to the origins of the places where cultural dance forms persist. Dance is my vehicle for contributing to the preservation of culture and for celebrating the similarities and differences of our A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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humanity. This is important to me because of my own mixed cultural heritage and the experiences my parents, grandparents, and ancestors endured to give me a better life. Dance found me as the result of my own longing for a creative and spiritual outlet to physically express the issues in my life to which I am dedicated. For the past 15 years, I have humbly immersed myself in the center of many dance communities in the US, the Caribbean, and Brazil. Transcending issues of race, politics, class, gender, age, language, etc - I have been witness to the joy, purpose, and abundance dance brings to the lives of the most modest communities. I am very gracious to my teachers who have gifted me with the knowledge and acknowledgement to perform and teach. It is through performance and instruction that I share the profound magic of dance in my life with others... Education Master of Arts in Dance, UCLA Department of World Arts and Culture Bachelor of Arts in International Studies of Africa, Portland State University Certificate, Black Studies University Teaching UCLA, Department of World Arts and Culture Occidental College, Department of Theater and Dance Cal State University Los Angeles, Department of Theater and Dance Portland State University, Department of Black Studies Youth Teaching Los Angeles Public Library Young Adults Program Segev and Sara’s Super Duper Arts Camp Focus Fish Youth Outreach Program Acacia Dance Fitness DVD Titles Dance and Be Fit: Brazilian Body (Creator and Star) Dance and Be Fit: Lower Body Burn (Creator and Star) Dance and Be Fit: Abs Burn (Creator and Star) Dance and Be Fit: Latin Groove (Choreographer and Talent) Himalaya: Bollywood Dance Workout (Choreographer and Talent) Himalaya: Bollywood Burn (Choreographer and Talent) Himalaya: Beautiful Belly (Choreographer and Talent) Himalaya: Bollywood Booty (Choreographer) A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Dance Companies Francisco Aguabella The ABC Project Viver Brazil Dance Company El Grupo Folklorico Omo Ache Folkloric Dance Company El Grupo Folklorico Olorun Folkloric Dance Company Milagro Bailadores Performance Venues Town Hall (New York City), UCLA Fowler Museum, The Dorothy Chandler Pavilion, The House Of Blues (Anaheim & Sunset Blvd), The John Ansen Ford Theater (Hollywood), The Hollywood Bowl (Summer Sounds), Highways Performance Space (Santa Monica), The Alex Theater (Glendale), Temple Bar (Santa Monica), The Conduit (Portland), Mission District Carnival (San Francisco), Wesleyan College (Connecticut), Bergamont Station (Santa Monica), Museum of Latin American Art (Long Beach), National Hispanic Cultural Center (Albuquerque), Lensic Performing Arts Center (Santa Fe), Taos Performing Arts Center (Taos), Lincoln Performing Arts Center (Ft. Collins), Memorial Union (Oregon), Villa Vela (Salvador, Bahia), etc International Dance and Cultural Studies Research International - Technica Silvestre (Bahia, Brazil) 2005 & 2006 Fundacao de Pierre Verger - Dona Cici (Bahia, Brazil) 2004 - 2008 CIRCE (San Juan, Puerto Rico) 2002 El Conjunto Folclorico Raices Profundas (Havana, Cuba) 2000 El Conjunto Folclorico Nacional de Cuba (Havana, Cuba) 1998 Ajokeh Dance Company (Trinidad and Tobago) 1997 Apprenticeships Francisco Aguabella, Juan De Dios de Morejon, Rosangela Silvestre, Dona Cici, Jose Ricardo Souza Luiz Badaro, Teresita Dome Perez, Juan Carlos Blanco, Silfredo La'O Vigo, Susana Arenas Pedroso, Ramon Ramos Alayo, Candice Goucher, Kofi E. Agorsah, Catherine Evleshin, Halbert Barton, and Keith V. Goodman. Consulting/Grant Writing 18th Street Arts Center Viver Brasil Dance Company Leonida Flipside Productions” A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Which gives some one else perspective of dance ethnology. Therefore ethnology could be defined as the study of contemporary peoples, concentrating on their geography and culture, as distinct from their social systems. Ethnologists make a comparative analysis of data from different cultures to understand how cultures work and why they change, with a view to deriving general principles about human society, or the science dealing with the major cultural groups of humans, their descent, relationship, etc. There are different types and genres of dancing both professional and recreational, including religious and cultural as well. Dancing can be done by the same sex together such as the Dervishes in Sufi Dancing which is done by males in Islamic Mysticism, a woman in Arab Culture doing belly dancing to entice her husband, ballet done by both male and female either together, solo or separate parts that are sex (gender specific) such as the sailors' dance in the ballet “The Red Poppy” by Reinhold Moresewitz Glierre, Gum boot dancing done by same sex in South Africa, Spanish Flamenco Dancing done by women with castanets (which is different to what a percussionist uses in a symphony orchestra), waltzes, mazurkas, polonaises, ecossaise (Scottish Dancing), polkas, fox trots, tango (invented in Argentina), Latin American Dancing, and others which men and women do together. There are other ethnic dancing as well, which includes Cuban dancing, Israeli Hora dancing, and Indian Dancing which can be divided into traditional and Bollywood dancing. Not to mention African Tribal Dancing and other forms dancing right throughout the world. Ball Room dancing has within itself different types of dances that have been formulated right throughout the world, such as the foxtrot, quicksep, waltz, samba, mamba, tcha tcha and the tango (a dance developed in Argentina in the 1700’s. Ball Room dancing has not only become a source of recreation, but has also become a sort of a sport with contestants winning prizes and trophies. French, Russian and English composers have composed music with Spannish themes, although some of the composers have not been to Spain ever in their life, yet their music sounds very much Spannish, which includes the use of castanets in the percussion section of the orchestra. Then what about the polkas danced in Germany and the flamencos in Spain! A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Ballet scores have been composed by composers of mainly classical music since the 17th / 18th Centuries still to the present and beyond, with the sole purpose of telling a story through dance to music which is choreographed by choreographers such as the famous Marius Petipa for the Russian Ballet in ballets for example “Don Quixote by Ludwig (Leon) Minkus. Ballet can also be added to operas, operettas and musicals. It is interesting to note that in operas composed by both Italian and French composers for performances in France had ballet scenes added as required from a performance and marketing perspective. Then there is also modern dancing, rock and roll, country dancing, jigs and can can type dancing found in night clubs in the 19th and 20th centuries in France. Therefore man has had different types and genres of dancing to choose from and no doubt new types of dancing will be discovered and formed in the future and in time to come.

Chapter 4: Early 20th Century Music. “Musical innovation is full of danger to the state, for when modes of music change, the laws of the state always change with them”. (Plato, c, 428 BC to 347 BC) “It's music on the points of needles”. (Cesar Frank, 1822 to 1890) With the end of the 19th Century drawing to an end, it has become apparent that Romanticism has run its course and has now come to an end.

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Figure 11: Unknown Composers and Well Known performers of the late 19th and early 20th Century.

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Below is a list taken as verbatim off the Internet, regarding research done on early 20th Century composers many of whom are unknown and unheard of? These details infra cover many genres of music composed by the different composers.

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A song composed in the early 20th Century would look something like this:\ A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Deep River Song composed by an anonymous person being and Old Negro Melody; Arranged by Harry Thacker Burleigh, 1866-1949 Sung By Madames Frances Alda, Zabetta Brenska, Pauline Donalda, Alma Gluck, Louis Homer, Mary Jordan, Christine Miller, Alice Nielson, Anito Rio, Emma Roberts and Mercella Sembrich. Messrs. Paul Althouse, Dan Beddoe, Charles Norman Granville, George Hamlin, Percy Hemus, Arthur Herschmann, Redferne Hollinshead, Francis Rogers, Edgar Schoefield And William Wheller. No. 1 in C [G3 to E5] 116006 No. 2. in Db [Ab3 to F5] 116040 No. 3 in F [C4 to A5] 116059 Respectfully dedicated to Miss Mary Jordan "Deep River" (1917) Song Old Negro Melody Arranged by H. T. Burleigh New York: G. Ricordi & Co., 14 East 43rd Street And at London, Paris, Leipzig, Rome, Palermo, Naples, Buenos-Ayres and Milan. Plate No. 116059-3 [Source: 151/147@Levy] Deep river, my home is over Jordan, Deep river, Lord, I want to cross over into campground. Deep river, my home is over Jordan. Deep river, Lord, I want to cross over into campground. Oh don’t you want to go to that gospel feast, That promis’d land where all is peace? A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Oh deep river, Lord, I want to cross over into campground. The above example illustrates what could have been composed in that era. Arnold Schoenberg who was born in 1874 and a pupil of Alexander von Zemlinsky was interested in the impressionist paintings of Monet, Renoir, Van Gogh, etc. and although was himself a late romantic composer, with Verklarte Nacht as one of his most important of works, however looking at impressionist art works, not to mention the expressionist styles of painting by associated with the works of Franz Marc, Emil Nolde and Vasily Kandinsky of the Blaue Raiter movement (to which Schoenberg, as a Sunday painter, was also affiliated), decided to change his style of writing music from tonal (where the tune can clearly be made out to a system of atonalism wherein each note on the music script is given an equal weight. The music was to sound a lot more different and “scary” to say the very least, and not easy to listen to, for which a new taste was to be acquired in the process with audiences, musicians and critics having to adapt to this new style of music. Furocio Busoni (a pupil of Liszt), was also to make use of this style of writing music. Hans Pfitzner who was born in Moscow, whilst his parents were working there, then arrived in Germany with His Parents at a young age, who composed his operas in the late Romantic Period, wrote a pamphlet publicly criticizing both Schoenberg and Busoni for kind of music that they have composed, that was from Pfitzner's perspective to be difficult to listen to and difficult to interpret as well. With the early 20th Century, whilst not all music was difficult to listen to, there were some very nice songs, musicals and operettas to choose from, not to mention some rag time music and believe it or not some (late) romantic music to choose from. Franz Schmidt born in 1874 a contemporary of Gustav Mahler, who was born in 1869, who were rivals of each other, was to compose some very beautiful works, in the romantic tradition, such as his opera “Notre Dame” and his symphony no.2, however Schmidt’s 4th Symphony (Hussar)is more heavy to listen to than his 2nd Symphony. Gustav Mahler and Faruccio Busoni (like Anton Bruckner) and also Harvagal Brian and Furtwangler were notorious for composing long works, which some included extremely large orchestras and choirs. Busoni’s Piano concerto has five movements, which is a long piece of over 1 and a half hour in length with believe it or not, an offstage male choir in the last (finale) movement. Mahler 8th Symphony requires a large concert auditorium for performances. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Then we come to ballets composed by Sergey Prokofiev (Cinderella and Romeo and Juliet, Maurice Ravel (Daphnis and Chloe), Igor Stravinsky (The Firebird & Petruska), Albert Roussel (Paellas et Mellisande), etc, who composed ballets for (Sergey) Diagelev's Ballet Company in Paris, France. A lot of the ballets of the early 20th Century were short pieces with the noticeable exception of the ballets of Sergey Prokofiev. Songs for the mass market especially rag time songs, songs from the musicals and operettas were easy to listen to and easy to play and perform. Most certainly music that the masses could relate to! Such as the “Geisha Girl” a master piece by Sidney Jones (very similar in style to the 19 th century operas by Gilbert and Sullivan), the “Merry Widow” by Franz Lehar, “Cho Cho Chan”, “Show Boat” by Jerome Kern and believe it or not the opera “Porgy and Bess” by George Gershwin in the 1930's. Also the rag time songs of Scott Joplin come to mind. Naturally the First World War and its aftermath were to change the landscape of music for ever.

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Chapter 5: Gender and Performance (including ethnology). The first performers since time immemorial were mainly men especially in Biblical times but whilst the men were mainly composers and performers, women were on the main only performers and rarely composers. The first person to compose the first known piece of classical music according to Richard Fawkes in his four audio compact disc audio book, “The History of Classical Music, Naxos, credits Hildegard of Bingen as being the first composer of classical music, who as an abbess composed music for her nuns to sing. It is interesting to note that it was a woman not a man who composed the first piece of classical music. Other famous women who themselves were to compose classical music would have been between 18th, 19th and 20th centuries, such as Maria von Paridis (Siccilienne), Clara Schumann (1819 to 1896) (who composed a piano concerto and some chamber music), Cecille Chamenade (who composed Autimme and other piano pieces) and Nadia Boulonger (who composed songs, etc.). Up to the renaissance and baroque periods, men were the dramatists, performers, composers and artists. Men dressed up as women or in singing boys were castrated to enable them when as adult men to keep their voices at a high pitch. (Albert Morreche was to be the last known castrate for which early recordings of his voice was to be made. Women were unlike the men to be increasingly taking on both singing and performing roles in music, drama, singing, opera, ballet and in art as well, but unfortunately few in numbers to compose music, and many women were so called amateur singers in their own homes as well. Here is a list of the bulk of the women composers as shown infra, as follows: Woman Composers Arrieu, Claude Beach, Amy Bingen, Hildegard von Boyd, Anne Chaminade, Cécile Diemer, Emma Lou Jacquet de La Guerre, Elisabeth Kanno, Yoko A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Larsen, Libby Musgrave, Thea Paradis, Maria Theresia von Parker, Alice Ran, Shulamit Tailleferre, Germaine Tower, Joan Ustvolskaya, Galina Warren, Elinor Remick Note that Hildegard of Bingen does not feature in this list as shown supra. Maud Powell a very famous American Violinist did arrangements and transcribing music to do with her instrument and was herself actively involved in the suffragette movement. When looking at disabilities and minorities then there are lesser known composers as listed infra, namely Blind Composers Bruna, Pablo Fuenllana, Miguel de Jezek, Jaroslav Langlais, Jean Litaize, Gaston O'Carolan, Turlough Paradis, Maria Theresia von Rodrigo, Joaquin Stanley, John Vierne, Louis Black Composers Brouwer, Leo Coleridge-Taylor, Samuel Davis, Miles Dawson, William Levi Hairston, Jester Handy, William Christopher Hemphill, Julius Joplin, Scott Machado, Celso Monk, Thelonious A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Rocha Vianna, Alfredo da Scott, James Still, William Grant Work, John Wesley III Enoch Sontonga (South African), who composed the hymn “N’kosi Sikelela I’Afrika (Gd bless Africa) Hugh Mashikela, also a South African, who composed songs such as “Dobshire”, “Dobsonville” and “Johannesburg” Women were to enter the performance and entertainment fields along with the male performers in the different fields of art, performance, opera, ballet, church and other art and performance modalities. Marin Alsop is a famous woman conductor, Lucia Popp, Maria Callas, Jenny Lind, Geodetta Pasta, the Grissi sisters, Dame Kirry te Kanawa, Adelina Patti were famous opera and operetta singers, Julie Andrews famous in film musicals, and the list can go on and on. A stop quite recently was put to the use of castrate in the performing arts, so therefor the arts have been opened up to both sexes on an equal footing. Many of Ameria's leading composers were students (pupils) of Nadia Boulanger, namely, Aaron Copeland, Walter Piston and Virgil Thompson, as mentioned in Mann, W, James Galway's Music in Time, (c.1980's) Mitchell Beazley.

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Chapter 6: Jazz Studies. According Wikki Pedia Jazz can be described as the following as quoted as verbatim, namely:

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Jazz can be classified into different genres as well, like as in classical music, as seen from the above article supra. Jazz is an oxymoron in music at the best of times and makes the classification of music that much more difficult and it would not be uncommon to find jazz type pieces in a symphony concert. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Composers like Claude Bolling, Dave Bruebeck, Pavel Haas, Hans Krasa, Victor Ullmann, George Gerswin, Ernst Krenek and others have very clear cut jazz rhythms and themes in their music wich forms part of the symphony concert pieces. Then what about one of the world’s greatest of pianists by the name of Vladimir Horowitz, himself was a composer of music, being piano pieces, which are fully obtainable from Naxos Historical, which has recordings of his performances, which also includes some of his compositions that have been performed by Horowitz himself. Now if the listner were to listen to these pieces, then the listner would think that he or she was listening to Jazz type music, but in reality this is classical music and not Jazz. Bear in mind that classical music was Horowitz’s main interest, since being a concert pianist of note. Jazz has been composed and performed right throughout the world, for example, Duke Ellington, Louis Armstrong, Glenn Miller and Bennie Goodman, in America, Hugh Maskikela and the Soweto String Quartet in South Africa, and the Dutch Swing College Band in the Netherlands, who were a product of resistance in Nazi (German) occupation of the Netherlands during World War Two. Jazz is sung, performed and is also danced to, and there are still concerts and radio programs broadcasting Jazz music.

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Chapter 7: Jazz, Film and Opera. Jazz has been and was originally established by American Negro Slaves as a form of musical entertainment, progressed from Rag Time (Scott Joplin) right through to the present form as it is in use today. Another perspective on the history of Jazz has been taken verbatim from http://m.bobhuang.com/essays/jazz.htm which is as follows, “History of Jazz The JAZZ Story An Outline History of Jazz In the span of less than a century, the remarkable native American music called Jazz has risen from obscure folk origins to become this country's most significant original art form, loved and played in nearly every land on earth. Today, Jazz flourishes in many styles, from basic blues and ragtime through New Orleans and Dixieland, swing and mainstream, bebop and modern to free form and electronic. What is extraordinary is not that Jazz has taken so many forms, but that each form has been vital enough to survive and to retain its own character and special appeal. It takes only open ears and an open mind to appreciate all the many and wide-raging delights jazz has to offer. THE ROOTS Jazz developed from folk sources. Its origins are shrouded in obscurity, but the slaves brought here from Africa, torn from their own ancestral culture, developed it as a new form of communication in song and story. Black music in America retained much of Africa in its distinctive rhythmic elements and also in its tradition of collective improvisation. This heritage, blended with the music of the new land, much of it vocal, produced more than just a new sound. It generated an entire new mode of musical expression. The most famous form of early Afro-American music is the spiritual. These beautiful and moving religious songs were most often heard by white audiences in more genteel versions than those performed in rural black A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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churches. What is known as gospel music today, more accurately reflects the emotional power and rhythmic drive of early Afro-American music than a recording of a spiritual by the famous Fisk Jubilee Singers from the first decade of this century. Other early musical forms dating from the slavery years include work songs, children's songs, and dances, adding up to a remarkable legacy, especially since musical activity was considerable restricted under that system. BIRTH OF THE BLUES After the slaves were freed, Afro-American music grew rapidly. The availability of musical instruments, including military band discards, and the new-found mobility gave birth to the basic roots of Jazz: brass and dance band music and the blues. The blues, a seemingly simple form of music that nevertheless lends itself to almost infinite variation, has been a significant part of every Jazz style, and has also survived in its own right. Today's rock and soul music would be impossible without the blues. Simply explained, it is and eight (or twelve) bar strain with lyrics in which the first stanza is repeated. It gets its characteristic "blue" quality from a flattening of the third and seventh notes of the tempered scale. In effect, the blues is the secular counterpart of the spirituals. BRASS BANDS AND RAGTIME By the late 1880's, there were black brass, dance and concert bands in most southern cities. (At the same time, black music in the north was generally more European-oriented.) Around this era, ragtime began to emerge. Though primarily piano music, bands also began to pick it up and perform it. Ragtime's golden age was roughly from 1898 to 1908, but its total span began earlier and lingered much later. Recently, it has been rediscovered. A music of great melodic charm, its rhythms are heavily syncopated, but it has almost no blues elements. Ragtime and early Jazz are closely related, but ragtime certainly was more sedate. Greatest of the ragtime composers was Scott Joplin (1868-1917). Other masters of the form include James Scott, Louis Chauvink Eubie Blake (18831983) and Joseph Lamb, a white man who absorbed the idiom completely. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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ENTER JASS Ragtime, especially in its watered-down popular versions, was entertainment designed for the middle class and was frowned on by the musical establishment. The music not yet called Jazz (in its earliest usage it was spelled "jass"), came into being during the last decade of the 19th century, rising out of the black working-class districts of southern cities. Like ragtime, it was a music meant for dancing. The city that has become synonymous with early Jazz is New Orleans. There is reality as well as myth behind this notion. New Orleans: Cradle of Jazz New Orleans played a key role in the birth and growth of Jazz, and the music's early history has been more thoroughly researched and documented there than anywhere else. But, while the city may have had more and better Jazz than any other from about 1895 to 1917, New Orleans was by no means the only place where the sounds were incubating. Every southern city with a sizable black population had music that must be considered early Jazz. It came out of St. Louis, which grew to be the center of ragtime; Memphis, which was the birthplace of W.C. Handy (1873-1958), the famed composer and collector of blues; Atlanta, Baltimore, and other such cities. What was unique to New Orleans at the time was a very open and free social atmosphere. People of different ethnic and racial backgrounds could establish contact, and out of this easy communication came a rich musical tradition involving French, Spanish, German, Irish and African elements. It was no wonder that this cosmopolitan and lively city was a fertile breeding ground for Jazz. If New Orleans was the birthplace of Jazz in truth as well as in legend, the tale that the music was born in its red light district is purest nonsense. New Orleans did have legalized prostitution and featured some of the most elaborate and elegant "sporting houses" in the nation. But the music, if any, that was heard in these establishments was made by solo pianists. Actually, Jazz was first heard in quite different settings. New Orleans was noted for its many social and fraternal organizations, most of which sponsored or hired bands for a variety of occasions -- indoor and outdoor dances, picnics, store openings, birthday or anniversary parties. And, of course, Jazz was the A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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feature of the famous funeral parades, which survive even today. Traditionally, a band assembles in front of the church and leads a slow procession to the cemetery, playing solemn marches and mournful hymns. On the way back to town, the pace quickens and fast, peppy marches and rags replace the dirges. These parades, always great crowd attractions, were important to the growth of Jazz. It was here that trumpeters and clarinetists would display their inventiveness and the drummers work out the rhythmic patterns that became the foundation for "swinging" the beat. THE EARLY MUSICIANS - Buddy, Bunk, Freddie and The King The players in these early bands were mostly artisans (carpenters, bricklayers, tailors, etc.) or laborers who took time out on weekends and holidays to make music along with a little extra cash. The first famous New Orleans musician, and the archetypal jazzman, was Buddy Bolden (1877-1931). A barber by trade, he played cornet and began to lead a band in the late 1890's. Quite probably, he was the first to mix the basic, rough blues with more conventional band music. It was a significant step in the evolution of Jazz. Bolden suffered a seizure during a 1907 Mardi Gras parade and spent the rest of his life in an institution for the incurably insane. Rumor that he made records have never been substantiated, and all we know of his music comes from the recollection of other musicians who heard him when they were young. Bunk Johnson (1989- 1949), who played second cornet in one of Bolden's last bands, contributed greatly to the revival of interest in classic New Orleans jazz that took place during the last decade of his life. A great storyteller and colorful personality, Johnson is responsible for much of the New Orleans legend. But much of what he had to say was more fantasy than fact. Many people, including serious fans, believe that the early jazz musicians were self-taught geniuses who didn't read music and never took a formal lesson. A romantic notion, but entirely untrue. Almost every major figure in early jazz had at least a solid grasp of legitimate musical fundamentals, and often much more. Still, they developed wholly original approaches to their instruments. A prime example is Joseph (King) Oliver (1885-1938), a cornetist and bandleader who A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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used all sorts of found objects, including drinking glasses, a sand pail, and a rubber bathroom plunger to coax a variety of sounds from his horn. Freddie Keppard (1889-1933), Oliver's chief rival, didn't use mutes, perhaps because he took pride in being the loudest cornet in town. Keppard, the first New Orleans great to take the music to the rest of the country, played in New York vaudeville with the Original Creole Orchestra in 1915. JAZZ COMES NORTH By the early years of the second decade, the instrumentation of the typical Jazz band had become cornet (or trumpet), trombone, clarinet, guitar, string bass and drums. (Piano rarely made it since most jobs were on location and pianos were hard to transport.) The banjo and tuba, so closely identified now with early Jazz, actually came in a few years later because early recording techniques couldn't pick up the softer guitar and string bass sounds. The cornet played the lead, the trombone filled out the bass harmony part in a sliding style, and the clarinet embellished between these two brass poles. The first real jazz improvisers were the clarinetists, among them Sidney Bechet (1897-1959). An accomplished musician before he was 10, Bechet moved from clarinet to playing mainly soprano saxophone. He was to become one of the most famous early jazzmen abroad, visiting England and France in 1919 and Moscow in 1927. Most veteran jazz musicians state that their music had no specific name at first, other than ragtime or syncopated sounds. The first band to use the term Jazz was that of trombonist Tom Brown, a white New Orleanian who introduced it in Chicago in 1915. The origin of the word is cloudy and its initial meaning has been the subject of much debate. The band that made the word stick was also white and also from New Orleans, the Original Dixieland Jass Band. This group had a huge success in New York in 1917-18 and was the first more or less authentic Jazz band to make records. Most of its members were graduates of the bands of Papa Jack Laine (18731966), a drummer who organized his first band in 1888 and is thought to have been the first white Jazz musician. In any case, there was much musical integration in New Orleans, and a number of light skinned Afro-Americans "passed" in white bands. By 1917, many key Jazz players, white and black, had left New Orleans and other southern cities to come north. The reason was not the notorious 1917 A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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closing of the New Orleans red light district, but simple economics. The great war in Europe had created an industrial boom, and the musicians merely followed in the wake of millions of workers moving north to the promise of better jobs. LITTLE LOUIS & THE KING King Oliver moved to Chicago in 1918. As his replacement in the best band in his hometown, he recommended an 18-year-old, Louis Armstrong. Little Louis, as his elders called him, had been born on August 4, 1901, in poverty that was extreme even for New Orleans' black population. His earliest musical activity was singing in the streets for pennies with a boy's quartet he had organized. Later he sold coal and worked on the levee. Louis received his first musical instruction at reform school, where he spent eighteen months for shooting off an old pistol loaded with blanks on the street on New Year's Eve of 1913. He came out with enough musical savvy to take jobs with various bands in town. The first established musician to sense the youngster's great talent was King Oliver, who tutored Louis and became his idol. THE CREOLE JAZZ BAND When Oliver sent for Louis to join him in Chicago, that city had become the world's new Jazz center. Even though New York was where the Original Dixieland Jass Band had scored its big success, followed by the spawning of the first dance craze associated with the music, the New York bands seemed to take on the vaudeville aspects of the ODJB's style without grasping the real nature of the music. Theirs was an imitation Dixieland (of which Ted Lewis was the first and most successful practitioner), but there were few southern musicians in New York to lend the music a New Orleans authenticity. Chicago, on the other hand, was teeming with New Orleans musicmakers, and the city's nightlife was booming in the wake of prohibition. By all odds, the best band in town was Oliver's Creole Jazz Band, especially after Louis joined in late 1922. The band represented the final great flowering of classic New Orleans ensemble style and was also the harbinger of something new. Aside from the two cornetists, its stars were the Dodds Brothers, clarinetists Johnny (1892-1940) and drummer Baby (1898-1959). Baby Dodds brought a new level of rhythmic subtlety and drive to jazz drumming. Along with another New Orleans-bred musician, Zutty Singleton (1897-1975), he introduced the concept A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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of swinging to the Jazz drums. But the leading missionary of swinging was, unquestionably, Louis Armstrong. FIRST JAZZ ON RECORDS The Creole Jazz Band began to record in 1923 and while not the first black New Orleans band to make records, it was the best. The records were quite widely distributed and the band's impact on musicians was great. Two years earlier, trombonist Kid Ory (1886-1973) and his Sunshine Orchestra captured the honor of being the first recorded artists in this category. However, they recorded for an obscure California company which soon went out of business and their records were heard by very few. Also in 1923, the New Orleans Rhythm Kings, a white group active in Chicago, began to make records. This was a much more sophisticated group than the old Dixieland Jass Band, and on one of its recording dates, it used the great New Orleans pianist-composer Ferdinand (Jelly Roll) Morton (1890-1941). The same year, Jelly Roll also made his own initial records. JELLY ROLL MORTON Morton, whose fabulous series of 1938 recordings for the Library of Congress are a goldmine of information about early Jazz, was a complex man. Vain, ambitious, and given to exaggeration, he was a pool shark, hustler and gambler a well as a brilliant pianist and composer. His greatest talent, perhaps was for organizing and arranging. The series of records he made with his Red Hot Peppers between 1926 and 1928 stands, alongside Oliver's as the crowning glory of the New Orleans tradition and one of the great achievements in Jazz. LOUIS IN NEW YORK AND BIG BANDS ARE BORN That tradition, however, was too restricting for a creative genius like Louis Armstrong. He left Oliver in late 1924, accepting an offer from New York's most prestigious black bandleader, Fletcher Henderson (1897-1952). Henderson's band played at Roseland Ballroom on Broadway and was the first significant big band in Jazz history. Evolved from the standard dance band of the era, the first big Jazz bands consisted of three trumpets, one trombone, three saxophones (doubling all kinds of reed instruments), and rhythm section of piano, banjo, bass (string or A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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brass) and drums. These bands played from written scores (arrangements or "charts"), but allowed freedom of invention for the featured soloists and often took liberties in departing from the written notes. Though it was the best of the day, Henderson's band lacked rhythmic smoothness and flexibility when Louis joined up. The flow and grace of his short solos on records with the band make them stand out like diamonds in a tin setting. The elements of Louis' style, already then in perfect balance, included a sound that was the most musical and appealing yet heard from a trumpet; a gift for melodic invention that was as logical as it was new and startling, and a rhythmic poise (jazzmen called it "time") that made other players sound stiff and clumsy in comparison. His impact on musicians was tremendous. Nevertheless, Henderson didn't feature him regularly, perhaps because he felt that the white dancers for whom his band performed were not ready for Louis' innovations. During his year with the band, however, Louis caused a transformation in its style and, eventually, in the whole big band field. Henderson's chief arranger, Don Redman, (1900-1964) grasped what Louis was doing and got some of it on paper. After working with Louis, tenor saxophonist Coleman Hawkins (19041969) developed a style for his instrument that became the guidepost for the next decade. While in New York, Louis also made records with Sidney Bechet, and with Bessie Smith (1894-1937), the greatest of all blues singers. In 1925, he returned to Chicago and began to make records under his own name with a small group, the Hot Five. Included were his wife Lil Hardin Armstrong (18991971) on piano, Kid Ory, Johnny Dodds, and guitarist Johnny St. Cyr. The records, first to feature Louis extensively, became a sensation among musicians, first all over the United States and later all over the world. The dissemination of jazz, and in a very real sense its whole development, would have been impossible without the phonograph. KING LOUIS The Hot Five was strictly a recording band. For everyday work, Louis played in a variety of situations, including theater pit bands. He continued to grow and develop, and in 1927 switched from cornet to the more brilliant trumpet. He had occasionally featured his unique gravel voiced singing, but only as a A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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novelty. Its popular potential became apparent in 1929, when, back in New York, he starred in a musical show in which he introduced the famous Ain't Misbehavin' singing as well as playing the great tune written by pianist Thomas (Fats) Waller (1904-1943), himself one of the greatest instrumentalistssingers-showmen in Jazz. It was during his last year in Chicago while working with another pianist, Earl (Fatha) Hines (1903-1983), that Louis reached his first artistic peak. Hines was the first real peer to work with Louis. Inspired by him, he was in turn able to inspire. Some of the true masterpieces of Jazz, among them West End Blues and the duet Weatherbird, resulted from the Armstrong-Hines union. THE JAZZ AGE Louis Armstrong dominated the musical landscape of the 20's and, in fact, shaped the Jazz language of the decade to come as well. But the Jazz of the Jazz Age was more often than not just peppy dance music made by young men playing their banjos and saxophones who had little understanding of (or interest in) what the blues and/or Louis Armstrong were about. Still, a surprising amount of music produced by this dance-happy period contained genuine Jazz elements. PAUL WHITEMAN - King of Jazz? The most popular bandleader of the decade was Paul Whiteman (1890-1967), who ironically became known as the King of Jazz, although his first successful bands played no Jazz at all and his later ones precious little. These later bands, however, did play superb dance music, expertly scored and performed by the best white musicians the extravagant Whiteman paychecks could attract. From 1926 on, Whiteman gave occasional solo spots to such Jazzinfluenced players as cornetist Red Nichols, violinist Joe Venuti, guitarist Eddie Lang (1904-1933), and the Dorsey Brothers' trombonist-trumpeter Tommy (1905-1956) and clarinetist-saxophonist Jimmy (1904-1957), all of whom later became bandleaders in their own right. In 1927, Whiteman took over the key personnel of Jean Goldkette's Jazzoriented band, which included a young cornetist and sometime pianist and composer of rare talent, Bix Beiderbecke (1903-1931). Bix's very lyrical, personal music and early death combined to make him the first (and most durable) jazz legend. His romanticized life story became the inspiration for a novel and a film, neither of them close to the truth. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Bix's closest personal and musical friend during the most creative period of his life was saxophonist Frank Trumbauer (1901-1956). Fondly known as Bix and Tram, the team enhanced many an otherwise dull Whiteman record with their brilliant interplay or their individual efforts. THE BEIDERBECKE LEGACY Bix's bittersweet lyricism influenced many aspiring jazzmen, among them the so-called Austin High Gang, made up of gifted Chicago youngsters only a few of whom ever actually attended Austin High School. Among them were such later sparkplugs of the Swing Era as drummers Gene Krupa (1909-1973) and Dave Tough (1908-1948); clarinetist Frank Teschemacher (1905-1932); saxophonist Bud Freeman (1906-1991); pianists Joe Sullivan (1906-1971) and Jess Stacy (b. 1904); and guitarist-entrepreneur Eddie Condon (1905-1973). Their contemporaries and occasional comrades-in-arms included a clarinet prodigy named Benny Goodman (1905-1986); and somewhat older reedman and character, Mezz Mezzrow (1899-1972), whose 1946 autobiography, Really the Blues, remains, despite inaccuracies, one of the best Jazz books. Trumbauer, though not a legend like Bix, influenced perhaps as many musicians. Among them were two of the greatest saxophonist in Jazz history, Benny Carter (b.1907) and Lester (Prez) Young (1909-1959). BLACK & WHITE A great influence on young Goodman was the New Orleans clarinetist Jimmie Noone (1995-1944), an exceptional technician with a beautiful tone. Chicago was an inspiring environment for a young musician. There was plenty of music and there were plenty of masters to learn from. Cornetist Muggsy Spanier (1906-1967) took his early cues from King Oliver. In New York, there was less contact between black and white players, though white jazzmen often made the trek to Harlem or worked opposite Fletcher Henderson at the Roseland. When a young Texas trombonist, Jack Teagarden (1905-1964), came to town in 1928, he startled everyone with his blues-based playing (and singing), very close in concept to that of Henderson's trombone star, Jimmy Harrison (19001931). These two set the pace for all comers. Teagarden, alongside Benny Goodman, worked in Ben Pollack's band. Pollack, who'd played drums with the New Orleans Rhythm Kings, was quite a talent spotter and always had good bands. When Henderson arranger Don Redman took over McKinney's Cotton Pickers in 1929 and made it one of the bands of A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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the `20s, his replacement was Benny Carter. Carter could (and still can) write arrangements and play trumpet and clarinet as well as alto sax. For many years, he was primarily active as a composer for films and TV; but in the late 1970's, Carter resumed his playing career with renewed vigor. (Editor's NoteCarter just turned eighty and is still playing and recording.) THE UNIQUE DUKE Another artist whose career spanned more than fifty years is Duke Ellington (1899-1974). By 1972, he was one of New York's most successful bandleaders, resident at Harlem's Cotton Club--a nightspot catering to whites only but featuring the best in black talent. Ellington's unique gifts as composer-arranger-pianist were coupled with equally outstanding leadership abilities. From 1927 to 1941, with very few exceptions and occasional additions, his personnel remained unchanged--a record no other bandleader (except Guy Lombardo, of all people) ever matched. Great musicians passed through the Ellington ranks between 1924 and 1974. Among the standouts: great baritone saxist Harry Carney (1907-1974), who joined in 1927; Johnny Hodges (1906-1970), whose alto sax sound was one of the glories of jazz; Joe (Tricky Sam) Nanton (1904-1946), master of the "talking" trombone; Barney Bigard (1906-1980); whose pure-toned clarinet brought a touch of New Orleans to the band; Ben Webster (1909-1973), one of Coleman Hawkins' greatest disciples; drummer Sonny Greer (1903-1982), and Rex Stewart (1907-1967) and Cootie Williams (1910-1985), an incomparable trumpet team. Among the later stars were trumpeter Clark Terry (b. 1920) and tenor saxist Paul Gonsalves (1920-1974). Ellington's music constitutes a world within the world of Jazz. One of the century's outstanding composers, he wrote over 1,000 short pieces, plus many suites, music for films, the theater and television, religious works and more. He must be ranked one of the century's foremost musicians, regardless of labels. His uninterrupted activity as a bandleader since 1924 has earned him a high place in each successive decade, and his achievement is a history of Jazz in itself. Three outstanding contributors to Ellingtonia must be mentioned. They are trumpeter-composer Bubber Miley (1903-1932), the co-creator of the first significant style for the band and, like his exact contemporary Bix A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Beiderbecke, a victim of too much, too soon; bassist Jimmy Blanton (19181942), who in his two years with Ellington shaped a whole new role for his instrument in Jazz, both as a solo and ensemble voice; and Billy Strayhorn (1915-1967), composer-arranger and Ellington alter ego who contributed much to the band from 1939 until his death. STRIDE & BOOGIE WOOGIE Aside from the band, for which he wrote with such splendid skill, Ellington's instrument was the piano. When he came to New York as a young man, his idols were James P. Johnson (1894-1955), a brilliant instrumentalist and gifted composer, and Johnson's closest rival, Willie (The Lion) Smith (1898-1973). Both were masters of the "stride" school of Jazz piano, marked by an exceptionally strong, pumping line in the left hand. James P.'s prize student was Fats Waller. New York pianists often met in friendly but fierce contests-the beginnings of what would later be known as jam sessions. In Chicago, a very different piano style came into the picture in the late `20s, dubbed boogie-woogie after the most famous composition by its first significant exponent, Pinetop Smith (1904-1929). This rolling, eight-to-the-bar bass style was popular at house parties in the Windy City and became a national craze in 1939, after three of its best practitioners, Albert Ammons, Pete Johnson and Meade Lux Lewis, had been presented in concert at Carnegie Hall. KANSAS CITY SOUNDS Johnson was from Kansas City, where boogie-woogie was also popular. The midwestern center was a haven for Jazz musicians through-out the rule of Boss Pendergast, when the city was wide open and music could be heard around the clock. The earliest and one of the best of the K.C. bands was led by Bennie Moten (1894-1935). By 1930 it had in its ranks pianist Count Basie (1905-1984) who'd learned from Fats Waller; trumpeter-singer Oran (Hot Lips) Page (1908-1954), one of Louis Armstrong's greatest disciples; and an outstanding singer, Jimmy Rushing (1903-1972). The city was to put its imprint on Jazz during the `30s and early `40s. DEPRESSION DAYS A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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The great Depression had its impact on Jazz as it did on virtually all other facets of American life. The record business reached its lowest ebb in 1931. By that year, many musicians who had been able to make a living playing Jazz had been forced to either take commercial music jobs or leave the field entirely. But the music survived. Again, Louis Armstrong set a pattern. At the helm of a big band with his increasingly popular singing as a feature, he recast the pop hits of the day in his unique Jazz mold, as such artists as Fats Waller and Billie Holiday (1915-1959), perhaps the most gifted of female Jazz singers would do a few years later. Thus, while sentimental music and romantic "crooners" were the rage (among them Bing Crosby who had worked with Paul Whiteman and learned more than a little from Jazz), a new kind of "hot" dance music began to take hold. It wasn't really new, but rather a streamlining of the Henderson style, introduced by the Casa Loma Orchestra which featured the arrangements of Georgia-born guitarist Gene Gifford (1908-1970). Almost forgotten today, this band paved the way for the Swing Era. THE COMING OF SWING As we've seen, big bands were a feature of the Jazz landscape from the first. Though the Swing Era didn't come into full flower until 1935, most up-andcoming young jazzmen from 1930 found themselves working in big bands. Among these were two pacesetters of the decade, trumpeter Roy (Little Jazz) Eldridge (1911-1989) and tenorist Leon (Chu) Berry (1908-1941). Eldridge, the most influential trumpeter after Louis, has a fiery mercurial style and great range and swing. Among the bands he sparked were Fletcher Henderson's and Teddy Hill's. The latter group also included Berry, the most gifted follower of Coleman Hawkins, and the brilliant trombonist Dicky Wells (1909-1985). Another trend setting band was that of tiny, hunchbacked drummer Chick Webb (1909-1939), who by dint of almost superhuman energy overcame his physical handicap and made himself into perhaps the greatest of all Jazz drummers. His band really got under way when he heard and hired a young girl singer in 1935. Her name was Ella Fitzgerald (b. 1917). THE KING OF SWING A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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But it was Benny Goodman who became the standard-bearer of swing. In 1934, he gave up a lucrative career as a studio musician to form a big band with a commitment to good music. His Jazz-oriented style met with little enthusiasm at first. He was almost ready to give it up near the end of a disastrous crosscountry tour in the summer of `35 when suddenly his fortunes shifted. His band was received with tremendous acclaim at the Palomar Ballroom in Los Angeles. It seems that the band's broadcasts had been especially well timed for California listeners. Whatever the reason, the band, which included such Jazz stars as the marvelous trumpeter Bunny Berigan (1908-1942) and drummer Gene Krupa, not to mention Benny himself, now scored success after success. Some of the band's best material was contributed by arrangers Fletcher Henderson and his gifted younger brother Horace. As the bands grew in popularity, a new breed of fan began to appear. This fan wanted to listen as much as he wanted to dance. (In fact, some disdained dancing altogether.) He knew each man in each band and read the new swing magazines that were springing up--Metronome, Down Beat, Orchestra World. He collected records and listened to the growing number of band broadcasts on radio. Band leaders were becoming national figures on a scale with Hollywood stars. OTHER GREAT BIG BANDS Benny's arch rival in the popularity sweepstakes was fellow clarinetist Artie Shaw (b.1910), who was an on-again-off-again leader. Other very successful bands included those of Jimmy Dorsey and Tommy Dorsey, whose co-led Dorsey Brothers Band split up after one of their celebrated fights. First among black bandleaders were Duke Ellington and Jimmie Lunceford (1902-1947). The latter led a highly disciplined and showmanship-oriented band which nevertheless spotlighted brilliant jazz soloists, among them saxophonists Willie Smith and Joe Thomas and trombonist Trummy Young (1912-1984). The man who set the band's style, trumpeter-arranger Sy Oliver (1910-1988), later went with Tommy Dorsey. A newcomer on the national scene was Count Basie's crew from Kansas City, with key soloists Lester Young and Herschel Evans (1909-1939) on tenors, Buck Clayton (1912-1992) and Harry Edison (b.1915) on trumpets, and Jimmy Rushing and Billie Holiday (later Helen Humes) on vocals. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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But important as these were (Lester in particular created a whole new style for his instrument), it was the rhythm section of Basie that gave the band its unique, smooth and rock-steady drive--the incarnation of swing, Freddie Green (1911-1987) on guitar, Walter Page (1900-1957) on bass, and Jo Jones (1911-1985) on drums and the Count on piano made the rhythm section what it was. Basie, of course, continued to lead excellent bands, but the greatest years were 1936-42. TALENT SCOUT NUMBER 1 - John Hammond The Basie band was brought east through the efforts of John Hammond, a young Jazz enthusiast who had discovered Billie Holiday and boogie woogie music and who also happened to be Benny Goodman's brother-in-law. It was Hammond who persuaded Benny to form a trio composed of himself, black pianist Teddy Wilson (1912-1986), and drummer Gene Krupa. Not long after the Goodman Trio was launched, it became a quartet with the addition of vibraphonist (and sometime, drummer and pianist) Lionel Hampton (b.1909), a veritable dynamo of musical wit and energy. It was the first interracial group to perform regularly in public. Both Hampton and Wilson later formed big bands of their own with Benny's help and blessing. Hampton's was a long-lived venture (Editor's note: in his late 80s, Hampton still performs with a big band). Other Goodman sidemen who launched successful bandleading careers were Gene Krupa and trumpeter Harry James (19161983). The James band became the most successful of the `40s. STILL MORE BIG BANDS... Other great swing bands included Andy Kirk's, with pianist-arranger Mary Lou Williams (1910-1981) as the guiding spirit; Earl Hines'; Cab Calloway's with Chu Berry and a young trumpeter named Dizzy Gillespie (1917-1993); trumpeter Erskine Hawkins'; tenorist Charlie Barnet's; trombonist Glenn Miller's, and the Mills Blue Rhythm Band with New Orleans trumpeter Henry (Red) Allen (19071967) and trombonist J.C. Higginbotham (1906-1973) as key soloists. A big band that didn't hit the big time until the mid-40's but had been around since 1936 was one led by clarinetist-singer Woody Herman (1913-1987). A unique unit was "the biggest little band in the land," a sextet led by bassist John Kirby (1908-1952) featuring the superb arrangements and trumpeting of Charlie Shavers (1915-1971). A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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The Swing Era, naturally, was not only a time of big bands, or small groups emulating their sound. All kinds of music was being played, including that being made by solo pianists. ART TATUM Outstanding among pianists was Art Tatum (1909-1956), whose accomplishment impressed even classicist Vladimir Horowitz. Perhaps the most gifted technician of all jazzmen, Tatum had other assets as well, among them an harmonic sense so acute as to make him an almost infallible improviser. This aspect of his style, as well as his great rhythmic freedom, influenced the young players who became the founders of a new style called bebop. Other unique musical figures of the `30s were violinist Stuff Smith (19091967), one of the first to play an electrically amplified instrument, and guitarist Django Reinhardt (1910-1953) a Belgian-born gypsy who was the first non-American jazzman of significance. (Among those who did missionary work in Europe in the `30s were Coleman Hawkins and Benny Carter; the number of U.S. jazzmen living abroad increased greatly after the second World War.) EXIT THE BIG BANDS The war years took a heavy toll of big bands. Restrictions made travel more difficult and the best talent was being siphoned off by the draft. But more importantly, public tastes were changing. Ironically, the bands were in the end devoured by a monster they had given birth to: the singers. Typified by Tommy Dorsey's Frank Sinatra, the vocalist, made popular by a band affiliation, went out on his own; and the public seemed to want romantic ballads more than swinging dance music. The big bands that survived the war soon found another form of competition cutting into their following--television. The tube kept people home more and more, and inevitably many ballrooms shut their doors for good in the years between 1947 and 1955. By then it had also become too expensive a proposition to keep 16 men traveling on the road in the big bands' itinerant tradition. The leaders who didn't give up (Ellington, Basie, Woody Herman, Harry James) had something special in the way of talent and dedication that gave them durability in spite of changing tastes and lifestyles. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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The only new bands to come along in the post-war decades and make it were those of pianist-composer Stan Kenton (1912-1979), who started his band in 1940 but didn't hit until `45; drummer Buddy Rich (1917-1987), a veteran of many famous swing era bands and one of jazzdom's most phenomenal musicians, and co-leaders Thad Jones (1923-1990), and Mel Lewis (1929-1990), a drummer once with Kenton. Another Kenton alumnus, high-note trumpeter Maynard Ferguson (b. 1928), has led successful big bands on and off. BIRD Bird, as Parker was called by his fans, was a fantastic improviser whose imagination was matched by his technique. His way of playing (though influenced by Lester Young and guitarist Charlie Christian (1916-1942), a remarkable musician who was featured with Benny Goodman's sextet between 1939-41), was something new in the world of Jazz. His influence on musicians can be compared in scope only to that of Louis Armstrong. Parker's principal early companions were Dizzy Gillespie, a trumpeter of abilities that almost matched Bird's, and drummer Kenny Clarke (1914-1985). Dizzy and Bird worked together in Hines' band and then in the one formed by Hines vocalist Billy Eckstine (1914-1993), the key developer of bop talent. Among those who passed through the Eckstine ranks were trumpeters Miles Davis (1927-1991), Fats Navarro (1923-1950), and Kenny Dorham (1924-1972); saxophonists Sonny Stitt (1924-1982), Dexter Gordon (1923-1990), and Gene Ammons (1925-1974); and pianist-arranger-bandleader Tadd Dameron (19171965). Bop, of course, was basically small-group music, meant for listening, not dancing. Still, there were big bands featuring bop--among them those led by Dizzy Gillespie, who had several good crews in the late `40s and early to mid50's; and Woody Herman's so-called Second Herd, which included the cream of white bop--trumpeter Red Rodney (b. 1927), and saxophonists Stan Getz (1927-1993), Al Cohn (1925-1988) and Zoot Sims (1925-1985), and Serge Chaloff (1923-1957). In any case, a new style, not necessarily inimical to the big bands yet very different in spirit form earlier Jazz modes, had sprung up during the war. Bebop, as it came to be called, was initially a musician's music, born in the experimentation of informal jam sessions.

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Characterized by harmonic sophistication, rhythmic complexity, and few concessions to public taste, bop was spearheaded by Charlie Parker (19201955), an alto saxophonist born and reared in Kansas City. After apprenticeship with big bands (including Earl Hines'), Parker settled in New York. From 1944 on, he began to attract attention on Manhattan's 52nd Street, a midtown block known as "Swing Street" which featured a concentration of Jazz clubs and Jazz talent not equaled before or since. BOP VS. NEW ORLEANS Ironically, the coming of bop coincided with a revival of interest in New Orleans and other traditional Jazz. This served to polarize audiences and musicians and point up differences rather than common ground. The needless harm done by partisan journalists and critics on both sides lingered on for years. Parker's greatest disciples were not alto saxophonists, except for Sonny Stitt. Parker dominated on that instrument. Pianist Bud Powell (1924-1966) translated Bird's mode to the keyboard; drummers Max Roach and Art Blakey (1919-1990) adapted it to the percussion instruments. A unique figure was pianist-composer Thelonious Monk, (1917-1982). With roots in the stride piano tradition, Monk was a forerunner of bop--in it but not of it. AFTER PARKER When Parker died in 1955, the bop era had almost ended, though his influence was still vividly felt. So-called cool Jazz, spearheaded by a Miles Davis record date involving such important players as Roach, trombonist J.J. Johnson (b.1924), pianist-composer John Lewis (b.1920), baritone saxist-arranger Gerry Mulligan (b.1927), and alto saxophonist Lee Konitz (b. 1927) came into being. Featured were arrangements by Mulligan, Lewis and the very gifted Gil Evans (1912-1988). The proponents of cool Jazz (a musical label which, like most others, wasn't very accurate or useful) included Stan Getz, Mulligan (notably his quartet with trumpeter Chet Baker [1929-1988]), and John Lewis' very successful and long-lived Modern Jazz Quartet with Milt Jackson (b. 1923) on vibraphone. These musicians have in common a strong feeling for melodic improvisation and a rather gentle tonal palette. Even vaguer than cool was the once-popular designation West Coast, applied to Jazz emanating from California. Much more significant and stylistically A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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definable trend was so-called "hard bop," a mid-50's development. Tenorist Sonny Rollins (b. 1929) is a key figure here. He played with the Clifford Brown-Max Roach Quintent, perhaps the last great bop band. In 1956, Brown was killed in a car crash at the age of 25. He was a remarkably talented trumpeter whose influence prevails today in Freddie Hubbard (b. 1938). Rollins, who developed into one of the most interesting and imaginative improvisers in jazz, also worked with Miles Davis. But a more regular member of the trumpeter's group was John Coltrane (1926-1967), a tenor and soprano saxophonist who was probably the most influential post-Parker musician aside from Davis himself. MODAL JAZZ The Davis group of 1958 with Coltrane altoist Cannonball Adderley (19281975), and pianist Bill Evans (1929-1980), introduced the concept of scalar improvisation (based on scales and modes rather than chords). It extended further by Coltrane's own quartet with drummer Elvin Jones (b. 1929) and pianist McCoy Tyner (b. 1938). Davis himself has moved in other directions. After featuring some of the most gifted young jazzmen of the `60s, among them tenorist Wayne Shorter (b. 1933), pianist Herbie Hancock (b. 1940), and drummer Tony Williams (b. 1945), he began to amplify his trumpet electrically and lead percussive group blending free improvisation with rock rhythms. A unique musician with roots in Parker, Ellington and Tatum is Charlie Mingus (1920-1979), bassist and composer and creator of an impressive body of music. Among his associates have been pianist Jaki Byard (b. 1922), altoist Charles McPherson (b. 1939), and tenorist Booker Ervin (1930-1970). Also unclassifiable is pianist-teacher Lennie Tristano (1919-1978). who in late `40s, led a very distinctive group including Lee Konitz and tenorist Warne Marsh (1927-1987). Konitz has extended some of Tristano's ideas of pure improvisation. JAZZ-ROCK FUSION In the wake of Miles Davis' successful experiments, rock had an increasing impact on Jazz. The notable Davis alumni Herbie Hancock (b. 1940) and Chick Corea (b. 1941) explored what soon became known as fusion style in various ways, though neither cut himself off from the jazz tradition. Thus Hancock's V.S.O.P., made up of `60s Davis alumni plus trumpeter Freddie Hubbard, A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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pursued Miles' pre-electronic style, while Corea continued to play acoustic jazz in various settings. Keith Jarrett(b. 1945), who also briefly played with Davis, never adopted the electronic keyboards but flirted with rock rhythms before embarking on lengthy, spontaneously conceived piano recitals. The most successful fusion band was Weather Report, co-founded in 1970 by the Austrian-born pianist Joe Zawinul (b. 1932) and Wayne Shorter; the partnership lasted until 1986. The commercial orientation of much fusion Jazz offers little incentive to creative players, but it has served to introduce new young listeners to Jazz, and electronic instruments have been absorbed into the Jazz mainstream. JAZZ TODAY Diversity is the word for today's Jazz. Various aspects of freedom have been pursued by the many gifted musicians connected with the AACM (American Association for Creative Musicians), a collective formed in 1965 under the guidance of the pianist-composer Richard Muhal Abrams (b. 1930). Among the groups that have emerged, directly and indirectly, from the AACM are the Art Ensemble of Chicago and The World Saxophone Quartet, and notable musicians of this lineage include trumpeter Lester Bowie (b. 1941), reedmen Anthony Braxton (b.1945), Joseph Jarman, Julius Hemphill, Roscoe Mitchell and David Murray, and violinist Leroy Jenkins, Ornette Coleman has continued to go his own way, introducing a unique fusion band, Prime Time, collaborating with guitarist Pat Metheny (b. 1954), and celebrating occasional reunions with his original quartet. Quite unexpectedly, but with neat historical symmetry, a new wave of gifted young jazz players has emerged from New Orleans, spearheaded by the brilliant trumpeter Wynton Marsalis (b. 1961), who joined Art Blakey's Jazz Messengers--a bastion of the bebop tradition--in 1979. Also an accomplished classical virtuoso, Marsalis was soon signed by Columbia Records and became the most visible new Jazz artist in many years. Articulate and outspoken, he has rejected fusion and stressed the continuity of the Jazz tradition. His slightly older brother, Branford Marsalis (b. 1960), who plays tenor and soprano sax, was a member of Wynton's quintet until he joined with rock icon Sting's band for a year. He has since led his own straight-ahead jazz quartet. As his replacement with Blakey, Wynton recommended fellow New Orleanian Terence Blanchard (b. 1962), who later formed a group with altoist Donald Harrison also from New Orleans, as co-leader. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Many other gifted players have emerged during the present decade -- too many to list here. Many have affirmed their roots in bebop, and some have reached even further back to mainstream swing (such as tenorist Scott Hamilton (b. 1954), and trumpeter Warren Vache, Jr. [b. 1951]), but almost all, even when choosing experimentation and innovation, operate within the established language of jazz. As in the other arts, Jazz seems to have arrived at a postmodern stage. We ought not to overlook the increasingly important role being played by women instrumentalists, among them Carla Bley, JoAnne Brackeen, Jane Ira Bloom, Amina Claudine Myers, Emely Remler and Janice Robinson. The durability of the Jazz tradition has been symbolically affirmed by two events: the Academy Award nomination of Dexter Gordon, the seminal bebop tenor saxophonist, for his leading role in the film Round Midnight, and the widely acclaimed appearances of Benny Carter, approaching his 90th birthday, at the helm of the American Jazz Orchestra (an ensemble formed in 1986 to perform the best in Jazz, past and present) both as a player and composer. And one may also take heart at the qualitative as well as quantitative growth of Jazz education in this country, and the active involvement of so many fine performing artist in this process. SUMMING UP No one can presume to guess what form the next development in Jazz will take. What we do know is that the music today presents a rich panorama of sounds and styles. Thelonious Monk, that uncompromising original who went from the obscurity of the pre-bop jam sessions in Harlem to the cover of TIME and worldwide acclaim without ever diluting his music, once defined jazz in his unique way: "Jazz and freedom," Monk said, "go hand in hand. That explains it. There isn't anymore to add to it. If I do add to it, it gets complicated. That's something for you to think about. You think about it and dig it. You dig it." Jazz, a music born in slavery, has become the universal song of freedom. Think about that...and dig it”.

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The first talking picture staring Al Jolson was the “the Jazz Singer” which tells the story a man who as a boy was forced by his father to become a cantor, whose father was himself a cantor, and runs away from home, because he wanted to become a public performer, and does extremely well for himself, eventually he goes back to his father's line of work, in the end of the film during the last moments of his father's life, the same may be said of the second version of the Jazz singer staring Dustin Hoffman but no last dying moments of his father. “The Jazz Singer” also relates to the Al Jolson's Story, for which a film was made thereof also. The early films were silent pictures as recorded sound was not as yet developed in films. Subtitles were displayed to replace human voice, although the actors did dramatize the words displayed, and either a piano or a type of an organ known as the Wurlitzer was performed during the showing of the film, playing anything from classical, light music of the time, rag time and jazz. When films had sound added then composers were commissioned to compose music for their films, known as soundtracks, for the films that were being made. Some of these soundtracks form part of the pieces performed by symphony orchestras on an on going basis. Franz Waxmann (Rebecca Vaughn Williams (Captain Scott), Rudolf Steiner, Nino Rota, Eric Wolfgang Korngold, Morricone, Jarre, and many others, for movies especially feature firms such as Dr ZivaZZhivagon Hur, Ten Commandments with Charleston, to name but a few. Even operas, operettas, and musicals have been put onto film, and even some musicals have been especially written for films as opposed to stage production, such as The Wizard of Oz, The King and I, and the musicals such as Jerome Kern's Showboat, Rodgers and Hammerstein productions of The Sound of Music and South Pacific, Learner and Loewe in My Fair Lady, Brigadoon and Camelot, name but a few, then what about Grease and Saturday Night Fever staring John Travolta, Andrew Lloyd Webber in The Phantom of the Opera, Joseph and his Amazing Technicolor Dream Coat, Jesus Christ Super Star, and other musicals such as Oliver and Annie. Then what about Oklahoma, Chi tty Chi tty Bang Bang, Meet me in St. Louis, Kismet (based on the music of Borodin), Victor Victoria and others. Hans Zimmer for instance composed the film music the the film “Thunderbirds” and that film was marketed for juveniles (children). Now to the subject of opera, a group of men including the father of Galileo (Galilei) who was a singer and lutenist, met at the Medici house hold in Florence to discuss the notion of having a singing drama, since it was the Ancient Greeks, who discovered that drama goes further if it was sung. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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The opera that was composed was Daphne by Jacopo Peri (1561 to 1633), but the score of Daphne was lost. Peri composed a second opera called Euridice with a text by (libretto) by Rinuccini and choruses by Caccini so as to honor the wedding of Maria de Medici and King Henry 6th of France, which is still performed today. The greatest of operatic composers was according to Mann, W supra, was Claudio Monteverdi who composed the opera Le Orpheo, which is also performed today. Opera is known in Latin as “the works”. It must be noted that opera had it's beginnings in Florence and then subsequent performances were to be held in Venice. It is interesting that Mann regards the daughter of the singer / composer Guilio Caccini, by the name of Francesca to be the first woman composer, which just goes to show that different sources mention different things, and makes accuracy quite a difficult exercise indeed. Opera is generally at the time was always sung in Italian until composers like Gluck and Mozart decided that it was time to compose operas in the vernacular such as in German for such operas as the Magic Flute, whilst in England, John Gay composed the Beggar's Opera which was sung in English and was the first musical ever to be composed in c. 1728, and it is according to Richard Fawkes, the History of the Musicals, Naxos, that the Beggar's Opera was the first ever musical to be composed. Opera is generally divided into opera seria or opera buffo, but there can be a combination of the two, such as in the Little Cunning Vixen by Leos Janecheck, where a fox (vixen) get's up to mischief and is eventually shot by a drunken hunter. Operettas and musicals also comes to mind, and these also includes spoken dialogue as well, not just singing, There have also been different schools of opera, not to mention different styles of opera as well. Ranging from, baroque, classical, romantic, late romantic and modern 20th Century styles, however with Rugierro Leoncavallo and Giocommo Puccini and some others, the verismo (meaning truth) school of opera was formed. Examples of verismo operas are Caveliara Rusticana by Mascagne and Ill Pagliacci by Leoncavallo. The musicals have themselves proved to more popular then what the operas have been running in hundreds of performances. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Chapter 8: Musical Composition. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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The periods that classical music has been composed can be listed as shown infra, namely, Medieval Era (Hildagard of Bingen and Johannes Ockagem) • Renaissance Era (Palestrina and Claudio Montiverdi) • Renaissance / Baroque Era (Henry Purcell) • Baroque Era (Johan Sebastian Bach, George Frederik Handel, and Antonio Vivaldi) • Baroque / Classical Era • Classical / Romantic Era (Luigi Cherubini, Franz Schubert, Ignace Mosceles and Ludwig van Beethoven) • Romantic Era (Johannes Brahms, Pitor Illich Tchaikovksy, Ignace Brül, Karl Goldmark, Theodore Kullak, the Zwarwenka brothers, Robert Fuchs and Friederich Gersheim. • Romantic / 20th Century Era (Gustav Mahler and Arnold Schoenberg) • 20th Century Era (Benjamin Britten, Avo Part, John Williams, Witold Lutoslawsky and Leroy Anderson The twentieth century is in itself an oxyiomoron at the best of times, one has the atonalism of Arnold Schoenberg right through to the romantic and late romantic styles of Nino Rota and John Williams. •

There has been according to the Wikipedia article on the “History of Classical Music Traditions” 7th October 2009, there has been the following musical eras, namely, • Prehistoric • Ancient (before AD 500) • Early (500 to 1760) • Common Practice (1600 to 1900) • Modern and Comtempory (1900 to present) Composition is to be defined as the act by a person known as a composer, of writing down music originated by his or her own imagination. A composer is the creative musical artist, who expresses himself through the medium of music, invented, constructed and written down by the composer. The following infra are the time lines of music, which are set out infra, namely, •

Pope Gregory in about 597 AD instructed his musicians (mainly monks) to put down his plain songs onto script, which are known as Gregorian Chants, whilst at the same time, Pope Gregory sends St. Augustine to Enland to convert the English to the Christianity, namely to the Roman Catholic Church.

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•

Prior to Pope Gregory, music was sung and hummed, and passed orally throughout generations.

•

From the Gregorian chant we migrate to the Plain Song and the Ambrosian Chant, the Dorian, Phrygian and Lydian Modes.

•

The earliest pieces of classical music to be composed, as we know classical music should be, was O virga ac diadema, compossed by an Abbess by the name of Hildegard of Bingen (1098 to 1179), Hildegard composed music for her nuns to sing, and if one was to listen to her music, one would notice how easy her music is to listen to compared with say the Gregorian Chant or the Ambrosian Chant.

•

Hildegard of Bingen was also highly learned on scientific and theological matters, and founded her very own convent. It must be remembered that there was a time when women not to be seen or heard, or be seen and not heard, and it is fitting to note that although unfortunately the majority of composers are men, that it was a woman who composed the very first pieces of classical music. It must also be remembered for the sake of confusing the reader that both the Gregorian and Ambrosian Chants still form part of the classical music scene, still to this day, and even as a matter of interest some pop music say the Beetles music has been transcribed into Gregorian Chants and the same may be said of some comedy type music as well.

•

We now move to the Gothic Age, with music such as Presul nostril temporis composed by Pérotin (Perotinus Magnus) (fl. C. 1180 to 1236).

•

The Motet comes into play, such as Jen e puis, which was composed by an anonymous composer.

•

We now visit the bands of musicians who perform music especially music in public, such as the trouveres in Northern France, the troubadours in Southern France and the minisingers in Germany, to name but a few, and no such musicians and singers were to be found in all parts of the world. Examples of such music would be A Virgen, que de Deus madre composed by Alfonso X, ‘El sabio’ (1221 to 1284), Saltarello No. 1 by an anonymous composer, and La Nesse de Nostre Dame (Gloria) by Guillaume de Machaut (1300 to 1377).

•

The Madricals, for example Per seguir la speranca by Francesco Landini (1325 to 1397)

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•

Opera was for the first time composed by Jacopo Peri in 1597, called Dapné, but the score was lost, whereas the second opera Euridice also by Peri still existes to this day, however, the greatest operatic composer was Claudio Montiverdi, who composed the opera Le Orpheo, which is also in the repature of today.

•

The first Symphony was composed not by Franz Haydn but Giovanni Batista Sammartini (c. 1693 in Milan to c. 1750 in London), was the first person to write a symphony, although Haydn is regarded as the greatest of symphonic composers.

•

Whilst the majority of operas were composed in Italian, composers like Wolfgang Armideus Mozart, Henry Purcell and Christoph Willibald Gluck composed operas in the language of their own countries, so that opera could be made more excessable to mass audiences. And the first music the Beggar’s Opera by John Gay (sung in English) (opera buffo) is another example.

•

The first musical “The Beggar’s Opera” composed by John Gay (1685 to 1732), which was composed, in 1728. Like Mozart’s Magic Flute, it was composed for the masses, not just for the culturally elite.

•

John Field is to be credited with composing of the first Nocturne.

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Antonio Vivaldi was one of the originators of concerti, using solo instruments with orchestra.

•

Jazz and Ragtime music started in the 19th Century and is still being composed today even.

•

Ballet scores together choreographing was composed in France for the first time in the 16th Century, c. 1581) Ballet is genuarally dancing to music so as to create a type of a story. Hence French terminology is used.

•

In the early 19th Century and onwards, saw the development of the operetta and also the pioneering work in music therapy by Hervé (Floremond Ronger), who worked at an asylum, who formed an orchestra and singers from the patients there, for which scientific papers were written in that regard. Music Therapy was developed as a university degree course in America in c. 1943.

•

Arnold Schoenberg was responsible to atonalism by giving notes a equal weight in performance.

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Jazz music composed by and developed by free slaves in the late 19th Century, and Adolph Saxe invented the Saxaphone a woodwind instrument and John Philip Sousa developed the Sousaphone a large brass instrument for use in military bands.

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Musicals have taken off big time in the 20th Century and are as popular as ever.

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John Cage and Karl Heinz Stockhausen were originators of electronic music and of using other sounds.

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Country and western music, rock and roll and pop music is with us as well.

•

And it is interesting to note that the muisic of the Beetles has been transcribed into baroque and classical modes.

•

The list of music timelines and development goes on and on, and music is every changing.

Figure 12: Early types of musical notation.

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Figure 13: An Early Medieval Script Composition of music has various styles and modes and the composer has at all times determined for who the composition is intended for. Composers when composing need to be able to sight read the music that they compose, or say be able to read music as well. There is also system of music terminology in Italian, as there is ballet terminology in French.

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Figure 14: Example of a printed music sheet.

Figure 15: Example of a musical note. The recorder (Figure 16 – 18) infra, believe it or not is in some instances and in some schools and kindergartens as the first port of entry into the musical world, for which children and adults can learn music. The recorder is known as the “blokfluit” in Afrikaans.

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Figure 16 – 17: The recorder.

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Figure 18: An example of a Jazz composition. Composers also have to know harmony and counterpoint and know what they are composing about. Composing music is not only just for the concert halls, but also for the films, documentaries and in military applications, such as in marching. Music has numerous applications and is also a very good entertainment tool that helps to sooth and inspires the mind of man. One can thank Franz Schubert and composers like him for brining music making into the homes of ordinary people.

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Figure 19: Franz Schubert. Musical terminology is vital in writing down and composing music, as musicians have to know at what tempo, speed, and manner a piece of composition (work) needs to be and how it is to be performed. Generally Italian terms are used in music, such as allegro, adagio, andante, largo, cadenza, celsta, presto, and to name many more, and the list goes on and on. It is interesting that in England, America, Germany and Austria, musicial terminology has been listed in the vernacular of those countries, by composers such as Anton Bruckner, Gustave Mahler, and other composers as well. It is also possible that even French composers have made use of French music terminology. Attached as per verbatim a glossery of music terminology compiled by Darren Hendley from his work “The Story of Classical Music, published by Naxos Audio Books, from the cd Rom cd Rom part, as displayed infra, namely,

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Chapter 9: Ethnicity in Music. There has been other groups of people who have composed music, such as negro slaves and those free in America, as there has been caucasion musicians and composers using Afro – American (Negro) themes in their music, and also impersonating Negros such as in Al Jolson in the film called the Jazz Singer. There have been people from all over the world of all racial, religious and ethnic groups that have composed music, which makes it extremely difficult for a seasoned musicologist to identify the nationalilty of ethnicity related that particular piece of music. Negroes (Afro Americans, blacks, Bantu or Africans), people of mixed races and euraisions, the Khoisan, the Amirican Red Indian and the Australian Aborigine have particular style of music, as to Chinese and Japanese. What is interesting is that if the musicians from these groups were Western Trained and schooled, then the music will sound like that particular Western Country where the training was done. Anton Rubinstein’s music sounds from a Russian perspective to be German, and Russian by the Germans, Tchaikovsky’s music is not considered to be Russian from the “Mighty Handful” a group of nationalist composers, represented and founded by Mily Alexeyevich Balakirev (1837 to 1910), The music of Anton Arensky, Alexander Glazanov, Peter Tchaikovsky, Anton Rubinstein, and Sergey Tanaiev (and his uncle of 5 years older than him), all have believe it or not have Russian Themes to their music, and many of their pieces sound Russian as well, although not all of their music sounds Russian. Portugese composers such as Joao Domingos Boitempo (1775 to 1842) and Vianna de la Motte, do not even sound Portugese either. Boitempo’s music could easily be mistaken for that of Beethoven, and De la Motte (a pupil of Lizst, being part of the last group of pupils), whose music sounds Romantic to Late Romantic. The music of different countries have had nationalistic and domestic sounds pertinent to that country or region, and a musicologist can easily identify the tunes of that particular area. Then we come to the Jews who are regarded by some as a kith, a race and / or a religion, who have faced brutality at the hands of gentiles and have at times been forced to take baptism. Some Jews took baptism out of choice and also some did so to further their careers in the music, technical and business fields.

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Jews have composed music in all different genres like there Christian and Muslim counterparts, including masses and oretorios, not to mention music for use in their synagogues and temples. For example there has been composers such as Louis Lewendowsky, Salman Sulzer (knighted by the Austrian Monarch (Austrian Hungarian Empire), Isaack and his son Jacques Offenbach, Mombach, some Dutch composers and in Cape Town, the English born cantor, who is the cantor of the Cape Town Hebrew Congregations, not to mention other composers from other parts of world who themselves have composed music for use in the synagogues and temples. Even Jews that were babtised composed music with Jewish themes as well. Even non Jewish composers have composed music with Jewish themes as well, such as an overture of Jewish Themes by Sergey Prokoviev and in the Musical Oliver there is some element of Jewish sounding music as well. Jewish indigenous music has been the klezmer music, which was composed in the ghettos, and is still performed and composed, still today in a free society. In synagogues there has been legendary cantors whose singing during the early days of recording have been put on disc, such as Gidion Sirota and Berel Chagie. It is interesting that in the State of Isreal and the Palestinian Authority, that the music of the Jews and Arabs will sound very much different, like one finds in the Western Cape in South Africa, between the different race and ethinic groups. People of different ethnic and religious groups who live side by side as neighbours can have music sounding very different that is pertinent to their particular ethnic grouping. For purposes of defining who is a Jew the same classification as used by the Nazis in Germany from 1933 to 1945 and before, is what being used, further quoted verbatim infra is Singer’s “classification” which is as follows,

“

”

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Hereunder is a list of Jewish Composers, which are as follows,

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Jews like their Christian counterparts have had their fair share of child prodgedies, Joseph Hoffmann was performing at the piano at an early age, Broneslaw Huberman (also known as the Wunderkind) (who founded the Israeli Philharmonic Orchestra and Erich Wolfgang Korngold who composed at an early age, and the list can go on and on. Jews by their very nature encourage their children to excel in what ever they do. Other composers are Rami Bar – niv, who himself composed rag time music and classical music, a certain Tobias of Estonia, Robert Rollin (an American) in Cape Town and Thomas Rajna who was born in Hungry and is living in South Africa, and same can be said for Peter Klatzow who has composed ballet music for the Shakespeare Play Hamlet and the Ballet Die Drie Diere. There has been Music by Jewish composers that have been declared entarte (banned) music, such as Korngold, Pavel Haas (a pupil of Leos Janacek), Hans Krasa, Viktor Ullman, and Ernst Krenek (a gentile). Some composers were murdered in Auschwitz, round about 1944 and 1945. Jews have composed in all genres of music like their Christian counterparts, both secular and religious. It must also be remembered that Jews are not a homogenous group that say Islam might be, for that matter, even the Muslims themselves are also not homogenous either. Jehovah’s Witnesses are the only people together with the B”hai people can claim homogeneity, but were they to compose secular music as individuals, and then no doubt, the music would invariably be identified with that geographical region or place. What about the Muslims! They too have composed music which includes liturgical, classical and pop music, and have themselves been involved in the performing arts, such as, • • • • • •

The Malay Choirs in the Western Cape Being part of the minsteral troups, along side their Christian counterparts. Singing Opera with the Eon Group, especially in the past in the Western Cape. Ibrahim (Dollar) Brand, involved with Jazz. Johaar Moseval involved with ballet and the teaching thereof. Kamel Khan, an American working in the UCT School of Music and is also a conductor of note.

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Chapter 10: Philosophical Skills Man has always been seeking freedom of thought and of expression, and philosophy dates way back to ancient times, Middle Ages, the reformation and to the present time. In Ancient Greece, one had Socrates, Plato and Aristotle, not to mention that there have also been Roman and Chinese philosophers. In Europe during reformation, there was Voltaire, Jean Jacques Rousseau, Goethe, Heinrich Heine, Schiller and others, and also Baruch Spinoza. It is interesting to note that the philosopher, Jean Jacques Rousseau was also himself a musician and composer. Heinrich Heine said that if books were burned, then lives would be burned as well. The book burnings in 1933 in Nazi Germany by some of the most cultured, educated and intelligent people in the world, who also murdered (brutally) 6 000 000 Jews and over 4 000 000 Gentiles. Music has evolved through the dawn of time and has interspersed with culture and philosophy and there has been cross culturing as well, not withstanding the different genres of music, not to mention music accompanying the poetry of some of the greatest philosophers such as Goethe, Schiller and Heine, and that of other poets as well. What about ballets by composers on Shakespearean Themes, such as Romeo and Juliet by Sergey Prokofiev, Hamlet by Dimity Shostokowitz in Russia and Peter Klatzou in South Africa, to name but a few. Operas such as Falstaff, Macbeth and Othello by Giuseppe Verdi, also based on Shakespearian themes. Then there is by the very nature of mankind to be prejudiced against other nationalities, religious minorities, gender such as females, sexual orientation, and political orientation, the so called “entarte music” comes to mind. What about dictators like Adolph Hitler and Josef Stalin telling performers and composers what they may do and compose, and also the banning of composers whose music is contrary to their policies and / or ideology, and wanting to put such composers and performers into labor and concentration camps, torture and murder these people as well and ban their music. It may be of interest that Viktor Ullmann who was murdered in Auschwitz in 1944, who composed the opera “Der A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Kaiser von Atlantis” whilst incarcerated in the Theresenstadt Ghetto, attracted the irritation of the German (Nazi) authorities because of that opera. As a consequent of the wearing of the “Yellow Star of David” by Jews on the instructions of the German (Nazi) authorities and the persecution, starvation, torture and deliberate murder of well over 6 000 000 Jews by the Germans and some of her allies, the chief executive officer (a Jewess who survived the Holocaust) who was in charge of Deutche Grammophon, insisted that that Yellow Color be displayed on the logo of that record company’s album cover. Composers such as Rachmaniov have been cricised for the music they have composed, such as the first symphony by composed by Rachmaniov, which was conducted by Alexander Glazunov who was drunk at the time. Caesar Cui a member of Balakiev’s Mighty Handful of Russian Nationalist composers said that if there was ever a symphony composed in hell, and then it was the first symphony of Rachmaniov. Rachmaniov destroyed the manuscript that he had in his possession, and instructed no one to ever play this symphony ever again. Luckily it survived and from scores reconstructed and is played today and recordings can be purchased as well. Rachmaniov saw a Dr. Dahl, who used hypnosis on Rachmaniov, managed to get Rachmaniov to compose again, in that Rachmaniov’s 2nd piano concerto was a great master piece of music ever to be composed and is the popular of all Rachmaniov’s work. Alexander Scriabin a pupil of Anton Arensky, for which in the opinion of Arensky would never amount to much and has proved that his music was more popular than that of Arensky. Alexander Scriabin and Sergey Rachmaniov were pupils of Nikolai Zverev, who was a strict disciplinarian where as far as piano playing was concerned, who also had Sunday sessions, where no playing or performing was done and he got his pupils to engage in conversation with the leading composers of the time, and also attend performances at concerts and theatres so as to see how productions were done. It is interesting that Scriabin was interested in philosophy and in the works of Madame Blavatsky and this was to have an influence on his music, where Scriabin tired to display color to his music.

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Figure 20: Nikolai Zverev and students, with Scriabin seated on his right hand side and Rachmaniov standing on his left hand side. There is a critical and essential need to encourage freedom of creativity and of expression provided it does not compromise, cultures, beliefs, groups or individuals. An example of this comes is a Czech composer by the name of Bohuslav Martinu (1890 – 1959) who was expelled from a Czech music conservatory because he refused to comply with there musical methods in c. 1912. Martinu studied old manuscripts and adapted his music accordingly which was in contrary to the musical styles of the day and in terms of the compliance requirements of that particular conservatory. Martinu’s music is very much part of the classical music repertoire, but never get’s heard often enough. It is interesting that Martinu went to Paris to study with Albert Roussel, (who himself composed symphonies and other pieces later in life), and left Paris for America, the moment the Germans where invading France in World War Two, Martinu composed his first symphony in 1942 in America. A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Much is needed to bridge the cultural divide and bring mankind closer together, coupled with the interaction of the different types of music. Not all music is good, there is some that contributes to a dysfunctional society, and can result in hearing loss. I have now finally come to the end of this dissertation, and presented the research from a macro perspective, and have not dwelled in the area of the well known composers such as Bach, Handel, Beethoven, etc. as there are many books and literature available on these composers and their music is freely available.

A Brief History of Music, the practice and the philosophy thereof being for the Dissertation (Thesis) for a Doctor of Arts (AD) (Music and Philosophy) from Belford University. By Colin David Goldberg Registration number: 2009 1110 RV 446568 Graduate ID: RV446568

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Bibliography: In putting together this dissertation (Thesis), I have drawn much of my research from the Internet, from talking to associates, and consulting the following sources, both hard copy and digital PDF copies. • • • • • • • • • • • • • • • • • •

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Naxos Catalog 2007 www.naxos.com www.chandos.net www.google.co.za Google Books Various Translations of the Holy Bible, both Old and New Translations www.pdfcoke.com Project Gutenberg Planet PDF “encore” EMI Classics Catalogue 2005/6 Penguin Music Dictionary Jewish Encyclopedia,1938, Shapiro Valentine Literature that accompanies the various audio compact discs in my possession and also what is on the covers of original DVD’s. Wikki Pedia 2005 World Book Encyclopedia (both hard copy and digital) 2005 Compton’s Encyclopedia Everyman’s Dictionary of Music, compiled by Eric Blom and revised by Sir Jack Westrup, 1975, J M Dent & Sons Limited London Musical History and General Knowledge of Music (An Outline for Scholars and other Music-lovers), Wise, Dr. Patrick and Van der Spuy, Melville, (year not mentioned) Nasou Beperk (Nasionale Opvoedkundige Uitgewery Bpk, Cape Town, Bloemfontein, Johannesburg, Port Elizabeth and Pietermaritzburg (South Africa) A History of Music for Young People, Russel, John, 2nd Edition, 1965, reprinted in 1966, George G. Harrap & Co Ltd, London Toronto Wellington Sidney The Wonderful World of Music, Britten, Benjamin and Holst, Imogen, 1958, Macdonald, London James Galway’s Music in Time, Mann, William, 1982, Mitchell Beezley, London Wade – Matthews, Max and Thompson, Wendy, Music an Illustrated Encyclopedia of musical instruments and the great composers, 2004, Lorenz Books Fry, P S, “The Wonderful Story of the Jews”, © 1970, Purnell, London Henley, Darren, The Story of Classical Music (Classic fm), Naxos Audio Books Chandos Records

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Sony Classics Claremont Records BIS (a part of the Naxos stable, and is also a Swedish Lable. Hyperion Records

Singer, Fay (a respected and learned musicologist in Cape Town @ UCT), Research paper which is a commentary on Lyman, D, “Great Jews in Music”, 1986 Salersky, Gidal, “Music of a Wandering Race”, somewhere before World War Two, US Publication

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