Zvklus (1959) by Karlheinz Stockhausen and Duettino Concertante (1966) by Ingolf Dahl represent two of the most significant percussion compositions that present the percussionist as soloist. The performer of these works, either unaccompanied or accompanied by a non-percussion instrument, is featured as executant, interpreter, and improvisor. They are regarded as classics in the medium of multiple percussion because of their frequency of performance and their profound effect on notation, musical composition, and the technical expectations of the percussionist. This paper examines these compositions and their historical significance to both percussion literature and the percussionist. Each of these compositions is analzyed by examining instrumentation, compositional procedures, and performance problems. Finally, the notational procedures and role of the performer in these compositions are compared. A discussion of the development of the percussion batterie, percussion ensemble, and the important early solo multiple percussion compositions provides historical perspective for these compositions. This perspective is enhanced by consideration of biography, influences, and stylistic development of each composer.

This study deals with trombone soloists and music of nineteenth-century Germany. Much of the discussion is based on the influence of two trombone virtuosos, Carl Traugott Queisser (1800-1846) and Friedrich August Belcke (1795- 1874) . Finally, a style and form analysis is given of several representative trombone compositions of the period. These include Ferdinand David's Concertino. Op. 4, Friedebald Grafe's Concerto. and Josef Serafin Alschausky's Concerto No. I.

This lecture-recital deals with the two percussion sextets of Carlos Chavez. Each of the compositions is analyzed by examining compositional characteristics and performance problems. The selection, substitution, and construction of the necessary instruments for performance are explored. Suggestions for stage set-up are also included. The percussion ensemble has become an integral part of most high school and university percussion programs. Much of the literature composed for this medium has not become part of the standard literature. Chlvez's Toccata has obtained its place in the literature—it is one of the most often performed percussion works in the world. Although Tambuco has not yet attained the same status as Toccata, it is, nevertheless, an important contribution to the literature. An attempt is also made to identify the significance of these works by examining some of the early influences on Chavez's compositional style both from his native Mexico, and from other composers writing for percussion ensembles.