This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice.

This study investigates the effects of frequency variance on duration perception, using musically trained subjects. In the experiment three silent duration intervals were examined (4.75, 5.00, and 5.25 seconds); each interval was preceded and followed by tone markers. The onset marker was preceded by seven discrete tones one second apart, on the frequency 174.968 Hertz. This established a pulse or an external standard time measure. The subjects made judgments as to whether the offset marker fell "before," "on," or "after," the pulse. The offset marker had a variable frequency. In the study, the direction of the frequency change, the distance of frequency change, and the mathematical intervallic relationships of the two frequencies show possible influence on duration perception.

The purpose of this thesis was to make available for performance and study an edition of the twenty-two secular songs published in this collection by Johann Jacob Löwe and Julius Johann Weiland in 1657. The thesis contains twenty-two secular songs for one, two, or three voices with continuo accompaniment and ritornellos for one or two violins, and/or viola, as well as translations of Lowe's preface and dedication and a poem to Lower and Weiland by Heinrich Schaffer. The work contains three chapters, the first covering Lowe's life and work and association with Weiland, the second the state of German secular song in 16050, and the third a critical commentary on the editing of the songs. Editorial corrections are included.

Santa Eulalia M. Md. 7, dated January 20, 1600, is part of the San Miguel Acatán Repertory, which originated in the northwestern highlands of Guatemala and is presently owned by the Lilly Library of Indiana University. The manuscript contains thirty-four four-part songs and dances, two thirds of which are villancicos for Christmas, Easter, the Eucharist, and the feasts of All Saints and St. Michael. The remaining third consists of Latin biblical texts in either fabordón or contrapuntal settings, three pieces with Náhuatl texts, and an instrumental pavana. The thesis contains a modern edition of Santa Eulalia M. Md. 7 with critical notes and commentary, a comparison of the pieces with villancicos and fabordones of European origin, and a survey of several aspects of Mayan culture.