It is the purpose of this thesis to offer some pertinent information in the form of a documentary symposium and analytical study in which historical and technical matters relative to Beethoven's fugal techniques in his choral compositions will be presented. References to specific musical examples in this composer's works will be illustrated by diagrammatic and verbal analyses, and correlated with the pagination of the scores of his complete works as published by Breitkopf and Hartel.

This thesis begins by describing the piano's history and development and then goes into how Claude Debussy used the piano in his music and the style in which he composed for the piano.

This paper traces the genealogy of the Hotteterre and the Chédeville families through a translation of three works by Jules Carlez, Ernest Thoinan, Nicolas Mauger. Carol Padgham Albrecht annotates these translations with biographical information and highlights the contributions of the instrument makers.

This thesis provides a brief history of opera as well as analysis of the operas of Giuseppe Verdi.

Born April 2, 1873, on the estate of Oneg in the province of Novgorod, Russia, Sergei Vassilyvitch Rachmaninoff was the fifth of the six children of Vassili and Lyoubov Boutakova Rachmaninoff. Rachmaninoff's aristocratic descent was traced to the Hospodars Dragosh, rulers of the realm of Molday from the fourteenth to the sixteenth century. One of the daughters from this family had married a son of the Grand Duke Ivan III of Moscow. The son's nephew was named Rachmanin, and from this source the family name originated.1 Rachmaninoff's mother was the daughter of a general, head of Araktcheyev Military College in Novgorod and the owner of a number of estates in the district. It was with a dowry of five of these estates that Lyoubov Boutakova married Vassili Rachmaninoff, and on one of these estates, Oneg, the couple settled down to married life.

The Concierto Romántico for Piano and Orchestra is one of Manuel M. Ponce's outstanding compositional accomplishments from his Romantic period, reflecting both the state of Mexican music at the turn of the 20th century, and his early nationalist tendencies. However, it remains the only concerto in Ponce's output in need of a more comprehensive analysis. This treatise focuses on a global investigative that examines descriptive and analytic references to the work, as well as a comparison and clarification of the existing score sources. An analytical and stylistic musical study using conventional theoretical techniques leads to a musicological interpretation of the work's extra-musical meaning, based on close assessments of Ponce's compositional practice and social principles.