Inasmuch as this investigator can determine, no major study has been done concerning music's relation to the "isms" selected for this discussion. The contemporary interest in the movements themselves has been so widespread that the documentation of them, in scattered accounts, is enormous. It is disappointing that these records provide little or no information about the musical aspects of the movements; the graphic and literary accounts, on the other hand, have been accorded generous treatments. Since futurism, cubism, and surrealism, in their origins, were oriented toward the visual and literary arts, it is not surprising that these two aspects would receive the greatest amount of attention. The meager attention to music and the distortion of its role in the movements, as has largely been the case, has created an artistic imbalance, This writer's efforts have been directed toward an exhaustive search for factors which have, in some way or other, linked music with these movements. Musical futurism has been the easiest to identify, although its underlying theories are not always clear, since the futurists, in explaining their theories, were not always convincing, perhaps even to themselves. This writer's main attempt has been to interpret ideas that were frequently vague and …

The English horn has a background of historical confusion because the instrument was built in many different shapes and was given a new name for each change of form.

The two basic needs which motivated this study were instructional material and instruments. By investigating these problems the writer hopes to improve not only his own techniques of teaching, but to present a useful source of information concerning the tuba. Analysis of the problem statement led to subordinate questions, or sub-problems, which may be stated as follows: 1. What do the authorities consider to be the desirable physical and mental characteristics in the tuba player? 2. How do the authorities teach the specific techniques of tuba performance. 3. What are the authorities' opinions concerning tubas and tuba mouthpieces? 4. What are the authorities' recommendations concerning instructional materials for tuba students?

In this thesis, Ned Rorem's Poems of Love and the Rain is analyzed, with conclusions being drawn in the sphere of musico-textual relationships within individual songs.

The purpose of this study was to analyze for reasons of interpretation the unaccompanied choral music of Felix Mendelssohn. What are the stylistic characteristics in each of the compositions selected for examination in this study? What comparisons and conclusions based on the analyses can be made concerning the character of compositional style in Felix Mendelssohn's unaccompanied choral music? What conclusions can be made concerning the interpretation of Felix Mendelssohn's unaccompanied choral music based on the compositional style of his music and an understanding of his musical attributes?

The Commedia dell'arte was a form of Italian comedy prevalent from about 1560 to 1760. It was rooted in the comedy of ancient Greece and Rome, and it first appeared during the Middle Ages. An example of this is the comic opera The Love for Three Oranges, scored by Sergei Prokofiev.

Of all the composers of German Lied, Franz Schubert and Hugo Wolf can be considered the true giants of this musical form. Schubert's position is secure as the greatest composer of the Lied. Wolf, though challenging Schubert in this particular idiom only, brought the Lied to its culmination. This study will show, by comparative analysis, the respective treatment by Fr anz Schubert and Hugo Wolf of selected poems by Johann Wolfgang von Goethe. Though Schubert composed some seventy songs (not including multiple settings of the same text), and Wolf fifty-one, based on the poetry of Goethe, they shared only thirteen of these poems in common. Four songs by each composer have been selected for detailed analysis.

The harmonic practices of the late romantic period are often discussed in general terms, categorical phrases, and a score of subjectivisms characteristic of the era. It is the purpose of this thesis to clarify certain aspects of the harmonic vocabulary which developed in the late romantic period.

Hugo Wolf drew the strands of form, rhythm, and other elements together to form tightly woven songs, each element of which can be traced to the text as its original inspiration. Truly this was a genius of romantic expression, who took the tools developed by his predecessors in song, tempered them with his own sensitive personality, and used them to the fullest in setting the meaning and the mood, as well as the words, of the poems he had chosen.

The five Preludes, Op. 15 were composed in the year 1897 while Scriabin was occupied in concert tours with his friend and publisher, Beliaef. This year brought no less than forty-seven short preludes written at various times and collected in five sets: Opp. 11, 13, 15, 16, and 17. These preludes, though clever and original in melody, show the great influence of Chopin on Scriabin.

Not only did Debussy find the Symbolist movement a source of inspiration for his artistic aims, he often selected his literary collaborators from them. Pelleas et Melisande, Prelude a l'Apres-midi d'un Faune, Chansons de Bilitis, Trois Pomes de Stephane Mallarme, Fetes Galantes, Ariettes Oubliees, all had Symbolist authors. Moreover, the poetic style of the Proses Lyriques, of which Debussy himself was the author, is in the Symbolist manner.

Louis Couperin (c. 1626-1661) was an outstanding member of the seventeenth-century clavecin school and an important link in the Couperin dynasty. His works for the harpsichord, or clavecin, have been neglected. This is due primarily to the fact that there are relatively few of his works, in comparison with those of his nephew, Franois Couperin Le Grand, who greatly overshadows him. Louis wrote no treatise on how his works are to be played, and there are few accounts of him, or his works, that are written in English. There is no biography of Louis Couperin. A more detailed study should be made of his music and its place in the French clavecin literature. Before examiinig the music itself, however, it is necessary to trace the origins and development of the clavecin school and its style.

The purpose of this study is to analyze and codify the basic principles and techniques of composition and arranging as used in ten selected published dance band stock orchestrations of popular ballads.

The purpose of this study, ve to analyze the stylistic characteristics in the unaccompanied music of one twentieth century composer, Francis Poulenc, in order to discover the choral problems which would confront choruses and conductors as they performed his music. It is hoped that this study will not only enable choral conductors to better understand, interpret, and appreciate the music of Poulenc, but also will serve as a guide toward the investigation of other twentieth century composers and their works.

Because of the nature of the poetry, the interpretation of Banalites in this study has involved certain subjective decisions. These deductions were, nevertheless, colored by statements of the poet, the composer, and authorities on each. This is not to imply, however, that this is the only interpretation. Both poet and composer have given evidence that their creation requires a subjective response on the part of the interpreter. This is perhaps the greatest challenge offered by the work.

The purpose of the present study is to determine the stylistic characteristics of Beethoven's early piano trios. For the purposes of this study, the term "piano trio" is defined as any work for three instruments in which a piano participates. Of the twelve such trios written by the composer, the first six are dealt with. There is in addition a brief discussion of a trio of uncertain origin. These six piano trios were composed over a span of about ten years (1785-1795), between the ages of fifteen and twenty-five. Although there is a great deal of uncertainty as to the exact time and place of origin of these trios, the first three are generally considered to have been written in Bonn, and the last three in Vienna.

The purpose of this study was to investigate the uses of the falsetto voice in training the male singer. Developing the upper voice is one of the most difficult problems facing the male singers. A most controversial approach to solving this problem is the use of the falsetto. The falsetto has been a subject of mystery among singers and vocal teachers for centuries. Some authorities have ignored it; some have denounced; others have greatly extolled this vocal enigma. Many myths and misconceptions surround the subject of falsetto. Even in the present age of scientific research and knowledge, there is little understanding of the falsetto--of its value and its use. The material dealing with falsetto is very brief and inconclusive in most pedagogy books. Therefore, there seemed to be a need for a systematic collection of pedagogical ideas concerning the male falsetto. This report will attempt to present all sides of the controversy.,

The purpose of this problem was to select audio-visual materials that would enhance the teaching of music in the primary grades. Since audio-visual equipment and materials have gained a place of prominence in the modern education program, the teachers, administrators, and even the architects need to be cognizant of their possibilities and applications. Audio-visual aids should be investigated to disclose ways of improving their utilization in the learning process through the stimulation of the following human senses: sight, hearing, and touch. The results of many experimental research studies in the field of audio-visual education have proved that the application of audio-visual devices in the classroom greatly improves both understanding and retention as compared to conventional teaching methods. It is hoped that the identification, enumeration, and suggestions for utilization of audio-visual aids presented in this study will motivate the reader to give further attention to audio-visual materials as applied to his specific situation, with the awareness of their unlimited possibilities in increasing understandings through sensory experiences.

The purpose of this study is to describe contemporary plans for training the boy's changing voice and to prescribe ensemble material for these voices. Specific Problems: Analysis of the general problem leads to subordinate questions, or sub-problems, which may be stated as follows: 1. What are the contemporary plans of training the boy's changing voice? 2. What are the most usable musical materials available for use by ensembles which include boys with changing voices?

Analysis in relation to performance of the six authentic motets of J.S. Bach: Singet dem Herrn ein neues Lied ; Geist hilft unsrer Schwachheit auf ; Fürchte dich nicht ; Jesu, meine Freude ; Komm, Jesu, komm ; Lobet den Herrn, alle Heiden.

There is a need for a systematic collection of ideas concerning blend in choral sound. Many authorities discuss blend, but their concepts of the term are very divergent. These divergent concepts lead to emphasis of various factors which are important to the development or achievement of blend in choral sound. This emphasis in turn leads to various methods of achieving blend. Authorities ascribe several definitions to the term blend, as it relates to choral tone. These definitions should be studied collectively in order that a clearer concept of the term blend in choral sound may be developed. In studying blend in choral sound, several factors are generally deemed important. No study has been made which leads to a consensus concerning the relative importance of these factors. Scientific studies have been made of these factors, but the results have not been compiled and presented in one source. Authorities employ various methods in working with the factors which affect blend in choral sound. No study has been made which includes these methods. It is hoped that this study will contribute to the collecting and organizing of ideas regarding blend, including its various definitions and its important factors. It is also hoped that …

Since the nineteenth century the Two Part Inventions have become standard repertoire for piano students. However, piano teachers have often failed to give serious consideration to the suitable selection of Inventions for study. Piano students have commonly formed a dislike for Bach's piano music because of an ungratifying initial experience. There is little material written in English dealing with the Two Part Inventions. Those studies of the Inventions which do exist consist mainly of brief articles in periodicals and limited discussions in piano literature books. Therefore, there seemed to be a need for a systematic collection of pedagogical ideas concerning the Two Part Inventions. In addition, it was felt that an analysis of the problems in each piece and a subsequent graded list of the Inventions would be a step toward a more intelligent and more knowledgeable approach in the teaching of these compositions.

In order to trace the origin of the chaconne and passacaglia, the much larger classification of basso ostinato, of which the chaconne and passacaglia are two later examples, must be considered. According to one authority, Lili Propper, the earliest beginnings of the basso ostinato can be traced back to the Middle Ages through the use of organ points exemplified in organum purum. A later and more developed use of the basso ostinato can be discovered in the recurring basses of the Montpellier Codex and the masses of the fifteenth century. A freer manifestation of the idea can be found in the reiterated bass motive of the familiar canon, Sumer is icumen in.

The purpose of this study was to examine the justifications for and production problems of presenting elementary children in public performances.