Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone production. Granados' book, Metodo Teorico Practico para el Uso de los Pedales del Piano (Theoretical and Practical Method for the Use of the Piano Pedals) is presently out of print and available in a photostatic version from the publisher. Marshall's works, Estudio Practico sobre los Pedales del Piano (Practical Study of the Piano Pedals) and La Sonoridad del Piano (Piano Sonority) continue to be used at the Marshall Academy and are available from Spanish publishing houses. This study brings information contained in these three method books to the forefront and demonstrates its relevance to the performance of the music of Granados, specifically the Escenas Romanticas. Alicia de Larrocha, …

At the turn of this century, Charles Martin Loeffler (1861-1935) was considered to be among the finest of the handful of well-known American composers of the time. His music was often performed by major symphony orchestras, chamber groups and solo artists. Deux rapsodies for Oboe, Viola and Piano: L'Etang and La Cornemuse, after poems by Maurice Rollinat (1846-1903), show Loeffler's affinity for programmatic concepts. These works, completed in 1901, are revisions of settings of 1898 for low voice, clarinet, viola and piano, and are now, unfortunately, out of print; but the oboe, viola and piano setting has been published (originally as Deux rapsodies by G. Schirmer, 1905; the latest edition, Two Rhapsodies, is by McGinnis and Marx, N.Y., 1979) and recorded several times. Loeffler has reflected Rollinat's poetry in his settings by means of melodic, rhythmic and harmonic devices unique to his style. Formal and articulative devices also tend to point to his dependence on the poetry as a source of inspiration and as means for defining the final musical product. Indeed, the music seems incapable of existence independent of its source in the richly imagistic poetry of Rollinat.

The lecture recital was given January 22, 1977. A discussion of Elliott Carter's Piano Sonata emphasized those compositional techniques which foreshadowed important compositional procedures in many of his later works. The following compositions were discussed: Concerto for Orchestra, Double Concerto for Harpsichord and Piano with Two Chamber Orchestras, 8 Etudes and a Fantasy for Woodwind Quartet, Holiday Overture, Piano Concerto, Sonata for Flute, Oboe, Cello, and Harpsichord, Sonata for Violoncello and Piano, String Quartet No. 1, String Quartet No. 2, String Quartet No. 3, Variations for Orchestra. The Piano Sonata was Ty and Schumann. In addition to the lecture recital, three public solo recitals were performed. The first solo recital, performed on April 2, 1973, consisted of works by Bartok, Debussy The second solo recital, performed on October 28, 1974, included works by Bach and Liszt. The final solo recital, performed on March 7, 1976, consisted of works by Beethoven and Chopin. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation. performed.

The lecture recital was given April 16, 1971. An Excellent Meane, six settings of Gloria Tibi Trinitas, Eterne rerum conditor, and Te Deum laudamus by William Blitheman, In Nomine by John Taverner, and Ecce tempus idonem by Thomas Tallis were performed, together with a choir of four men's voices, following a lecture on various aspects of organ music in early Tudor England. In addition to the lecture recital, three other public recitals, all solo programs, were performed. The first solo recital, including works of Dietrich Buxtehude, Johann Sebastian Bach, Paul Hindemith, and Max Reger, was performed on March 14, 1971. On October 23, 1972, the second solo recital was performed. The program included compositions by Olivier Messiaen, Johann Sebastian Bach, Cesar Franck, and Charles-Marie Widor. On October 17, 1977, the third solo recital, including works by Johann Sebastian Bach, Girolamo Frescobaldi, Johann Jacob Froberger, Dietrich Buxtehude, James Hathaway Tallis, and Maurice Durufle, was performed. The four programs were recorded on magnetic tape and are filed with the written version of the lecture as a part of the dissertation.

The three recitals consisted of performances of original twentieth century solo works for trombone with the exception of two trombone quartets, Adagio, by C. Saint-Saëns, arranged by Ken Murley, and Sonata by Daniel Speer. The lecture recital establishes the position of Kazimierz Serocki (1922-1981) as a major composer not only in Poland but in the rest of the world as well. His many works cover a wide spectrum of styles and genres. The solo trombone works, in particular, are among his most often performed works from his early neoclassic period. The lecture is also an attempt to illuminate the role of neoclassicism in Poland through a brief discussion of Polish neoclassicists, Grażyna Bacewicz and Michael Spisak, and other composers before and after World War II including Constantin Regamey and Roman Haubenstock-Ramati. An analysis of the two solo trombone works, Sonatina and Concerto, shows the technique of composition used by Serocki and the demands placed upon the performer by the music. These works were among the first in a growing list of works for solo trombone composed in response to the notable lack of large scale works of quality for solo trombone during the early twentieth century. The high quality of …

This study deals with the four-composer Polish musical association, Young Polish Composers' Publishing Company, which became commonly known as the group Poland in Music. Young Poland in Music is considered by Polish and non-Polish music historians to be the signal inaugurator of modernism in Polish music. However, despite this most important attribution, the past eighty-odd years have witnessed considerable confusion over the perceptions of: 1) exactly who constituted the publishing company, 2) why it was founded, 3) what the intentions of its members were, and 4) the general reception its members' music received. This paper addresses and resolves this multiple confusion. Chapter I presents an introductory survey of the political, socio/cultural, and musical developments of Poland between 1772 and c1900, the period of the Polish Partitions through the beginnings of the "Young Poland" era. Chapter II presents a discussion of the facts surrounding the founding of the publishing company, as well as a discussion of the eighty-odd years of historical misinterpretations that have developed about the composers' company and its relationship to "Young Poland in Music." Chapter III discusses the interpersonal relationships of the composers and other persons directly involved with them and their company, and the impact that these …

The purpose of the study was to investigate the multi-sensory responses of children to symbolizing musical sound through speech rhythm patterns. Speech rhythm patterns consist of the number of syllables and the stress/nonstress relationships of these syllables in a word or a phrase. The research problems were (1) to determine children's responses to speech rhythm patterns according to the differential sensory modes used; (2) to determine the children's responses to speech rhythm patterns by age, and (3) to compare children's responses to speech rhythm patterns by age and sensory modes.

The purpose of this paper is to identify Spanish elements in the sonatas of Domenico Scarlatti and to determine the extent of their use. All 555 sonatas in facsimile edition, edited by Ralph Kirkpatrick, were compared to the printed anthologies of Spanish folk music by Kurt Schindler and Felipe Pedrell as well as recordings of authentic Spanish folk music. The study concludes that Scarlatti incorporated Spanish musical elements extensively. In some sonatas, fragments of folk tunes occur, but always with some rhythmical alterations or melodic elaborations. Only K. 513 contains an entire folk tune. Scarlatti evidently wrote melodies of folk-like quality and did not merely copy the folk tunes.

The purpose of the study was to determine judgments of trained musicians regarding the intonation of complex tones in the context of synthesized woodwind ensemble performances. Problems included in the study were (1) estimation of the point in pitch deviation which would result in out-of-tune judgments, (2) investigation of timbral effects on judged intonation, and (3) investigation of effects of mistuning within differential voices.

The romantic piano literature contains three important collections of nocturnes. The nocturnes of John Field (1782-1837) were the first to appear, and were followed by collections from Frederic Chopin (1810-1849) and Gabriel Faure (1845-1924). While the relationship of the nocturnes of Field to those of Chopin is well documented, the corresponding relationship between Faure and Chopin is not. This study contains a detailed examination of this relationship, and shows the precise nature of Chopin's strong influence on Faure's early nocturnes, as well as the nature of Faure's growth from that influence. Chopin's influence was strongest in the area of harmonic language, as Faure carried certain of Chopin's techniques to logical extremes. Faure also adopted ternary form as the important form for the piece from Chopin. Faure's use of this form shows both similarities and differences from that found in Chopin. Faure's early nocturnes employ the same basic textures as Chopin's nocturnes, but Faure's later works abandon this in favor of increasingly contrapuntal writing. Chopin's influence is weakest in the area of melodic construction, as Faure's melodies often show a rigorous motivic construction which is not found in Chopin.

Substantial contributions to flute literature of the twentieth century were made by the Dutch composers Willem Pijper (1894-1947) and Henk Badings (b. 1907) in the Sonata per Flauto e Pianoforte (1925) and the Concerto for Flute and Wind Symphony Orchestra (1963), respectively. This paper is an examination of the compositional devices employed by Pijper and Badings in these two selected works, with a discussion of the elements of form, tonal language, rhythm, motivic usage, orchestration, and innovative flute techniques. Emphasis on Pijper as teacher and mentor to a generation of Dutch composers, including Badings, gives the basis for a comparison of the Sonata and the Concerto.

The Lecture Recital was given on July 28, 1981. Its subject, Carl Reinecke's "Undine" Sonata, is a major work written for flute during the nineteenth century. Reinecke was highly respected as a conductor and pianist; his great love for the classical style tempered his Romanticism and conditioned his approach to both performance and composition. The subtitle of the sonata suggests a program based on Friedrich de la Motte Fouqué's short novel, Undine. Although few flutists are familiar enough with this tale to recognize its application to the sonata, an exploration of the program implied by the subtitle adds materially to an understanding and appreciation of the work; to a large extent, the content of each movement is conceived in terms of the program. Further examination of Reinecke's life and philosophy reveals that both the choice of this particular literary subject and the uniting of Romantic pictorialism with classical form were entirely characteristic of his writing. Since Reinecke specified no program other than the subtitle, any relating of the music to specific events in the story is necessarily a subjective postulation. The musical content of the work makes it fairly easy to establish a broad correspondence between the movements of the …

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.

The lecture recital was given on July 13, 1987. The discussion of the poetry by C. F. Gellert and the musical settings by C. P. E. Bach and Ludwig van Beethoven including analyses of all the pieces was followed by their performance. In addition to the lecture recital, three other public recitals were given: three of solo literature for voice and piano and one of vocal chamber literature. These included the works of Monteverdi, Caldara, Mozart, Brahms, Strauss, Mendelssohn, Ives, Honegger, Debussy, Faure", and others. All of these recitals were recorded on magnetic tape and filed along with the written version of the lecture material as a part of the dissertation.

Joseph Fiala (1754-1816) was a composer and performer of the classical period. His many compositions include manuscripts of a concerto for clarinet, taille, and orchestra in the Fürstlich Thurn und Taxis Hofbibliothek in Regensburg, West Germany and the Library of Congress in Washington, D.C. , U.S.A. This paper identifies the instrument called "taille" as the English horn and discusses the work in areas of form, harmony, rhythm, orchestration, and use of solo instruments. Comparison with contemporary works shows the piece is typical of the eighteenth-century symphonie concertante and, together with the composer's manuscript, provides a basis for editing of the solo parts.

The problem of this study was to determine the perceptions of music educators at selected United Negro College Fund colleges and universities concerning the importance of music teaching competencies and courses for prospective public school music teachers, it was further designed to (a) determine if the music educators were in agreement with the published competency recommendations of the National Association of Schools of Music and the Music Educators National Conference for preparing prospective public school music teachers and (b) to discover if there were significant differences in UNCF music educators' perceptions across selected independent variables concerning the importance of those competencies and courses.

Symphony No. 1 "Concertante" is a work of approximately twenty-two minutes duration for chamber orchestra. The work is scored for flute (doubling piccolo), oboe (doubling English horn), B-flat clarinet, bassoon, trumpet, F horn, trombone, tuba, percussion, harp, piano (doubling celesta), solo violin, solo viola, solo cello, solo double bass, and strings.The percussion battery, which is to be played by one performer, includes three timpani, vibraphone, orchestra bells, xylophone, chimes, suspended cymbal, bass drum, snare drum, and two triangles. One group of instruments, including the eight winds, percussion, and the four solo strings, is treated primarily in a soloistic manner although it also functions as a part of the ensemble. The remaining group, piano, harp, and strings, functions primarily as an accompanying group although it does get some soloistic treatment. The work is in four movements, each of which uses the traditional symphonic form. Movement I is in sonata-allegro form, movement II a simple ternary "song" form, movement III a scherzo and trio, and the final movement is a theme and variations. These traditional forms apply only to thematic use and development, however, for the tonal scheme is developed in a broader design which unfolds throughout the course of the four …

The songs of Hugo Wolf represent the culmination of the Romantic German Lied tradition. Wolf developed a personal chromatic harmonic style that allowed him to respond to every nuance of a poetic text, thereby stretching tonality to its limits. He was convinced, however, that despite its novel nature his music could be explained through the traditional theory of harmony. This study determines the degree to which Wolf's belief is true, and begins with an evaluation of the current state of research into Wolf's harmonic practice. An explanation of my analytical method and its underlying philosophy follows; historical perspective is provided by tracing the development of three major elements of traditional theory from their inception to the present day: fundamental bass, fundamental chords, and tonal function. The analytical method is then applied to the works of Wolf's predecessors in order to allow comparison with Wolf. In the investigation of Wolf's harmonic practice the individual elements of traditional functional tonality are examined, focusing on Wolf's use of traditional harmonic functions in both traditional and innovative ways. This is followed by an investigation of the manner in which Wolf assembles these traditional elements into larger harmonic units. Tonal instability, rapid key shifts, progressive …

The lecture recital was given on July 2, 1984. The Megalith Trilogy was performed following a lecture which examined the internal structure of the work. The main body of the lecture focused on motivic and tonal considerations and included motivic and pitch reductions of the three movements. In addition to the lecture recital three other public solo recitals were performed. The four programs were recorded on magnetic tape and are filed with the written version of the lecture as a part of the dissertation.

Klangfarbenmelodien is a term first mentioned by Schoenberg in his Harmonielehre (1911) in a discussion suggesting the idea of tone colors as a structural element equal to other musical components such as harmony, rhythm, pitch, and dynamics. The intent of this study is to investigate significant influences that led to Webern's adoption and application of Klangrfarben techniques in the Symphony, op. 21, first movement. Webern's expression of Klangfarbenmelodien was his method of dispersing melodic lines and the manipulation of a wide gamut of varying tone colors. A brief biography is included in the paper and Webern's professional career as a conductor is viewed and considered as to its affect on the creation of the Symphony with emphasis on his relationship with Schoenberg and the Society for Private Musical Performance. The genesis of the Symphony and its early performance history is examined, as well as the structure of op. 21 with specific examples of Klangrfarbenmelodien. These techniques include the presentation of melodic lines in terms of octave register, timbre, dynamics, articulation, durations, rhythm, and instrumentation.

Frank Martin, while assimilating many of the features of serial technique, found other of its features incompatible to his temperament. The Eight Preludes for Piano mark a point of decision regarding these features. While rejecting the twelve-tone row, he extracted prime cells from the octatonic scale and subjected them to the serial approach. One of these cells, G-flat - F - A - A-flat, evokes the B-A-C-H motive. In view of Martin's admiration for Bach, this similarity is probably not accidental. In any event, this four-note motive permeates the preludes and binds them into a coherent and unified set. Along with some evidence of partial form in the preludes, the concept of continuous variation is the compelling force molding the overall form. Martin disdained atonality on personal and artistic premises. Despite their contemporary textural qualities, the listener perceives c-sharp as a tonal center for the set. Tempo, rhythm, and texture contrasts and complementation between the preludes reveal an obviously preplanned format for the fulfillment of set unity. The consummate knowledge of pianism demonstrated in the preludes places them as a major contribution to twentieth-century piano literature.

Mass/360 is computer music in the sense that the audio tape was realized with a computer language for digital synthesis. This tape is combined with traditional choral and instrumental forces, and demonstrates only one technique available for the use of computers in composition. The work displays a number of elements which afford both unity and contrast. The arch span of the whole is supported by timbral, melodic, rhythmic, and textural parameters. Recurring events include tone clusters, chant-like melodies, angular melodies, and counterpoint. Special vocal effects are found in all movements, and the large scale tonicizing effect of the movement from f to b-flat gives the composition a sense of direction over a long temporal span. The single pitch (doubled unison/octave) arises as the major event in the work, and other events are generated from this element. The use of different formal designs within each movement corresponds to the natural textual divisions found in the liturgy, and affords a contrast from one movement to the next. The relationship of the Gloria/Qui Tollis to the Sanctus/Benedictus, which is not a mirror relation, contrasts with the chiastic design of the whole. Traditional contrapuntal devices juxtaposed against contemporary vocal techniques and the use of …

This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for categorization of figures derive from the twentieth-century writers Timothy Albrecht, George Buelow, Lena Jacobson, and Peter Williams. Chapter I provides justification for the rhetorical approach through a brief description of the rise of the process as applied to composition during the Baroque period by relating Bach's own familiarity with the terminology and processes of rhetorical prescription, and by describing the implications for performance in observing the sonatas from the rhetorical viewpoint. Chapter II deals with the process of composition by rhetorical prescription in (1) the invention of the subject and its figural decoration and (2) the elaboration of the subject through the sixpart discourse of an entire movement. Specific …

The research problems of this dissertation were: 1) A description of the perceived value of music in light of political undercurrents in Boston prior to and during the years under investigation, and 2) the profile of the constituency of the Boston School Committee and Committee on Music in 1837 and 1845. Questions addressed the effect of religious and moral concerns of the day on the decision by the School Committee in 1837 to try music in the curriculum, and the possible effect of religious politics on Lowell Mason's dismissal from the schools in 1845. In the minds of mid-nineteenth century Bostonians, religious and moral values were intrinsic to the very nature of music. Key members on the School Committee portrayed music as being spiritual yet nonsectarian in its influence. Therefore, the findings suggest that music was believed to provide common ground between opposing and diverse religious sects. Reasons given for Mason's dismissal by John Sargent, a member of the Committee on Music, showed parallels to H. W. Day's accusations in the press a year earlier that Mason had managed his position in a sectarian manner. Sargent's background supports the theory that religious politics were at work in Mason's dismissal. Although …