The neo-classic movement in Italy, which gained momentum in the early 1920's, was rooted in an instrumental style patterned after that of the Baroque era. The term "new classicism," proposed by Ferruccio Busoni in 1920, represented a reaction against the extreme chromaticism and large performance forces of the late nineteenth century. The pianistcomposer Alfredo Casella, after earlier periods in which he was influenced by such diverse composers as Mahler, Debussy, and Schoenberg, soon became the chief spokesman for the neoclassic movement in Italy. Casella considered the Sinfonia, Arioso and Toccata his most important work for the piano, because of its size and musical content. It is notable for its usage of thematic transformation, much of which is based on the interval of a fourth or fifth. This study includes a formal outline of each movement, showing sectional divisions and tonal regions, as well as illustrations of thematic transformation and intervallic patterns. Also discussed are the work's neoclassic style characteristics, including counterpoint, pandiatonicism, modality, and linear cadential treatment.

This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for accomplishing this. Liszt also frequently transcribed pieces of a particular composer in order to promulgate them by featuring them in his recitals. The Schubert lieder fall into this category. Liszt did not drastically alter the original in these compositions. Indeed, in the cases of "Liebesbotschaft" and "Das Wandern," very little alteration beyond the incorporation of the melody into the piano accompaniment, occurs.Godowsky, in contrast, viewed the transcription as a vehicle for composing a new piece. He intended to improve upon the original by adding his own inspiration to it. Godowsky was particularly ingenious in adding counterpoint, often chromatic, to the original. Examples of Godowsky's use of counterpoint can be found in "Das Wandern" and "Gute Nacht." …

Recital presented at the NTSU School of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the NTSU School of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the NTSU School of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT School of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT School of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT School of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

The general purpose of this paper is the discussion of the interpretation and performance of rhythm within the context of Paul Creston's five rhythmic structures. Specific objectives are to bring to light Creston's unique rhythmic terminology, theories, and structures; and to interpret rhythm at the piano with an emphasis on accent, pedaling, articulation, balance of textures, and pace.

Toru Takemitsu's piano works reveal a new scope to the concept of sound in modern piano literature. He achieves originality through his imagination and his Japanese cultural and musical heritage. Subtle Japanese elements, which have been embedded for centuries in Japan's culture and music, lend a unique, but not outwardly Japanese, feeling to this work.

Recital presented at the UNT College of Music Merrill Ellis Intermedia Theater in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Merrill Ellis Intermedia Theater in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Lecture recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree

Lecture recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree

Lecture recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree

Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree