The Czechoslovakian composer Jindrich Feld (b.1925) composed Introduzione, Toccata e Fuga per Flauto Solo, for the Italian flutist Roberto Frabbriciani. Feld's Introduzione is from his third style period. This work may be labeled as a synthesis of the experiments and experiences that have enabled him to create his own mature style of expression.

This study traces the significant developments in the late nineteenth and early twentieth centuries which led to the development of electronic music and increased writing for percussion. Whether by coincidence or premeditation, the field of percussion in Western culture and electronic music share many parallel aspects in their history. Carlos Chavez, Edgard Varese and John Cage foresaw a time when electronic music would allow composers to realize compositions with ease, provide new sounds to the spectrum of possible material for pieces and aid in the conception of works. Significantly, these same composers were important figures in the development of percussion composition. In many ways, Lejaren Hiller's Machine Music can be seen as a culmination of the developments which had been taking place in the history of electronic music and percussion music. A product of the innovations in both fields, it poses some formidable problems for the performers. This study will give some background into its composition, examine its structure and deal with its performance problems.

Two of the leading methodologies for spatializing audio over multiple channels include non-real-time multi-track tape and variations of real-time systems that often involve complex configurations of hardware. Of the latter, composers relying on MIDI as a control source have used pairs of sound modules, effects units and automation capable mixers to achieve spatialization over four loudspeakers. These systems typically employ intensity panning, Doppler shifts and reverberation. The present research details the development of a compact spatialization system using a MAX patch controlling a Kurzweil K2500 sampler. This system supports real-time diffusion of up to six simultaneous sound files over eight loudspeakers while incorporating intensity panning, Doppler shifts, delays and filtering. The MAX patch allows composers to choose from several automatic sound spatialization trajectories or to use the mouse to draw and store their own trajectories for later playback. The piece, Circumfusion, is an eighteen-minute composition of electroacoustic music utilizing this spatialization system.

When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982). The second means of evolution from sonata to sonata is through a process of symmetrization. Along with constructions using symmetrical scales, material in each of the three sonatas is subjected to various symmetrical procedures which correspond musically to basic geometric symmetry types or operations (bilateral, rotational, and translatory, for instance). The decreasing number of movements evidences a negative dilatation of material, moving from four movements in the first sonata to three in the second, to one in the third. In each case, corresponding material from the previous sonata is integrated into the following sonata. Both independently and as a group the three piano sonatas exhibit …

This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed …

The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents used in the study, and transcriptions of representative musical compositions.

This study investigates and documents tenor/bass trombone solo performances at the Gewandhaus, Leipzig, East Germany, between 1821 and 1876. Included is the discussion of a newly discovered composition, the Concertino fur Bassposaune und Orchester, by Carl Heinrlch Meyer, which is the earliest concerto for the tenor/bass trombone. Its performance at the Gewandhaus in 1821 marked the beginning of the solo tradition for the tenor/bass trombone, and the Leipzig Gewandhaus became one of the leading centers of solo trombone performance for the next fifty years. The study includes background information on the rise of the virtuoso soloist in nineteenth-century Germany. It specifically focuses on Friedrlch August Belcke and Carl Traugott Queisser and their performances at the Gewandhaus. All solo trombone performances at the Gewandhaus in the nineteenth century have been documented, and specific information has been provided regarding the soloists, dates of performances and repertoire performed on the concerts. The paper includes a discussion of performance reviews from the Allgemeine Musfkalische Zeitung. The conclusion discusses the importance of solo trombone performance at the Gewandhaus, and the reason for its sudden decline after 1876.

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.

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.

Computer Simulacra is a musical work composed for amplified instrumental ensemble and computer instruments on tape. It is a computer-assisted work, composed with the help of a stochastic compositional algorithm, called PTERIO, designed by the composer.

The purpose of the lecture was to investigate the historical and musical heritage of the Moravian Church, with a particular interest in the works and players of the American Moravian Trombone Choir. The historical overview of people, customs, and practices is traced from its beginnings with the Unitas Fratrum in Bohemia through the Northern Germany settlement of Herrenhut and the establishment of the American Moravian colony at Bethlehem, Pennsylvania. The musical life of the church is represented by a discussion of the early hymns of the founding fathers in Bohemia and the subsequent instrumental music of the Moravian trombone choir in America. The trombone choir played chorales that were used to call the congregation to order, announce important visitors to the town, and provide music at special occasions. Anthems were played by trombones (when players were available) in regular church services, or outside when it was necessary to double voice parts. Concerted music was played in the Bethlehem Collegium Musicum. Biographies of the players of the 18th and 19th century trombone choirs provide information attesting to the proficiency and dedication of these musicians. A list of players who contributed to the trombone choir movement since the 19th century is included, …

The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents used in the study, and transcriptions of representative musical compositions.

The chansonnier held by the Biblioteca Casanatense in Rome, designated Codex 2856 (0. V. 208), is a handsome volume containing 123 polyphonic compositions in the style of the Franco-Flemish School, circa 1450 to 1400. Although no text beyond the incipit is found in the manuscript, the value of the source is enhanced by the names of the composers of 106 of the compositions. Volume one focuses on the manuscript, giving a physical description of the manuscript, recounting the history of the manuscript, and includes discussion of selected composers and a concordance. Volume two contains the music of the chansonnier Biblioteca casanatense 2856.

Favorable judgment of a work of art, or of a man, usually means that the work of art, or a record of the man, will be preserved for future generations to judge for themselves. An unfavorable judgment may result in a richly deserved obscurity or an irreplaceable loss, unless favorable circumstances combine to preserve the evidence for a more perspicacious generation. One can be forgiven if he distrusts history's judgment; mistakes which have been corrected are legion (the case of J. S. Bach comes most vividly to mind) and skepticism is warranted unless or until the facts are available for confirmation. It is difficult to explain the paucity of information about Jacques-Christophe Naudot, Not that he is another J. S. Bach; neither Fleury, who made the first serious effort to revive interest in his music in the early 1920's, nor Ruf, who has done much in this regard recently, nor this writer makes any such claim. He does not, however, deserve the obscurity that has been his lot. If his music is not always profound, it nevertheless has both intrinsic and historical value, and some of his works reveal considerable contrapuntal skill. It may be that Naudot stood in the …

The evolution of the role of the trombone as a solo instrument in the nineteenth and twentieth centuries can be traced most effectively through four schools of playing, with the music of today's avant-garde being a logical historical culmination of these four schools. It will be demons t rated that the avant-garde's use of the solo trombone has merely continued the evolutionary process started in the early nineteenth century. The contribution of the early nineteenth-century virtuosi was the establishment of the idea that the trombone could compete on its own terms with other instruments as a solo instrument. In addition to expanding the technical capabilities, they also left a basic solo repertoire. With the death of the virtuosi the trombone as a solo instrument went into a decline. For the remainder of the nineteenth century and well into the twentieth century the Paris Conservatoire was influential. Standards of solo performance were brought to new heights by excellent study material and contest solos. The next important step came from the late nineteenth-century American band virtuosi. Their influence helped the public to accept the idea of the trombone as a solo instrument. The American jazz trombonists of the 1930's and 1940's also …

This dissertation consists of four programs: one lecture- recital, two recitals for piano solo, and one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the performer to project music of various types and composed in different periods.

After considering Petrouchka's historical and compositional background and the orchestral revision of 1947, this thesis analyzes the composition, dealing specifically with formal, harmonic, and melodic aspects. The study's most important discovery is of a common formal design for all the scenes and the piece as a whole, where the outer thirds of ternary structures are equal in length. The thesis also examines Stravinsky's transcriptional procedures, cataloging and contrasting them with those of the nineteenth century. The solo transcription of Petrouchka is fully discussed in the light of Stravinsky's singular treatment of and writing for the piano. In addition to the recorded performance of Trois Mouvements de Petrouchka, this dissertation includes three tape recordings of selected piano works of J. P. Rameau, L. V. Beethoven, F. Chopin, F. Liszt, C. Franck, A. Scriabin, and G. Crumb.

"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.

David Baker (b. 1931) is an educator, composer, and jazz legend. He has composed at least fifteen works that include the clarinet. Baker’s Clarinet Sonata (1989) has become a standard of clarinet repertoire and a popular recital inclusion. His chamber work Heritage: A Tribute to Great Clarinetists (1996) interweaves solo transcriptions of five jazz clarinetists. The compositional style of Baker’s clarinet works frequently links jazz and classical idioms. The two works discussed in this document are excellent examples for classically trained musicians who would like to increase their ability and experience in interpreting jazz styles. The purpose of this document is: (1) to provide background, style, and performance considerations for Baker’s Clarinet Sonata and Heritage: A Tribute for Great Clarinetists, for Clarinet, Violin, Piano and Double Bass; (2) based on these style elements, to provide suggestions for interpreting jazz-style works for classically trained clarinetists; and (3) to archive Baker’s published and unpublished clarinet compositions. Appendices include transcripts of interviews with David Baker and other experts in this field (James Campbell, Rosana Eckert, Mike Steinel and Steven Harlos).

This study demonstrated that the piano, a typical Western instrument, became the Chinese composer's tool for expressing the sound ideals and tone qualities that are intrinsic to Chinese music. A new musical idiom was created in these piano compositions, an idiom that combined Western compositional techniques and traditionally-based Chinese ideals.

This dissertation proposes that the Sonatine broadly unfolds a kinetic structure that stems from the traditional tension-relief model and, consequently, its dependence on tradition proves much deeper than Boulez would acknowledge.

The lecture was presented on November 18, 1991. This presentation focused on the only two compositions for solo flute and orchestra by Ernest Bloch. Written during the last three years of the composer's life, the pieces are representative of his last style period. While Suite Modale is neobaroque in style, Two Last Poems is much more subjective. Together they represent a synthesis of many of the stylistic characteristics of Ernest Bloch. The musical parameters discussed included form, melody, texture, rhythm, harmony, and expressive devices.

The six-movement work is scored for two violins, a viola, and a violoncello. A new approach toward the decision making of the compositional process is revealed which structures the parameters of the composition along an arbitrary frame of reference. This reference is selected prior to composition and influences every aspect of the work. The reference chosen is an existing musical work used in quotation and for stylistic modeling, paraphrase, and variation. Consonance, dissonance, and thematic development are defined in terms of this source.

This study discusses how cultural and social aspects of contemporary Swedish society impact the musical arts. It contains biographical information on representative Swedish composers, and analyzes technical and structural elements of their compositional styles. Finally, it recommends performance practice considerations regarding technical and interpretive details in Tommy Zwedberg's Face the Music for trumpet and prepared audio tape, Folke Habe's Shazam for unaccompanied trumpet, and Bo Nilsson's Infrastruktur for brass quintet.