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.

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.

In this study, the Anton Webern's music is considered in two groups: that which was written before Webern adopted the twelve-tone technique, Opp 1-16, and that written in the twelve-tone technique, Opp. 17-31. This division is not intended to represent an attempt at periodization of Webern's music, for the changes of style in Op. 17 are not that significant. But the fact that Webern employed the twelve-tone technique in all the works he wrote after Op. 16 makes this a natural point of division for a study of this sort. Besides the music of Webern, two peripheral areas are included in this study. No attempt has been made at an exhaustive biography of Webern, but facts relative to his life, and impressions about the person are presented. Also, to create a proper perspective for the study of Webern's which existed during the time that Webern lived and composed, is presented.

Both science and empirical knowledge seem to indicate that anatomical considerations relating to potential muscular interference be established at the incipiency of the serious study of voice. Experience shows that if this aspect of vocal development is not pursued with utmost diligence, an early deterioration of the vocal instrument is possible many years before a normal expectancy. It has been discovered, also, that the study of articulation, pronunciation, modulation, emphasis, gestures and interpretation seem to avoid, primarily, the necessity of muscular training, per. This thesis will not include, in detail, the aspects of the use of the breath, except in a perfunctory manner. The same can be said of resonance and diction. It will endeavor, however, to indicate the muscular differences of the singing and swallowing actions. Furthermore, it will advance some suggestions for the avoidance of constrictive muscular influences which might impede the singing musculature. Finally, a phonatory process will be presented for consideration as a muscular mechanism to be made operative in connection with a direct control procedure.

This study has two divisions: Part I, an historical and analytical summary of the emergence and development of the divertimento and the serenade in the eighteenth century, and Part II, the culmination of these structures in the works of W. A. Mozart. Two primary purposes are envisioned: 1) to further our knowledge of how German Gesellshafts-musik evolved toward its peak in the second half of the eighteenth century, and 2) to furnish a useful analytical handbook of Mozart's works in these genres.

The arrangement of movements in the Grand Sonata in B flat follows traditional classical lines, as is true of almost all the Schubert sonatas. A complete structural analysis of the work reveals some modifications in the architecture of individual movements; this is especially evident in the first movement. The departures from usual treatment of first movement sonata form may be classified as follows: 1. Developmental procedures begin in the exposition. 2. The second subject begins in a distantly related key. 3. The development section stresses melodic treatment rather than contrapuntal technique. The second movement is in ternary form and exhibits little irregularity in structure. The movement is an excellent example of the employment of an accompaniment figure as a unifying element.

The Seville Cancionero is a manuscript collection of songs from late fiftennth-century Spain and is preserved today in the Biblioteca Colombina of Seville with the number 7-1-28. This dissertation describes the document and provides commentary and transcriptions of the Seville Cancionero.

This song cycle consists of ten settings, and has been divided into two parts by the composer. Each part is preceded by a short quotation in Latin which has been inserted by the composer. The two parts of the cycle are evidently meant to typify the division of a human life into the periods of youth and old age. The Latin quotations which divide the cycle into its two parts are taken from the Latin Vulgate version of the Bible, Psalm 89, verse six.

It can be said that Strauss not only brought the valved trumpet to prominence but revived somewhat the use of the trumpet as a solo instrument to the importance it had attained during the baroque period. From the time of these works to the present there have been many improvements in the instruments themselves and the players have become more proficient. At the time these works were written and first performed the trumpets were not yet perfected. They were difficult to play and the intonation of the instrument was very poor. With the improvements in the instruments and the works of Strauss to show what could be done by the trumpet, composers started using the instrument in more important passages. In the compositions for orchestra written in the twentieth century up until the present time it is not uncommon to find the trumpet used extensively as a solo instrument. Some of the more prominent compositions employing the trumpet in this manner are: Concerto for Piano and Orchestra by Dimitri Shostakovich, The Quiet C by Aaron Copland, L'Histoire du Soldat by Igor Stravinsky, Concerto No. 2 for Piano and Orchestra by Maurice Ravel. In fact, in most of the larger orchestral …

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.

Most of Domenico Scarlatti's harmonic progressions are quite orthodox when considered abstractly or free of their positioning in the score. The harmonic movement is given interest by subtle alterations in time; for example, (1) simultaneous upper and lower voices of different lengths, when repeated several times, change their relationship with each other; (2) one voice may be simply delayed so that it lags behind the other voice, thus combining to produce irregular harmonic sound on many succeeding beats; (3) the combination of two or more chords appearing on one beat is similar to number (2) but does not necessarily occur more than once.

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 first chapter outlines the history of percussion instruments used by Béla Bartók, The second chapter deals with the use of percussion by various composers from Bach's time up to the period of Bartók. Chapter three outlines how Bartók uses percussion instruments.

A collective description and analysis of the first three Prussian sonatas of Bach

The chorale Wie schðn leuchtet der Morgenstern was popular from its very outset in 1589. That it has retained its popularity down to the present day is evident by its continually appearing in hymnbooks and being used as a cantus in organ compositions as well as forming the basis for other media of musical composition. The treatment of organ compositions based on this single chorale not only exemplifies the curiously novel attraction that this tune has held for composers, but also supplies a common denominator by which the history of the organ chorale can be generally stated.

It now seems necessary to follow the further development of Schoenberg and his first pupils, Berg and Webern. "Starting from their twin conceptions of the dethronement of tonality and the free use of the former 'discords', they produced a series of pieces of which the foremost characteristics were their extreme expressiveness and their extraordinary brevity."

Analyzes music of Ravel, Debussy, Schoenberg, Webern, Milhaud, Bozza, Francaix, Poulenc, Cowell and Riegger.

This sonata by Alban Berg is a product of Arnold Schoenberg's teachings and is, indeed, a musical reflection of the Schoenberg of 1907-1908. At this time the musical thought of Schoenberg himself was in a state of metamorphosis, developing from the chromaticism of the late Romantic composers toward the twelve-tone technique which he was to formulate a few years later. The sonata, as a whole and above all, reflects the growth of an important composer, one who is perhaps the most important link between the traditional Classical and Romantic schools and the modern schools. His growth was based on a thorough knowledge of traditional styles and techniques, vestiges of which are seen in the formal design, chromaticism, and evasive harmony of the work. His advance is seen in his peculiar use of polyphony and motivic variation. Compared with many other works for piano, Berg's sonata is perhaps not among the most celebrated. But as indication of the attitude of a great composer who wished to build upon rather than break with his heritage, it is a most significant work.

It is the object of this paper to review Sir Edward Elgar's life as a composer, and to discuss and study the thematic elements of his oratorio, "The Apostles." To understand and evaluate the significance of any person's rise to fame in his own field, it is necessary to reconstruct the surroundings from which he came. If a study of the musical conditions had been made when Elgar's development as a composer was starting to draw attention, it would have been noted that the British public was prepared to listen to music in newer forms only if it was from a country other than England. There was very little done or said to encourage any music in a modern character if it was composed by someone from England.

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.

This study examines what makes a keyed brass instrument, early keyed brass instruments, and keyed brass instruments of today. Focuses on the Cornett, the Serpent, the Basshorn and Russian Bassoon, the Ophicleide, the Horn, the Keyed Trumpet, and the Keyed Bugle.

The purpose of this study represents an illustration of the techniques of public relations in music education as well as the urgent necessity for their development. Especially during; this era, American public schools are faced with the problem of providing a balanced curriculum whose chief interests lie in subjects of a scientific nature. Educators feel that this type of training is not only necessary to keep the nation ahead or equated with others scientifically, but that it is inevitably the best in preparing the student for adulthood. Public school music, in many instances, has not lived up to its responsibilities in providing the kinds of music and the type of community service it should render. Consequently, many educators feel justified in either reducing or eliminating fine arts programs in their schools. It is necessary, therefore, that the music educator study measures of encouraging musical growth in his environment, and this growth can be assured through a study of the techniques and tools of public relations.

The twentieth century has witnessed a renaissance in the composition of choral music. Not since the Baroque, has choral writing held the prominent position with composers that it has today. At the same time, English composers have regained a stature and influence they have not held since the time of Purcell. It was not until the time of Edward Elgar, Gustave Holst, and Ralph Vaughn-Williams that English music began to recover from the decline of the nineteenth century. Benjamin Britten has played a large role in both the choral renaissance and the recovery of English music.

One of the outstanding aspects of nineteenth-century romanticism was its preoccupation with the past. This interest in the music or the old masters has lasted well into the twentieth century, and one whose lifetime bridged the two centuries was the composer Max Reger (1873-1916). Reger's admiration for the music of the past pervaded his own works. His preference for contrapuntal textures and devices, his use of baroque forms, his distaste for program music--all bespeak Reger's especial interest in the old masters, particularly in 5. S. Bach. These qualities led some to regard him as the successor of Johannes Brahms, who held similar tenets. Because of his particular interest in composing for the organ, Reger was viewed as a "nineteenth-century Bach."