The lecture recital was given April 2, 1973. A discussion of Liszt's late piano works included information about specific compositional techniques and innovations which influenced twentieth-century composers. Five selections of the late works were performed by memory. In addition to the lecture recital, three public solo recitals were performed. The first solo recital, performed on April 9, 1972, consisted of works by Haydn, Beethoven, Ravel, and Chopin. The second solo recital, performed on August 4, 1974, included works by Beethoven, Debussy, and Brahms. The final solo recital, performed on April 5, 1976, consisted of works by Bach, Chopin, and Prokofieff. 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.

The lecture recital was given June 29, 1976. The subject was the History of the Violin Scordatura, and it included an historical survey of scordatura compositions along with discussions of the problems of notation and hints for solving the practical problems of performance. Works by Biber, Vivaldi, and Nardini were performed at appropriate moments during the lecture. In addition to the lecture recital, three other public recitals were performed: The first solo recital was on April 15, 1974 and included works of Albinoni, Copland, and Beethoven. The second program, a chamber music recital on January 19, 1975, featured works for piano trio by Haydn, Copland, and Arensky. The third recital was presented on April 14, 19 75 and included works by Vitali, Prokofiev, and Grieg. Magnetic tape recordings of all four programs and the written lecture material are filed together as the dissertation.

This study is an attempt to shed some light on the treatment of one dissonance—the seventh—in the works of the following composers: Cipriano de Rore (1516-1565); Philippe de Monte (1521-1603); Giaches de Wert (1535-1596); Luca Marenzio (1553-1599); Carlo Gesualdo (ca. 1560-1613); and Claudio Monteverdi (1567-1643). The purpose of this thesis is to discover (1) the frequency of occurrence of primary (relatively accented) sevenths and their inversions (^ chords, etc.) in a selection of each composer's madrigals; and (2) the methods of handling sevenths employed by each composer, with particular emphasis on the relationship between these methods and sixteenth century theory.

The dissertation consists of four recitals: one chamber music recital compiled from two years' series of chamber music performances in residence, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The Fifth and Sixth Clarinet Concertos by Johann Melchior Molter, begins with perhaps the first performance of the Concerto No. 4 in D Major, Mus. Hs. 337, for clarinet in D with orchestral accompaniment reduced for piano. Bibliographical, historical and technical information is marshaled to justify the solo designation of Badische Landesbibliothek concerto manuscripts 334 and 328 to D clarinet rather than clarino. An investigation into the formal and stylistic aspects shows these two questionable works to be comparable to the composer's other four clarinet concertos. The analysis is followed by a short discussion of the problems involved in the transcription and performance of the works. The lecture concludes with the first performance of the Concerto No. 6 in D Major, Mus. Hs. 328, for clarinet in D with orchestral accompaniment reduced for piano.

The lecture recital was given on August 5, 1976. Subsequent to a presentation of some pertinent background material, diverse influences on the compositional styles of five representative composers of the period were discussed. Nine songs by Edward MacDowell, Charles Loeffler, Sidney Homer, John Alden Carpenter, and Charles Griffes were interspersed as musical illustrations. In addition to the lecture recital, three other public recitals were performed. The first solo recital was presented on July 26, 1973, and included works by Johann Sebastian Bach, Richard Strauss, and Wolfgang Fortner. The second solo recital, given on December 3, 1973, was comprised of works by Wolfgang Amadeus Mozart, Jacques Ibert, Arrigo Boito, and Modeste Moussorgsky. The third solo recital (with Miss Jo Ann Pickens assisting), was presented on June 26, 1974, and included works by Thomas Arne, Richard Wagner, Johannes Brahms, Benjamin Godard, Giuseppe Verdi, and Carlisle Floyd.