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 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.

The lecture recital was given July 18, 1977. The lecture began with the performance of the Three Preludes and a discussion of these final works in relation to the composer's last period of composition which included the Sonata for Piano. After the biographical foundation was laid, the Sonata for Piano was detailed concerning form and compositional techniques. All works were performed from memory. In addition to the lecture recital, three public recitals were performed. The first solo recital, performed on August 11, 1975, consisted of works by Schubert and Liszt-Busoni. The second recital, a chamber recital, performed March 29, 1976, consisted of solo and chamber works of Messiaen. The final solo recital, performed on August 1, 1977, consisted of works by Clementi, Satie, and Rubinstein. 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 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.

After examining biographical and stylistic influences on the work of J. C. Bach and C. P. E. Bach, this study analyzes and compares the two sonatas under discussion. Each sonata is placed in historical perspective by relating its outstanding formal and stylistic features with conservative Baroque or more progressive Classical tendencies. In addition to the recorded performance of the Sonata in E-Major, Op. 5, by Johann Christian Bach, and the Sonata in G-Major from Fur Kenner und Liebhaber, Vol. 1, by Carl Philipp Emanuel Bach, this dissertation includes three tape recordings of selected piano works of D. Scarlatti, F. Haydn, W. A. Mozart, L. V. Beethoven, F. Schubert, F. Mendelssohn, F. Liszt, S. Rachmaninoff, and C. Debussy.

The lecture recital was given January 31, 1971. A discussion of Bartok's Out of Doors, a suite consisting of five movements entitled "With Drums and Pipes," "Barcarolla," "Musettes," "The Night's Music," and "The Chase" included biographical material, general analysis of Bartok's musical style, and specific analysis of the suite itself. The suite was then performed by memory. In addition to the lecture recital three other public recitals were performed. Two of these consisted entirely of solo literature for the piano, and the other was a vocal chamber music recital. The first solo recital was on June 7, 1970, and included works of Alfredo Casella, Beethoven, Chopin, Brahms, and Bartok. Part of the preparation included the writing of program notes of a historical and analytical nature.The other solo program, on July 5, 1971, consisted entirely of twentieth-century works by George Rochberg, Sergei Prokofieff, and Maurice Ravel. The chamber music recital was performed with a visiting soprano, Jane Paul, on February 28, 1971. Emphasis was given to German Lieder by Schumann, Joseph Marx, and Alban Berg, but Spanish songs of the Renaissance, by Juan del Encina and Fuenllana, as well as a modern English song cycle by Peter Warlock were also programmed.

The lecture recital, "Thema med Variationer, Opus 40, By Carl Nielsen" presented a discussion of the composer's general background and the characteristics of his style. Specific points made were related to the Thema med Variationer; the discussion was followed by a performance of the work in its entirety. In addition to the lecture recital, three other recital programs were organized and public concerts presented to provide the platform for the works studied. Two of these programs were of solo piano music and one was of chamber music with the clarinet and viola in partnership with the piano. All programs were recorded on magnetic recording tape. The spoken portion of the lecture recital in written form is filed with the recordings as a part of this dissertation.

The lecture recital was given October 15, 1971. The subject of the discussion was Brahms and the Character Piece: Emotion Guided by Intellect, and it included historical and biographical information, an analysis of Brahms' romantic-classic style, a general analysis of the six character pieces in Opus 118, and performance of Opus 118 by memory. In addition to the lecture recital, three other public recitals were performed. These three programs were comprised of solo literature for the piano. The first solo recital was on April 15, 1971, and included works of Brahms, Chopin, Mozart, and Ravel. The second program, presented on April 28, 1972, featured several works of Beethoven. Performed on Septemhber 25, 1972, the third recital programmed compositions by Chopin, Debussy, and Prokofieff. Magnetic tape recordings of all four programs and the written lecture material are filed together as the dissertation.

The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The chamber music program included a trio with the violin and cello performing with the piano. The repertoire of all of the programs was intended to demonstrate a variety of types and styles of piano music from several different historical periods. The lecture recital, "The Poetic Ideal in the Piano Music of Franz Liszt," was an attempt to enter a seldomexplored area of Liszt's musical inspiration. So much has been written about the brilliant and virtuosic compositions which Liszt created to demonstrate his own technical prowess that it is easy to lose sight of the other side of his creative genius. Both as a composer and as an author, Liszt reiterated his belief in the fundamental kinship of music and the other arts. The visual arts of painting and sculpture were included, but he considered the closest relationship to be with literature, and especially with poetry.

The lecture recital was given December 5, 1971. A discussion of Beethoven's 33 Variations on a Waltz by Diabelli, Op. 120 included the circumstances under which the work was composed, analysis of the composition, and controversial opinions on the Variations. The piece was then performed by memory. In addition to the lecture recital three other public recitals were performed. These consisted entirely of solo literature for the piano. The first solo recital was on April 12, 1970, and included works of Bach, Beethoven, and Liszt. Part of the preparation included the writing of program notes of a historical and analytical nature. The second solo recital, on January 31, 1971, consisted entirely of sonatas by Beethoven, Chopin, and Prokofiev. The final solo program, on August 11, 1972, included works by Bach, Schumann, and Granados. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.

The lecture recital was given on November 20, 1972. The discussion of Webern's Variations and Dallapiccola's Quaderno Musicale consisted of a analysis of the two works followed by a comparison of stylistic and performance aspects. The two works were then performed. In addition to the lecture recital four other public recitals were given. Two of these consisted entirely of solo literature for the piano. The third recital was a vocal chamber music recital and the fourth consisted of a piano concerto performed with an orchestra.