This project delivers to the scholar and performer a critical edition of a little-known horn concerto by Antonio Rosetti. Standing in contrast to performance or practical editions, critical editions demand that the editor exerts a non-trivial measure of authority over the state of the text. Performers often find this fact to be uncomfortable given the normal tendency to revere the perceived intent of the composers based upon the text that they set down. When engaging with sources, it is rarely clear what that intent is, or which of the available sources most closely represents that intent. Those available sources often disagree with one another, even those in the composer's own hand. It is vital for the editor to know, as precisely as is possible, who created the source material, when they created these sources, and why they created these sources. At that point the editor must decide which sources will best fit his or her framework for the creation of the critical edition. At that point the editor will grapple with numerous inconsistencies and ambiguities within those sources, and then use his or her own authority to fix the text of the composer's work into a single version for today's …

This document focuses on background and performance practice of various musical styles encountered in Paquito D'Rivera's The Cape Cod Files. More specifically, the musical styles examined include: boogie-woogie, Argentine milonga, classical and popular Cuban music, American twelve-bar blues, contemporary atonal music, and Cuban danzón. A brief biography of Paquito D'Rivera is included to establish context of the composer's musical background. Each chapter examines one of the four movements and the musical styles found within that movement. A brief history of each musical style is provided to inform appropriate performance practice decisions.