Inasmuch as this investigator can determine, no major study has been done concerning music's relation to the "isms" selected for this discussion. The contemporary interest in the movements themselves has been so widespread that the documentation of them, in scattered accounts, is enormous. It is disappointing that these records provide little or no information about the musical aspects of the movements; the graphic and literary accounts, on the other hand, have been accorded generous treatments. Since futurism, cubism, and surrealism, in their origins, were oriented toward the visual and literary arts, it is not surprising that these two aspects would receive the greatest amount of attention. The meager attention to music and the distortion of its role in the movements, as has largely been the case, has created an artistic imbalance, This writer's efforts have been directed toward an exhaustive search for factors which have, in some way or other, linked music with these movements. Musical futurism has been the easiest to identify, although its underlying theories are not always clear, since the futurists, in explaining their theories, were not always convincing, perhaps even to themselves. This writer's main attempt has been to interpret ideas that were frequently vague and …

The English horn has a background of historical confusion because the instrument was built in many different shapes and was given a new name for each change of form.

The purpose of this study is to acquaint the reader with certain scales, not merely as they are used to provide the theoretical "building stones" of all music, but as they have been used as actual scale passages in the piano music of two twentieth century composers. This is a study of the use of various scales in the piano music of Debussy and Ravel. A list of the piano music of these composers which was available for the present investigation is given in the Bibliography. A careful analysis of the music has been necessary in order to determine: First, the types of scales the composer uses; second, the interpretation of the scale in its context; third, the ways in which some scale passages are employed to help project musical thought in the composition; and fourth, the frequency of occurrence of types of scale passages.

The purpose of this thesis is to give the prospective performer an insight into the content of the vocal solos of Charles Ives and to give the student and musicians in general an understanding of the musical devices employed by Ives and of his position as a song writer.

The two basic needs which motivated this study were instructional material and instruments. By investigating these problems the writer hopes to improve not only his own techniques of teaching, but to present a useful source of information concerning the tuba. Analysis of the problem statement led to subordinate questions, or sub-problems, which may be stated as follows: 1. What do the authorities consider to be the desirable physical and mental characteristics in the tuba player? 2. How do the authorities teach the specific techniques of tuba performance. 3. What are the authorities' opinions concerning tubas and tuba mouthpieces? 4. What are the authorities' recommendations concerning instructional materials for tuba students?

The traditional major-minor tonality and the means for its establishment have been developed and used for the last four centuries, until all the possibilities of musical ideas within the given frame of tonal coherence seem now to be exhausted. Today we see a violent change, affecting the basic vocabulary of music as well as musical grammar and syntax. The possibilities of the major-minor tonality seem to be overgrown and appear to be no longer sufficiently flexible to serve the creative spirit of present-day music as basis for musical expression. Thoughtful composers and theorists, however much they may differ in their background and in their attitude toward different traits of modern music, agree in the realization that musical composition is at a crucial point of development all of over the world.

In this thesis, Ned Rorem's Poems of Love and the Rain is analyzed, with conclusions being drawn in the sphere of musico-textual relationships within individual songs.

The purpose of this study was to analyze for reasons of interpretation the unaccompanied choral music of Felix Mendelssohn. What are the stylistic characteristics in each of the compositions selected for examination in this study? What comparisons and conclusions based on the analyses can be made concerning the character of compositional style in Felix Mendelssohn's unaccompanied choral music? What conclusions can be made concerning the interpretation of Felix Mendelssohn's unaccompanied choral music based on the compositional style of his music and an understanding of his musical attributes?

The background of the mass may be considered from many angles. This present discussion concerns itself with the early development of the form. Since the mass is a Catholic rite, the Catholic viewpoint is followed in religious matters. The purposes of this paper are to provide backgrounds for the Catholic tradition of mass and for Austrian composer Franz Schubert, and to analyze the masses written by Schubert.

This study outlines the history of and development of Russian music, leading into the song cycles of Modest Petrovich Mussorgsky.

The purpose of this thesis is to show through the presentation and analysis of authoritative information, and opinions drawn from the information and analysis, the development of violin technique from its basic rudiments as an accompanying instrument to the plane of a brilliant solo instrument, a position it still maintains today. This thesis aims to deal exclusively with the technical evolution of the violin. Many books on the history of the violin have been written, but none have dealt exclusively with the technical evolution of this instrument, and it is hoped that the materials in this thesis will constitute a contribution to this field.

This study seeks to examine and describe the use of the piano in Stravinsky's Neo-Classical and Russian periods, as well as provide a history on the use of the piano of an orchestral instrument.

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.

Of all the composers of German Lied, Franz Schubert and Hugo Wolf can be considered the true giants of this musical form. Schubert's position is secure as the greatest composer of the Lied. Wolf, though challenging Schubert in this particular idiom only, brought the Lied to its culmination. This study will show, by comparative analysis, the respective treatment by Fr anz Schubert and Hugo Wolf of selected poems by Johann Wolfgang von Goethe. Though Schubert composed some seventy songs (not including multiple settings of the same text), and Wolf fifty-one, based on the poetry of Goethe, they shared only thirteen of these poems in common. Four songs by each composer have been selected for detailed analysis.

The harmonic practices of the late romantic period are often discussed in general terms, categorical phrases, and a score of subjectivisms characteristic of the era. It is the purpose of this thesis to clarify certain aspects of the harmonic vocabulary which developed in the late romantic period.

It is the purpose of the study to make a survey of the larger libraries in this region and to compile a list of the holdings of books about music. With the impetus of the North Texas Regional Union List of Serials, 1943; Comprising the libraries of North Texas State Teachers College. Southern Methodist University, Southwestern Baptist Theological Seminary, Texas Christian University Texas State College for Women, and the Public Libraries of Dallas and Fort Worth, and its two supplements of 1943-45 and 1945-46, and following the general form of that work, the present "Union List of Musical Literature in North Texas Regional Libraries, 1946," has been compiled. The libraries represented in the North Texas Regional Union List of Serials are included here, with holdings listed as of March 1, 1946. These libraries are: North Texas State Teachers College and Texas State College for Women, Denton, Texas; Texas Christian University, Southwestern Baptist Theological Seminary and Fort worth Public Library, Fort Worth, Texas; Southern Methodist University and Dallas Public Library, Dallas, Texas.

Hugo Wolf drew the strands of form, rhythm, and other elements together to form tightly woven songs, each element of which can be traced to the text as its original inspiration. Truly this was a genius of romantic expression, who took the tools developed by his predecessors in song, tempered them with his own sensitive personality, and used them to the fullest in setting the meaning and the mood, as well as the words, of the poems he had chosen.

This thesis uses two different musical analytical systems, one of Heinrich Schenker and one of Paul Hindemith, to analyze tonality within "Die Gurre Lieder" and "Fourth String Quartet" by Arnold Schoenberg.

The purpose of this thesis is to discuss and give a descriptive analysis of twelve of the twenty-four preludes written by Claude Debussy. This paper also includes a brief history of preludes as well as possible influences upon Debussy and his compositions.

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.

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.

Louis Couperin (c. 1626-1661) was an outstanding member of the seventeenth-century clavecin school and an important link in the Couperin dynasty. His works for the harpsichord, or clavecin, have been neglected. This is due primarily to the fact that there are relatively few of his works, in comparison with those of his nephew, Franois Couperin Le Grand, who greatly overshadows him. Louis wrote no treatise on how his works are to be played, and there are few accounts of him, or his works, that are written in English. There is no biography of Louis Couperin. A more detailed study should be made of his music and its place in the French clavecin literature. Before examiinig the music itself, however, it is necessary to trace the origins and development of the clavecin school and its style.

It is the purpose of this thesis to offer some pertinent information in the form of a documentary symposium and analytical study in which historical and technical matters relative to Beethoven's fugal techniques in his choral compositions will be presented. References to specific musical examples in this composer's works will be illustrated by diagrammatic and verbal analyses, and correlated with the pagination of the scores of his complete works as published by Breitkopf and Hartel.

The rhythmic analyses (derived from the rhythm tables of Chapter II) reveal: 1. Walton used rhythms sparingly. 2. Walton's rhythms constitute an evolutionary state of re-creation, i. e., Walton's rhythms are in empathy with each other. The harmonic analyses (derived from the harmonic fluctuation tables of Chapter II) reveal: 1. The most frequent chords of any classification occur in groups III and IV (chords of the highest tension). 2. The most frequent dissonant interval used is that of the major seventh.