The purpose of this study is to provide a practical English translation of Vincenzo Galilei's significant treatise on ancient and modern music (1581). In spite of the important place this work holds in the history of music, it has never before been made available in its entirety in any language other than the original Italian. This volume includes chapters 4-6, with an index and bibliography for the entire dissertation.

Chronomorphosis is a chamber ensemble piece for flute, clarinet, viola, cello, piano, and percussion. The work, comprising three movements is approximately fourteen minuted in duration. One of the most apparent characteristics of the work is its progression from non-metrical time organization involving aleatoric elements to metrical time organization involving changing meters but no aleatoric elements. The Pitch set is a constant element throughout the piece. The instrumentation selected exhibits a variety of color in all ranges: the flute in the upper register, the clarinet, viola, and vibes in the middle register, and the cello and the timpani in the lower register, the piano having access to all registers.

The purpose of this paper will be to compare the Hindemith theory of harmonic tension as set forth in his book, Craft of Musical Composition, with his actual use of harmonic tension in compositional practice. The compositions used for this study are Hindemith's Sonaten für Klavier, published in 1936, consisting of three sonatas*. Although these pieces were published one year before the theory book, it seems reasonable to assume that Hindemith was at least formulating the ideas that would go into his book, and quite possibly was already writing it. The copyright date of the book is 1937. Therefore, any conclusions derived from the following analysis will not be affected to any degree by the time lapse between the writing of the two works in question. Analysis of the Sonaten für Klavier by Paul Hindemith reveals the fact that each of the sonatas is very different from the other two; hence, conclusions which apply to all three works are not generally possible.

The purpose of this paper is to discover the environmental characteristics of the "Mystic Chord" in the first four Sonatas for Piano by Alexander Scriabine. This paper explores the manner of approach, manner of resolution, harmonic function, position, melodic function, and rhythmic position of the "Mystic Chord".

It is the purpose of this thesis to present a study of music written for the clarinet during the period from 1600 to 1800. The first part is a history of the clarinet showing the stages of development of the instrument from its early predecessors to its present form. Part one also explains the acoustics of the clarinet and its actual invention. The second part deals with composers and their music for the clarinet. No attempt is made to include all music written for the instrument during the prescribed period; rather, the writer's intention is to include chiefly those works by composers whose musics has proven to be outstanding in clarinet literature or interesting historically. The order in which the works themselves are taken up is chronological, by composers, with comment on their styles as to form, harmonic content, melodic content, rhythmic content, problems in phrasing, or any other general technical problem. All of these elements are illustrated with examples taken from the music.

The purpose of the following study is to make to stylistic analysis, on the basis of form, harmony, melody, and rhythm, of the Concerto for Two Pianos and Orchestra by Harl McDonald, a twentieth-century American composer. When a composer begins the composition of a concerto he is faced with a series of specific problems, e.g., the degree of prominence to be given the soloist in relation to the orchestra, the technique of the solo instrument, the traditional first movement sonata form, and the balance between solo and orchestra in regard to tone color and sound mass. By determining the elements of style typical of this particular work, the investigator aims to set forth in a general way to how the composer treated each of the problems stated above.The concerto for Two Pianos was selected for study because of its modernity and because of the writer's active interest in works for this medium.

This study concerns the declaimed performance of recitative in early French opera. Because the dramatic use of the voice was crucial to the opera genre, this investigation begins with a survey of historical definitions of declamation. Once the topic has been described, the thesis proceeds to thoroughly study three treatises dealing with sung recitation: Bacilly's Remarques curieuses, Grimarest's Traité de recitatif, and Dubos' Reflexions critiques. Principles from these sources are then applied to representative scenes from the literature. The paper closes with a commentary on the relationship between spoken and sung delivery and on the development of different declamatory styles.

This study was prompted by the writer's interest and experience in the field of two-piano performance. At the beginning of this writer's two-piano work the available material was scarce, and much of it was inadequate in quality from the standpoint of both composition and arrangement. It seems strange that this particular form of chamber music, so delightful to play and so enjoyable to listen to, did not completely take popular fancy until the twentieth century. During the past ten years however, teachers are realizing the benefits derived from training students in two-piano playing. There is no doubt in the writer's opinion that two-piano concerts will henceforth always be in demand.

The purpose if this study is to make an analysis of the structural elements and stylistic characteristics in the Concerto in A Minor for Piano by the nineteenth century German composer, Robert Schumann. These elements include the composer's treatment of melody, rhythm, form, and piano idiom. This problem has been limited to a stylistic analysis of Schumann's only concerto in A minor for piano and orchestra, Op. 54. Its purpose is to make an analysis of the structural and stylistic elements in the Concerto. These include the composer's treatment of melody, rhythm, form and the piano idiom. Since the matter of harmony is not of primary importance in this work, it is not discussed here. The present study does not include a consideration of the orchestral score and its relationship to the piano; however mention of it is made in the chapter on piano idiom.

The three respond motets from Matins for the Dead by Robert Parsons constitute an important part of the sacred Latin repertory of mid-sixteenth-century England, illustrating central features of the English mid-century style. Although he worked within a conservative musical tradition, Parsons experimented with that tradition in personal and individual ways. Specifically his modal and thematic construction as well as his practice of musica ficta are singled out for closer analysis. Consequently, a methodology for editorial decisions concerning musica ficta is developed. Two special problems, the simultaneous cross-relation and diminished fourth, are shown as the result of normative polyphonic processes and vertical structures.

Since the time of Johann Sebastian Bach many musical compositions have been written on the letters of his last name. In German musical notation, these letters are the equivalents of out B flat, A, C, and B natural. This study traces the use of this motive in works written for the organ throughout the past two centuries. The discussion in these chapters has been an attempt to illustrate the use of the motive B A C H in organ compositions from before the time of Bach up to the present. Time limitations required that this study limit itself to those works appearing in generally available editions.

The purpose of this thesis is to isolate the techniques presently being used by composers and to define and explain these techniques. The thesis concludes with a series of studies based on these twentieth-century compositional techniques for high school students in the form of warm-up and technique materials. The purpose of this study was to devise a sequence of studies designed to acquaint band members with twentieth-century composition techniques found in contemporary band literature.

Watership Down is a work for chamber orchestra in four movements, approximately sixteen minutes in duration. The piece is a programmatic work based on the novel Watership Down by Richard Adams; however, the musical action is not intended to be an aural narrative of the story but, rather, is meant to capture the general mood of the four sections of the novel. The work exhibits the influence of several styles of late nineteenth-century and early twentieth-century music with the symphonic poem being the genre it most closely resembles.

This dissertation deals with Respighi's output for the organ which consists of the Three Preludes for organ solo, a Suite in G for strings and organ, two transcriptions (the Vitali Ciaccona, and a Suit by Bach), both for violin and organ, and various organ parts in the symphonic poems, operas, and orchestral works. If Respighi was not an innovator, he was at least creative in his use of the organ in his orchestral works. The organ was used primarily for color by adding depth, body, and novelty to the ever-growing orchestra. Respighi paid great attention to the smallest detail in his orchestrations, which were varied, delicate, and precise. Why did this interest in color and sonority not result in similar treatment of the organ in his music? The answer is suggested already in the description of the late romantic/orchestral organ. Its stops had lost their individuality, and they blended together in such a way that no particular color was distinguished. The though is not that Respighi's music, or the music of any other composer, caused the decline, but rather that the direction of organ-building in its search for modernity, machinery, and the industrial age, lost its identity, its characteristics personality …

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.

The purpose of this study was to develop a commercial singing guide that could be used as an aid in teaching selected elements of commercial singing. It addressed itself specifically to the following problems: determining how the selected elements of the commercial vocal style are produced, developing a guide for teaching the production of this vocal style to trained and untrained singers and evaluating the effectiveness of the guide.

The primary purpose of this thesis is to give the prospective performer of Schumann's piano works a better understanding of his many works for the piano and to give the pianist, and musicians in general, a better understanding of the pianistic devices employed by Schumann in his works for this instrument. Schumann rose to great heights for short intervals. He possessed enthusiasm, humor, charm, and eloquence. Such qualities have kept his music alive and have provided his listeners with lasting pleasure. Much of his music represents the nobility and warm-heartedness that characterized early Romanticism at its best.

The purpose of this study was to investigate the bands of the armies of the Confederate States of America. This study features appendices of libraries and archives collections visited in ten states and Washington D.C., and covers all known Confederate bands. Some scholars have erroneously concluded that this indicated a lack of available primary source materials that few Confederate bands served the duration of the war. The study features appendices of libraries and archives collections visited in ten states and Washington, D.C., and covers all known Confederate bands. There were approximately 155 bands and 2,400 bandsmen in the service of the Confederate armies. Forty bands surrendered at Appomattox and many others not listed on final muster rolls were found to have served through the war. While most Confederate musicians and bandsmen were white, many black musicians were regularly enlisted soldiers who provided the same services. A chapter is devoted to the contributions of black Confederate musicians.

This thesis examines the history of the use of trumpet and cornet, and analyzes their use in several Stravinsky pieces: Petroushka, The Rite of Spring, L'Histoire du soldat, and Ragtime. The study concludes that Stravinsky, at the time of the composition of the analyzed pieces, was instrumental in elevating the cornets and trumpets to a more important position in the orchestra.

It is the purpose of this thesis to present some of the material to be employed in the pedagogy of the woodwind instrument classes at the college level in order that this material may serve as a useful and beneficial guide for the students and teachers of the woodwind instrument classes. This study has been prepared in the belief that a most serious obstacle in the teaching of woodwind instrument classes is the lack of a comprehensive text dealing with the fundamentals underlying the selection of teaching materials to be used. In a large number of instances young teachers are confronted with the necessity of developing a woodwind department in their schools without having had any systematic preparation for the task. This thesis attempts to meet this need.

The problem undertaken in this paper is a study of sonata form in regard to the number, types, and key schemes of movements in the pre-Haydn sonatas and a comparison of these with the sonata form as Haydn established it. Finally, a detailed analysis of the Haydn E-Flat Major sonata is presented showing typical formal characteristics. The history of the sonata form does not begin simultaneously with the advent of the sonata itself, for the sonata as we know it today is the result of many stages of experimentation. Its growth and development were a gradual process which lasted the better part of three centuries. Many composers contributed to this growth, but the sonata form itself cannot be ascribed to any particular composer.

This study is a progressive series of string quartets for children ages six to eight. A picture and a story for the child accompany each of the twenty lessons. The stories are written about animals, birds, and incidents that exist in the child's world. They are designed to arouse associations between familiar subjects or incidents and unfamiliar problems at hand. The second section of this work is entitled "Instructions to the Teacher." A child's interest is sacrificed when he is burdened with too many technicalities. Thus the teacher is fully informed of the difficulties in each lesson, and suggestions are given for solving the problems that arise.

This study aims to show all known knowledge of singing in the earliest days of the biblical New Testament. The practices of the early Christian church in respect to singing are traced during the period directly following that covered by the New Testament and carried forward to around the year 500 A.D. The study aims to learn, insofar as available sources permit, all that we may know today of singing in the earliest days of the New Testament Church. Both Old and New Testaments will be searched for all references to song, and particular attention will be directed to the meaning of St. Paul's reference to "psalms, hymns, and spiritual songs" in an effort to determine the meaning of these three items.

The purpose of this study is to create a curriculum for beginning instrumentalists who have no background in music and are young students not yet capable of deciphering highly technical and academic sentences, phrases, and terms. This method is designed to give the student a foundation in theory without taking undue time from the instrumental phase of the curriculum and at the same time to increase the tempo of training in both phases.