Autographs 1928: Four Songs for Soprano and Chamber Ensemble is a composition of approximately 16 minutes' duration and is scored for mezzo-soprano, flute, oboe, clarinet, horn in F, viola, violoncello, one keyboardist (piano and celesta), and two percussionists (marimba, xylophone, chimes, timpani, bass drum, temple blocks, triangle, and slapstick). The work consists of four songs and four readings with texts from Walls's maternal grandmother's autograph book. The composition opens with a reading and alternates between readings and songs. The music is intended to reflect the playful, tender and humorous nature of the lyrics.

Two of the leading methodologies for spatializing audio over multiple channels include non-real-time multi-track tape and variations of real-time systems that often involve complex configurations of hardware. Of the latter, composers relying on MIDI as a control source have used pairs of sound modules, effects units and automation capable mixers to achieve spatialization over four loudspeakers. These systems typically employ intensity panning, Doppler shifts and reverberation. The present research details the development of a compact spatialization system using a MAX patch controlling a Kurzweil K2500 sampler. This system supports real-time diffusion of up to six simultaneous sound files over eight loudspeakers while incorporating intensity panning, Doppler shifts, delays and filtering. The MAX patch allows composers to choose from several automatic sound spatialization trajectories or to use the mouse to draw and store their own trajectories for later playback. The piece, Circumfusion, is an eighteen-minute composition of electroacoustic music utilizing this spatialization system.

When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982). The second means of evolution from sonata to sonata is through a process of symmetrization. Along with constructions using symmetrical scales, material in each of the three sonatas is subjected to various symmetrical procedures which correspond musically to basic geometric symmetry types or operations (bilateral, rotational, and translatory, for instance). The decreasing number of movements evidences a negative dilatation of material, moving from four movements in the first sonata to three in the second, to one in the third. In each case, corresponding material from the previous sonata is integrated into the following sonata. Both independently and as a group the three piano sonatas exhibit …

This study begins with a discussion of step theory. Included in this discussion is the basis of chord succession, the idea of fundamental representation, and the uses of reinterpretation technique. These concepts are then used to demonstrate the continuity and logic of the harmonic language found in Strauss's Macbeth.

The intent of A capella Eletronnica is to explore the possibility of the human voice as the most versatile of musical instruments. The voice, capable of melodic, harmonic, percussive and rhythmic effects, is also employed for spoken text and conversational elements as musical sources. My aim was to enlarge this array of vocal techniques with the use of electronic processing and amplification.

Although Schoenberg viewed his twelve-tone method as an extension of the Germanic musical evolution from Bach to Brahms, one group of writers in America identified twelve-tone antecedents with Medieval and Renaissance polyphony. Such a correlation of Schoenberg's practice with this textural orientation of the past was part of a larger movement (what I term "neopolyphony") recognizing twentieth-century musical developments as the genesis of a polyphonic epoch reviving both the technical and aesthetic concerns of the former era. With Schoenberg's practice applied to this analogical context, other writers (Hill, Krenek, Perle) advanced certain modal theories based in various degrees on the internal organization and functional role of the Church modes.

Joseph Fiala (1754-1816) was a composer and performer of the classical period. His many compositions include manuscripts of a concerto for clarinet, taille, and orchestra in the Fürstlich Thurn und Taxis Hofbibliothek in Regensburg, West Germany and the Library of Congress in Washington, D.C. , U.S.A. This paper identifies the instrument called "taille" as the English horn and discusses the work in areas of form, harmony, rhythm, orchestration, and use of solo instruments. Comparison with contemporary works shows the piece is typical of the eighteenth-century symphonie concertante and, together with the composer's manuscript, provides a basis for editing of the solo parts.

The purpose of the lecture was to investigate the historical and musical heritage of the Moravian Church, with a particular interest in the works and players of the American Moravian Trombone Choir. The historical overview of people, customs, and practices is traced from its beginnings with the Unitas Fratrum in Bohemia through the Northern Germany settlement of Herrenhut and the establishment of the American Moravian colony at Bethlehem, Pennsylvania. The musical life of the church is represented by a discussion of the early hymns of the founding fathers in Bohemia and the subsequent instrumental music of the Moravian trombone choir in America. The trombone choir played chorales that were used to call the congregation to order, announce important visitors to the town, and provide music at special occasions. Anthems were played by trombones (when players were available) in regular church services, or outside when it was necessary to double voice parts. Concerted music was played in the Bethlehem Collegium Musicum. Biographies of the players of the 18th and 19th century trombone choirs provide information attesting to the proficiency and dedication of these musicians. A list of players who contributed to the trombone choir movement since the 19th century is included, …

The chansonnier held by the Biblioteca Casanatense in Rome, designated Codex 2856 (0. V. 208), is a handsome volume containing 123 polyphonic compositions in the style of the Franco-Flemish School, circa 1450 to 1400. Although no text beyond the incipit is found in the manuscript, the value of the source is enhanced by the names of the composers of 106 of the compositions. Volume one focuses on the manuscript, giving a physical description of the manuscript, recounting the history of the manuscript, and includes discussion of selected composers and a concordance. Volume two contains the music of the chansonnier Biblioteca casanatense 2856.

This dissertation consists of four programs: one lecture- recital, two recitals for piano solo, and one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the performer to project music of various types and composed in different periods.

Designs is an algorithmic composition for small orchestra. The main compositional process used involves the realization and implementation of various musical algorithms discussed in the book Composition with Pitch-Classes by theorist/composer Robert Morris.

The censorship of Lady Macbeth of the Mtsensk District is a familiar story to musicologists, but reception of the opera is not frequently mentioned. Examining the reception of a work can bring a work's relative importance into focus. In this thesis, German literary and reception theorist Hans Robert Jauss's model of the horizon of expectations is applied to reviews of American productions of Lady Macbeth. Curiosity about communism following the Great Depression in 1930s, America and American music critics' knowledge that Soviet composers worked for the Soviet regime led to the belief that Lady Macbeth was officially approved export from the Soviet Union. When the article condemning the opera as a Western formalism appeared in the Soviet magazine, Pravda, Americans needed to adjust their understanding of Lady Macbeth as a socialist expression. Following the work's revival in San Francisco in 1981, the influence of Solomon Volkov's Testimony is prevalent in many reviews. Many reviewers use Volkov's narrative of Shostakovich as covert dissident of the Soviet Union to assert that the censorship of the opera was about the content of the plot and not the music. Following the Soviet rejection of the work, American critics tried to claim Shostakovich for the …

This study demonstrated that the piano, a typical Western instrument, became the Chinese composer's tool for expressing the sound ideals and tone qualities that are intrinsic to Chinese music. A new musical idiom was created in these piano compositions, an idiom that combined Western compositional techniques and traditionally-based Chinese ideals.

This thesis examines the historical significance of the vocal methods employed from the middle of the seventeenth century to the beginning of the nineteenth century in what became known as the bel canto era. It provides further exploration into the pedagogical procedures of the bel canto technique through a study of the premier instructors and singers from this period. The resurgence of interest in this tradition is addressed along with its impact on current vocal pedagogy. The vital role that vocal agility played as one of its most distinguishing traits is the primary factor under investigation. A discussion of the bel canto teaching styles in relation to their approach to agility is a major point of inquiry. By maintaining a link between present artists and pedagogues and the old Italian school, it helps the singer understand the historical implications of vocal agility as an integral part of healthy vocal development.

The thesis speculates on the possible influence of Mozart's Requiem on Cherubini's Requiem in D Minor, concluding that Cherubini's setting of the Sequence ("Dies irae") was indeed influenced by Mozart's setting of this liturgical text both on the micro and macro levels.

The first movement of the Piano Quintet, Op. 16 of Ludwig van Beethoven works out three significant motivic "topics": a chromatically filled-in second, appearing first as 5 - #5 - 6 (Bb - B - C in Eb major); the emphasis om the submediant, both as vi in Eb major and as the tonal region of C minor; and the melodic interval of the sixth, which, when inverted to become a descending third, determines the structure of tonal regions at crucial points in the movement. These three motivic topics are introduced in the opening measures of the piece and are subsequently unfolded throughout the movement; the focus of the thesis will be to trace the unfolding of these three topics.

A work concerning the history of the Paris Conservatoire and music education in France. Follows the development of the horn and its correlation with the French school of horn playing. Includes biographic information on the horn professors of the Conservatoire through 1997, as well as a comprehensive list of the morceaux de concours for horn, 1795-1996.

This thesis uniquely explains the mechanical improvements which have occurred to the flute over the last 147 years. Theobald Boehm revolutionized the flute by changing many of its components culminating with the 1847 model flute. Since that time other improvements have been made which enhance the flute's capabilities in terms of pitch, tone, timbre, and simplification offingeringpassages. Among those improvements which are discussed in the following pages are the Dorus G-sharp key, the gizmo key, the Cooper scale, and The Brogger Mekanik as well as the makers behind the various improvements including Vincent Dorus, George Barrere, and Albert Cooper.

The story of Parsifal is presented in two manners: through action and through narrative. Using the formalist theories of Vladimir Propp, the overall narrative is articulated in three narrative episodes. This thesis interprets the structure of narrative episodes in Parsifal on the basis of expectation. Propp's theory of functions provides labels for an interpretive analysis. Levi-Strauss' reconstruction of Propp's functions into paired structures identifies key points in the drama as moments of "functional" saturation. This "functional" saturation coincides with Wagner's practice of Leitmotivic saturation. The semiotic theories of Charles Sanders Peirce, specifically his notion of sign, clarify the dense accumulation of meanings accrued by the Leitmotifs. Finally, Parsifal, as a "quest" for the unobtainable object, fits into the matrix of desire as formulated in the theories of Jacques Lacan.

Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.

This study discusses how cultural and social aspects of contemporary Swedish society impact the musical arts. It contains biographical information on representative Swedish composers, and analyzes technical and structural elements of their compositional styles. Finally, it recommends performance practice considerations regarding technical and interpretive details in Tommy Zwedberg's Face the Music for trumpet and prepared audio tape, Folke Habe's Shazam for unaccompanied trumpet, and Bo Nilsson's Infrastruktur for brass quintet.

This study attempts to show the relationship of Hindemith's harmonic theories and practice in the revision of Das Marienleben, op. 27. The study is based on Hindemith's The Craft of Musical Composition, commentaries on Hindemith's application of his theories, and analyses of Das Marienleben. Chapter One concerns Hindemith's contribution as a theorist, including a synopsis of his harmonic theories, and his application of the theories in his compositions. Chapter Two concerns Das Marienleben itself, including general information about the work and its revision, and an analytical comparison of its two versions. Chapter Three concludes that Hindemith made improvements in the new version in accordance with his harmonic theories through replacing ambiguous harmony with carefully controlled fluctuation and clearly defined tonalities.

Since its establishment (1795), the Paris Conservatoire has attracted top-ranking flutists who, through their playing, teaching, writings, and attitudes, (toward the Boehm flute, for example), have influenced flutists and composers throughout Europe. Through Paul Taffanel, who founded the Societe d'Instruments a Vent in 1876, standards of woodwind playing reached new heights. When Taffanel's students, Georges Laurent and Georges Barrere, emigrated to the United States, they influenced the style and development of flute-playing in this country. Through Barrere's famous student, William Kincaid, there arose what might be termed the American school. The intent of this paper is to place these flutists in perspective. The professors are discussed chronologically; information on the style, works, students, and influence of each man is included.

This investigation surveys pertinent literature, from 1917 to 1982 inclusive, regarding artistic vibrato and tremolo in singing. The contents are subdivided into individual investigative reports by various vocal researchers. Due to mounting confusion within the amassed literature, the need for systematic organization and evaluation is evident. Misunderstandings within the context of the literature and misnomers within the terminology require clarification and resolution. The evaluation intends to produce a proper perspective on vibrato and tremolo, eradicating some of the confusion surrounding the terms. Artistic vibrato is recognized as a desirable component in Western vocal music. In contrast, tremolo is deemed a deviant vibrato, i.e., a vibrato which deviates from artistic norms. The study attempts to clarify the distinguishing traits of these two vocal phenomena.