The selected works by the composers studied in this thesis might well stand as illustrative of the normal development of the use of the bass trombone near the close of the nineteenth century. Although notable progress was made by the cited composers in increasing the bass trombone's usefulness in the orchestra, each composer also continued to use the bass trombone as it had been used in previous years, such as in doubling bass parts, harmonic backgrounds, and for strong rhythmic punctuations.

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.

Four contrasting recitals were presented to fulfill the requirements for the degree Doctor of Musical Arts. The first recital contained music of miscellaneous composers. Two Preludes and Fugues by the North German Baroque composers Vincent Libeck and Dietrich Buxtehude were separated by Samuel Scheidt's Variations on the Netherlands folk song "Ach du feiner Reiter". The Brahms Chorale Prelude "0 wie selig seid ihr doch, ihr Frommen" and the Louis Vierne "Intermezzo" from the Third Symphony represented Romantic-style composition. The major work of the program was the Carl Nielsen Commotio, a large work in orchestral style. The second recital consisted completely of music by J. S. Bach. Four works of contrasting styles were presented: Concerto, Opus 3, No. 8, composed by Antonio Vivaldi and transcribed by Bach, Partita on Sie gegrisset, Jesu gtig, Sonata IV, and Fantasy and Fugue in G Minor. The third recital was the lecture recital: Registration of Orchestral Textures in Organ Music. This lecture was an attempt to deal with the contemporary problem in performance practice of registration of Romantic organ music. The trends in organ building in the twentieth century have ranged from a deeper exploration of the possibilities of the Romantic organ to the reevaluation …

The purpose of this study is to trace the early development of a popular twentieth-century chamber music ensemble, the woodwind quintet. The first chapter concerns the history and background of the use of woodwinds in chamber music leading to the development of the quintet. The second chapter discusses the first compositions for this ensemble and their composers. An appendix provides musical examples illustrating the use of the instruments in the early woodwind quintets.

The object of this study was to compile a list of solo literature for beginning college voice students and analyze these solos for pedagogical and performance purposes. There is no lack of printed material on the subjects of singing and voice culture. But it is not readily accessible to teachers since it is extremely diversified and rather diffusely distributed throughout a variety of sources, such as books, periodicals, and scientific papers. Several lists and books containing songs for beginners have been compiled.

The purpose of this study is to trace the development of a practically extinct woodwind instrument, the basset horn, and its use by composers as both a solo and an orchestral instrument. The first chapter concerns the development of the basset horn from the earliest imperfect specimen to the modern-day instrument. The second chapter deals with the physical characteristics that are peculiar to the instrument. The third chapter discusses the literature and musical history of the basset horn. An appendix provides a comprehensive listing of literature for the instrument.

The comparison of structural and formal traits in the concert grossi of Corelli's Opus VI and Vivaldi's Opus III will proceed in the following manner: first, the cycle as a whole will be taken up; next, the individual movements will be considered. Finally, in each instance of comparison, Corelli's music will be dealt with first.

In music, the term verismo usually refers to a realistic or naturalistic movement in Italian operas of the late nineteenth century. From the dawn of Italian opera four features have been manifested--umanita (humanism), sincerity (sincerity), passione (passion), effetto (not only theatrical effect but the supreme dramatic moment). The elements of verismo are among the characteristics present in the operas of Giuseppe Verdi where they reached a zenith of development. It is upon these veristic aspects, as identified in the second chapter, that the operas Cavalleria Rusticana and Pagliacci were based. Rigoletto, Il Trovatore, and La Traviata richly exhibit these elements of verismo which have been identified in the fourth chapter.

Whereas general conceptions of Menotti's style are available in various articles, none of the previous writings on this subject have attempted to give a detailed analysis of the techniques and devices used by Menotti in his operas. As has been stated, Menottils greatest asset as a composer of opera is his genius for employing a unique fusion of music and drama. The purpose of this study, then, is to isolate the various concepts and devices of composition used by Menotti and deduce how he has used them to create dramatic impact. The work chosen for this analysis is The Medium, which established Menotti as the foremost composer-librettist of modern opera.1 4 It is felt that this opera offers a cross section of the concepts and devices used in all of the operas composed thus far by Menotti.

The purpose of this report is to present a plan of study for a course in vocal pedagogy.

The purpose of this research is to program cycles or units of study which may be used with the Cyclo-Teacher Learning Aid, a commercial teaching machine produced by the Field Enterprises Educational Corporation of Chicago. The program will consist of the mechanics of music and will be designed for use with the seven- and eight-year-old child in primary choirs of the graded choir program of Southern Baptist churches.

The purpose of this study was to design a rehearsal method for presenting the historical and theoretical aspects of selected works for concert band. 1. 'What systematic approach can be designed for studying the historical aspects of a musical work? 2. What systematic approach can be designed for studying the theoretical aspects of a musical work? 3. What compositions can be used to demonstrate historical and theoretical elements? 4. What rehearsal method can be devised by applying the systematic approaches for studying historical and theoretical aspects to the selected works?

Performances of Fitrabras and the other Schubert operas have been very rare. Parts of Fierrabras were given in concert form in Vienna in 1853 and again in 1858. The first stage production was in Karlsruhe, February 9, 1897, but the music was revised for that performance by 0. Neitzel and the text by F. Mottl. The text was translated into French for a production in Brussels in 1926. A concert version was also heard in London in 1938. None of these performances, with the possible exception of the one in Brussels, was in the original version. It has always been assumed that the work could not be performed as it stands; at any rate, no one has ever tried. True, there are certain problems in production, especially in the rapid shift of scenes in the third act, but modern stage technique could undoubtedly conquer such difficulties easily.

The primary objectives of this paper are to deal with Stravinsky's use of the trombone and to study the different methods of scoring for the instrument which he has employed in his works. In order to make this discussion more meaningful, the first chapter contains a brief history of the use and the development of the instrument from the fifteenth century up until 1900. In the second chapter Stravinsky's major works are divided into three periods, and each is individually discussed. The general characteristics common to the related major works are pointed out to provide an understanding of each period. The remainder of the paper is devoted to a study of Stravinsky's trombone scoring in three of his major works, one from each period. A concluding chapter summarizes his writing for the trombone as exemplified by these three works, and surveys the scoring for trombone in some of his other works.

The London British Museum Manuscript Additional 35087, hereafter referred to as London Add. 35087, is an important parchment manuscript in large octavo choirbook arrangement from the beginning of the sixteenth century. Its measurements are 19.4 x 29.3 centimeters. The manuscript contains ninety-five folios and one stub where a leaf has been torn out (f. 4).1 The last composition in the manuscript is incomplete, which indicates that one leaf is lacking at the end (f. 96). Two sets of foliation are shown: the original Roman and a more recent Arabic. Both are placed in the upper right hand corner of folio recto. The sets agree in folios 4-93. Folios 1 and 2 show no Roman figures now; folio 3 has "ii," and therefore the missing leaf probably had "iii." The Arabic numbering does not account for this missing leaf. This folio might have been assigned "4," but this number is given on the next complete leaf to coincide with the Roman "iiii." At the end, by mistake, folio 94 has "xciii" and folio 95 has "xciiii."

This treatise has been prepared largely because of an increasing interest in contemporary music and an awareness on the part of many music educators of its merits in the curriculum of public schools and colleges. Since contemporary music is a controversial subject among directors, it has become necessary to search for specific, positive approaches to the teaching of contemporary music in high school.

The "Mystery'" sonatas for scordato violin and continuo by H. I. F. Biber (1644-1704) had been largely ignored until 1905, when they were included in the collection of Austrian masterpieces, Denkmäler der Tonkunst der 0sterreich. Even then, they were the cause of some confusion which was later corrected in an addenda to the volume which included this series of sonatas. In the baroque period, scordatura was used by a few of Biber's contemporaries, but the technique is not commonly used today. In order to fully understand and to appreciate the " mystery" sonatas, a knowledge of scordatura is necessary, and this technique is discussed in Chapter II. Because the 17th century violins differed slightly from those used today, and the resources of the instrument had not yet been fully developed, a discussion of these aspects has been included. A comparison of the works of Biber with those of his contemporaries shows him to be an innovator who contributed greatly to the growing technique of the violin.

The term ballade is the French and German spelling of the English word "ballad" and the Italian ballata. Although each of these terms is derived from the Latin ballare, meaning "to dance," each denotes an entirely different meaning. The synonomous usage of these terms is definitely misleading (1,p. 67), Frederic Chopin, 1810-1849, was first to use this term as a title for piano compositions. The purpose of this study is to reveal the formal characteristics of each of the four ballades that Chopin wrote for solo piano and to determine,through a comparison of the similarities and differences, some identifying characteristics of a ballade. These characteristics will be illustrated through a formal analysis of each ballade.

This study will include four compositions which were composed between the years 1955 and 1963. With the exception of the Serenade No. 12, for solo tuba, by Vincent Persichetti, all of the works are for the tuba and piano. The purpose of this thesis is to study each composition to determine the essential features of the music in regard to the composers' structural, melodic, and harmonic stylistic characteristics. The conclusions of the study will be found in the final chapter.

It is not by accident that virtually every important study of Debussy's life or works (including the recent and definitive biography by Edward Lockspeiser) has been made from a psychological viewpoint. The peculiar nature of the composer's art, resulting from his intimate ties with the French symbolist poets and his contacts with many other extra-musical influences, makes such an approach not only advantageous, but necessary. In this brief study of Pelleas et Melisande, the composer's only completed music drama, an attempt will be made to trace these many and varied influences, correlate them with the composer's musical style, and thus arrive at a deeper understanding of the nature of this remarkable work, along with its place in the history of the music drama. The actual study of the structure of the opera will give equal consideration to both the literary and the musical elements. As the unique quality of this work is grasped, the justification of such an approach will perhaps be verified.

Liapunov's Twelve Transcendental Etudes, although derivative in nature, have significant musical and technical value, and are sometimes strengthened by the inspiration of other composers' works. Neither highly creative nor original, LIaounov drew on forms and techniques supplied by the great pianist-composers of Western Europe, such as Schwann, Chopin, and Liszt. Not to be overlooked is the influence of his teacher and friend, Balakirev.

The poems of Mignon have inspired song writers for almost two centuries. They have served as the texts for more composers than almost any other single set of poetry. The Romantic composers were especially fond of the words. The poems are full of sadness and yearning and composers found they could be set in different moods. Some settings are in major tonalities while other settings of the same poem can be found in minor. Simple harmonies are used in some settings while others contain more complex harmonies. There are those composers who would have Mignon appear as a lost soul throughout all the poems with each song quietly sung, while others use a variety of dynamics adding drama to the setting and picturing Mignon as full of optimism at the end.

The art of transcribing orchestral accompaniments for organ is one of the most difficult problems which organists must face. Although a few will become professional recitalists, most organists will at one time or other have a church position and be required to play oratorios and other large choral compositions which were originally scored for orchestra. Several of the most popular of these works (Handel's Messiah, Saint-Saëns's Christmas Oratorio, Fauŕe's Requiem) have already been arranged for organ, but the majority are available only in piano reductions. The main body of the paper deals with this latter group of works, for it is here that the most urgent problems exist. However, some of the organ arrangements now available need considerable revision because they try to imitate the whole orchestra and are virtually impossible to play. Therefore, some preliminary comments on already existing transcriptions seem necessary.

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.