In this study, the Anton Webern's music is considered in two groups: that which was written before Webern adopted the twelve-tone technique, Opp 1-16, and that written in the twelve-tone technique, Opp. 17-31. This division is not intended to represent an attempt at periodization of Webern's music, for the changes of style in Op. 17 are not that significant. But the fact that Webern employed the twelve-tone technique in all the works he wrote after Op. 16 makes this a natural point of division for a study of this sort. Besides the music of Webern, two peripheral areas are included in this study. No attempt has been made at an exhaustive biography of Webern, but facts relative to his life, and impressions about the person are presented. Also, to create a proper perspective for the study of Webern's which existed during the time that Webern lived and composed, is presented.

This study has two divisions: Part I, an historical and analytical summary of the emergence and development of the divertimento and the serenade in the eighteenth century, and Part II, the culmination of these structures in the works of W. A. Mozart. Two primary purposes are envisioned: 1) to further our knowledge of how German Gesellshafts-musik evolved toward its peak in the second half of the eighteenth century, and 2) to furnish a useful analytical handbook of Mozart's works in these genres.

The Seville Cancionero is a manuscript collection of songs from late fiftennth-century Spain and is preserved today in the Biblioteca Colombina of Seville with the number 7-1-28. This dissertation describes the document and provides commentary and transcriptions of the Seville Cancionero.

It can be said that Strauss not only brought the valved trumpet to prominence but revived somewhat the use of the trumpet as a solo instrument to the importance it had attained during the baroque period. From the time of these works to the present there have been many improvements in the instruments themselves and the players have become more proficient. At the time these works were written and first performed the trumpets were not yet perfected. They were difficult to play and the intonation of the instrument was very poor. With the improvements in the instruments and the works of Strauss to show what could be done by the trumpet, composers started using the instrument in more important passages. In the compositions for orchestra written in the twentieth century up until the present time it is not uncommon to find the trumpet used extensively as a solo instrument. Some of the more prominent compositions employing the trumpet in this manner are: Concerto for Piano and Orchestra by Dimitri Shostakovich, The Quiet C by Aaron Copland, L'Histoire du Soldat by Igor Stravinsky, Concerto No. 2 for Piano and Orchestra by Maurice Ravel. In fact, in most of the larger orchestral …

The arrangement of movements in the Grand Sonata in B flat follows traditional classical lines, as is true of almost all the Schubert sonatas. A complete structural analysis of the work reveals some modifications in the architecture of individual movements; this is especially evident in the first movement. The departures from usual treatment of first movement sonata form may be classified as follows: 1. Developmental procedures begin in the exposition. 2. The second subject begins in a distantly related key. 3. The development section stresses melodic treatment rather than contrapuntal technique. The second movement is in ternary form and exhibits little irregularity in structure. The movement is an excellent example of the employment of an accompaniment figure as a unifying element.

This song cycle consists of ten settings, and has been divided into two parts by the composer. Each part is preceded by a short quotation in Latin which has been inserted by the composer. The two parts of the cycle are evidently meant to typify the division of a human life into the periods of youth and old age. The Latin quotations which divide the cycle into its two parts are taken from the Latin Vulgate version of the Bible, Psalm 89, verse six.

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.

The purpose of this study is to analyze and codify the basic principles and techniques of composition and arranging as used in ten selected published dance band stock orchestrations of popular ballads.

Both science and empirical knowledge seem to indicate that anatomical considerations relating to potential muscular interference be established at the incipiency of the serious study of voice. Experience shows that if this aspect of vocal development is not pursued with utmost diligence, an early deterioration of the vocal instrument is possible many years before a normal expectancy. It has been discovered, also, that the study of articulation, pronunciation, modulation, emphasis, gestures and interpretation seem to avoid, primarily, the necessity of muscular training, per. This thesis will not include, in detail, the aspects of the use of the breath, except in a perfunctory manner. The same can be said of resonance and diction. It will endeavor, however, to indicate the muscular differences of the singing and swallowing actions. Furthermore, it will advance some suggestions for the avoidance of constrictive muscular influences which might impede the singing musculature. Finally, a phonatory process will be presented for consideration as a muscular mechanism to be made operative in connection with a direct control procedure.