Although many volumes concerning the life and works of Johannes Brahms have been written, it has been found that the majority of these writings treat the material of the subject in a rather poetic and romanticized fashion. This is especially unfortunate in those volumes where the works of Brahms are analyzed with pragmatic implications, since Brahms himself eschewed the use of extramusical elements in his composition. This investigation, therefore, is an attempt to present a careful analysis of one of these compositions, the Quintet in B Minor, Op. 115, for clarinet and string quartet.

A comprehensive study of all nineteenth-century New Orleans composers is far beyond the scope of this paper. There are simply too many. An attempt has been made, however, to include as many possible in the text. Others, about whom there is insufficient information to include in a narrative, have been relegated to the appendix, where they are treated in the style of a biographical dictionary. The two most important and influential composers of the century, Gregorion Curto and Theodore von La Hache, are covered individually in chapters two and three, respectively. Their music represents all three of the important aspects of composition of the era: opera, salon, and sacred music. Louis Moreau Gottschalk, probably the most famous composer and performer of the period, has been omitted from this study (other than incidental references) because he has already received considerable attention from numerous other researchers. Likewise, another composer of note, Ernest Guiraud, has been omitted because, even though a native of New Orleans, he left America at an early age and never returned. He should more appropriately be considered in annals of French music. Research in this field, a vital part of the American musical heritage, is by no means complete. …

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.

The subject of the present study, Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, abbreviated Florence 2439,1 contains secular and sacred vocal music of the late fifteenth and early sixteenth centuries, with texts in French, Dutch, Italian, and Latin.

Because of the nature of the poetry, the interpretation of Banalites in this study has involved certain subjective decisions. These deductions were, nevertheless, colored by statements of the poet, the composer, and authorities on each. This is not to imply, however, that this is the only interpretation. Both poet and composer have given evidence that their creation requires a subjective response on the part of the interpreter. This is perhaps the greatest challenge offered by the work.

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.

This thesis centers around a certain twentieth-century compositionaI device, the method of composition with twelve tones. There are many terms to designate this device, for example: "basic set," "tone-row," "note-series," "serialism," "serial technique," "twelve-note series," "twelve-tone technique" or "twelve-tone method." TI is thesis is a methodical research demonstrating the contemporary conventional way of scientifically and artfully manipulating twelve equal tempered degrees of the chromatic scale to produce a desirable system. In order to arrive at any substantial conclusions, it is necessary to make a critical examination and evaluation of known twelve-tone compositional procedures from as many angles as possible, so as virtually to exhaust every practical and speculative potentiality included in the technique, that is, within the range and limits of our present needs. This examination and evaluation will also involve a comparative investigation of various uses of the device, in order to produce and suggest ideas for further theoretical insights. The ultimate purpose of this thesis is to pinpoint the "hows" and "whys" of Rochberg's use of the twelve equal tones in Sonata-Fantasia.

The purpose of this study was to investigate, through stylistic analysis, the choral problems in twelve selected choruses from George Frederick Handel's oratorio, Messiah. The twelve choruses were selected for analysis in this study after consultation with several authorities in the field of choral music and on the basis that they are representative of problems encountered in the remaining choruses. Each of the twelve choruses was analyzed individually. Chapter I of this study presents the purpose of the study, the sub-problems involved, definitions of terms, delimitations, the basic hypothesis of the study, the basic assumptions of the study, methodology and the plan of the report. Chapter II of this study contains a brief biographical sketch of Handel, a discussion of the circumstances surrounding the composition of Messiah, and a survey of the Handelian oratorio Chorus. Chapter III presents the results of the analysis relevant to a discussion of each of the twelve choruses followed by a sectional presentation of the choral problems. In Chapter IV, a summary, some conclusions and recommendations are offered. Appendices A and B present reviews of selected recordings and vocal-piano editions of Messiah respectively.

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?

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 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.

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.

The primary purpose of this thesis will be to examine the orchestration of the trombone section in the Viennese symphonies of the early Romantic period. In order to fully understand the function of the trombone section in these syphonies, a review of the trombones usage in previous centuries is in order.

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 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.

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.

Bela Bartok's six string quartets are generally regarded as the next most significant works in the medium after the quartets of Beethoven. Unlike some of his contemporaries in the field, e.g, Hindemith, Milhaud, and Schoenberg, Bartok's quartets are representative of his musical growth and, as such, are worthy of equal status with those of such recognized masters as Haydn and Mozart, as well as Beethoven...

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