The Two Etudes: "Harmonies," and "Coulée" and the Volumina of Ligeti were performed following a lecture on avant-garde techniques in organ works of György Ligeti. The lecture included a brief discussion of earlier twentieth century antecedents of new sound materials and concepts, a biographical sketch of Ligeti and general style features of his works. The main body of the lecture included notational methods, specific style features, and performing scores of Ligeti's three organ works. In addition to the lecture recitals three other public recitals were performed which consisted of solo compositions for the organ.

An understanding of the piano transcription is basic to any proper comprehension of nineteenth-century piano music and performance practice. In this study, the transcription for solo piano is examined in relation to several musical milestones in the mid-nineteenth century, including far-reaching technical developments in the piano, the beginning and growth of the public concert, the birth of the solo piano recital, and the influence of virtuosity as a Romantic ideal. In addition, as Liszt was undoubtedly the greatest transcriber of the nineteenth century, several representative transcriptions of Liszt are analyzed and compared to their original models, including Schubert's Gretchen am Spinnrade and Auf dem Wasser zu singen, Chopin's Moja pieszczotka ("My Joys"), Wagner's Liebestod from Tristan und Isolde, and the quartet from the final act of Verdi's Rigoletto.

The study of Bela Bartok's Four Dirges for piano (1909- 1910) is significant in that this period of 1908 to 1910 was particularly experimental and formative for Bartók, especially in tonal aspects of his compositional style. Furthermore, very little research and analysis has been done on these smaller works. This thesis contributes an analytical study of this early style and also shows its influence on larger mature works in subsequent years. A complete analysis on each dirge contains graphs of tonal structures and patterns constructed by Bartok within each composition. The concluding chapter summarizes overall characteristics of the dirges.

This study is an examination of Earl Hatch and Clair Musser's transcriptions for marimba of Chopin's Waltz, Opus 64 No. 1, Musser's arrangement of Chopin's Mazurka, Opus 17 No. 4, Hatch's setting of Brahms' Hungarian Dance No. 5, and Frank Mac Callum's treatment of Franck's "Chorale" from the Prelude, Chorale and Fugue. Additionally, the role of the transcription during the Romantic Period, the historical development of the marimba transcription, and performance considerations of the specific works presented are discussed.

The first three recitals included one recital of chamber music and two recitals of solo piano music. The first recital consisted of music for clarinet and piano, performed with Dr. Lee Gibson of the music faculty of North Texas State University. This program included the Mozart Clarinet Concerto, Five Atonal Pieces by William Latham, Sonata in F minor by Johannes Brahms, and Four Pieces for clarinet and piano by Alban Berg. The second recital contained the D minor Concerto of Marcello, transcribed by J. S. Sach, Sonata No. 1 by Karl Haria von Weber, Sposalizio by Franz Liszt, Sonata in F by Nels Harveland, and Three Fantasies from Opus 116 by Johannes Brahms. The third recital consisted of the F minor Fantasy by Mozart, Variations on a Theme of Rameau by Paul Dukas, Sechs Kleine Klavierstucke by Arnold Schoenberg and Four Preludes by Sergei Rachraaninov. The fourth recital featured a comparison of selected Liszt and Schumann piano transcriptions of Paganini Viol in Caprices. Musical examples comparing the Paganini Caprices and the transcriptions by Liszt and Schumann, in addition to examples comparing the similarities and differences between the transcriptions of Liszt and Schumann, were interspersed throughout the lecture.

Substantial contributions to flute literature of the twentieth century were made by the Dutch composers Willem Pijper (1894-1947) and Henk Badings (b. 1907) in the Sonata per Flauto e Pianoforte (1925) and the Concerto for Flute and Wind Symphony Orchestra (1963), respectively. This paper is an examination of the compositional devices employed by Pijper and Badings in these two selected works, with a discussion of the elements of form, tonal language, rhythm, motivic usage, orchestration, and innovative flute techniques. Emphasis on Pijper as teacher and mentor to a generation of Dutch composers, including Badings, gives the basis for a comparison of the Sonata and the Concerto.

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 purpose of this project was to develop and recommend a strategic planning model that can be used by music executives in their management of music programs in institutions of higher education. Specifically, the study sought to (1) determine the aspects which influence the planning process, that are unique to the administration of a music program in institutions of higher education, and (2) develop a model that incorporates the major concepts of strategic planning and that can be applied to the planning process in music programs in institutions of higher education.

Frank Martin, while assimilating many of the features of serial technique, found other of its features incompatible to his temperament. The Eight Preludes for Piano mark a point of decision regarding these features. While rejecting the twelve-tone row, he extracted prime cells from the octatonic scale and subjected them to the serial approach. One of these cells, G-flat - F - A - A-flat, evokes the B-A-C-H motive. In view of Martin's admiration for Bach, this similarity is probably not accidental. In any event, this four-note motive permeates the preludes and binds them into a coherent and unified set. Along with some evidence of partial form in the preludes, the concept of continuous variation is the compelling force molding the overall form. Martin disdained atonality on personal and artistic premises. Despite their contemporary textural qualities, the listener perceives c-sharp as a tonal center for the set. Tempo, rhythm, and texture contrasts and complementation between the preludes reveal an obviously preplanned format for the fulfillment of set unity. The consummate knowledge of pianism demonstrated in the preludes places them as a major contribution to twentieth-century piano literature.

Albert Roussel, a contemporary of Ravel and Debussy, composed nine chamber works which include the flute. His general musical style as well as his use of the flute in these works is discussed in this lecture recital.

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.

The purpose of this paper is to identify Spanish elements in the sonatas of Domenico Scarlatti and to determine the extent of their use. All 555 sonatas in facsimile edition, edited by Ralph Kirkpatrick, were compared to the printed anthologies of Spanish folk music by Kurt Schindler and Felipe Pedrell as well as recordings of authentic Spanish folk music. The study concludes that Scarlatti incorporated Spanish musical elements extensively. In some sonatas, fragments of folk tunes occur, but always with some rhythmical alterations or melodic elaborations. Only K. 513 contains an entire folk tune. Scarlatti evidently wrote melodies of folk-like quality and did not merely copy the folk tunes.

Mass/360 is computer music in the sense that the audio tape was realized with a computer language for digital synthesis. This tape is combined with traditional choral and instrumental forces, and demonstrates only one technique available for the use of computers in composition. The work displays a number of elements which afford both unity and contrast. The arch span of the whole is supported by timbral, melodic, rhythmic, and textural parameters. Recurring events include tone clusters, chant-like melodies, angular melodies, and counterpoint. Special vocal effects are found in all movements, and the large scale tonicizing effect of the movement from f to b-flat gives the composition a sense of direction over a long temporal span. The single pitch (doubled unison/octave) arises as the major event in the work, and other events are generated from this element. The use of different formal designs within each movement corresponds to the natural textual divisions found in the liturgy, and affords a contrast from one movement to the next. The relationship of the Gloria/Qui Tollis to the Sanctus/Benedictus, which is not a mirror relation, contrasts with the chiastic design of the whole. Traditional contrapuntal devices juxtaposed against contemporary vocal techniques and the use of …

This doctoral dissertation discusses music criticism in the New York Times and the New York Tribune from 1851-1876.

The incidental music for Chansons de Bilitis is little known and rarely performed. However, the relegation of this work to the realms of obscurity is highly unjustified. Chansons de Bilitis requires an unusual combination of instruments: two flutes, two harps, and celesta in addition to a reciter. The work is a theater piece in the tradition of melodrama, with spoken text and background music in alternation. Despite the rather unique nature of the work, many of the melodic, textural, and orchestrational devices for which Debussy is noted are evident. The music is throughcomposed; each movement mirrors and emphasizes the meaning and mood of the accompanying poem. Because of the fragmentary nature of the music and its rather subordinate role in the total theater work, the primary emphasis in gaining an appreciation of the value of the work lies in an investigation of its historical background.

Arnold Schoenberg viewed himself as an extension of the German Romantic tradition. Schoenberg's early unpublished songs prove his indebtedness to nineteenth century music, but they also show a great deal that is strictly Schoenbergian. This paper investigates the musical elements that Schoenberg assimilated from tradition, especially from the great Lied tradition of the nineteenth century. lements that may be associated with his later works are also investigated, namely the 2rundgestalt principle, and his use of the "primal cell," a trichord set that appears in works of all his periods. This paper shows how these elements are manifested in seven early songs. These songs are from the Nachod collection, an assemblage of correspondence and early unpublished music manuscripts by Schoenberg. This collection is owned by North Texas State University.

This study investigates the effects of frequency variance on duration perception, using musically trained subjects. In the experiment three silent duration intervals were examined (4.75, 5.00, and 5.25 seconds); each interval was preceded and followed by tone markers. The onset marker was preceded by seven discrete tones one second apart, on the frequency 174.968 Hertz. This established a pulse or an external standard time measure. The subjects made judgments as to whether the offset marker fell "before," "on," or "after," the pulse. The offset marker had a variable frequency. In the study, the direction of the frequency change, the distance of frequency change, and the mathematical intervallic relationships of the two frequencies show possible influence on duration perception.

This paper presents a brief history of the alto flute and discusses its use in the orchestral literature of European, Russian and American composers. Analysis of selected passage from various works determine its use as either a solo instrument, doubling or reinforcing voice, or as part of an accompanying line.