The purpose of this study is to analyze the compositional techniques in Choses en soi op.45, by Sergey Prokofiev, and to explore the new aesthetic concepts he claimed to include in this composition. Through the examination of the compositional elements and discussion of its salient characteristics.

This dissertation presents a categorization of existing methodologies of upper register development for euphoniumists with evaluation of effectiveness and current use of these methodologies. The purpose of this study is to provide euphonium musicians as well as educators with essential references and guides to applicable methods for developing the upper register more effectively with greater efficacy. The assessments of current methodologies include three steps: categorization, summarization, and evaluation. To support the significance why it could be more beneficial than the methodology alone, the dissertation will include the examination of the aspect of biomechanics and ergonomics, suggestions, and discussion of particular issues of the upper register.

James Robert Gillette (1886-1963) was an early advocate for original wind band music at a time when marches and band transcriptions of orchestral music contributed heavily to the wind band repertoire. Primarily known as an influential, in-demand organist and composer, Gillette became the director of the Carleton College band program in Northfield, Minnesota in 1924. Taking an innovative approach to building, organizing, and programming, Gillette transformed that group into the Carleton Symphony Band and led a wider push for the symphonic band movement. In promoting his ideals of the symphonic band, he composed and arranged music specifically for the Carleton Symphony Band. One of his original works, Vistas, was widely performed and well-received in the decade just prior to and after its publication in 1934. Despite the popularity of the piece at that time, it has since gone out of print and is a rarely performed piece from Gillette's repertoire. This dissertation focuses on Vistas, Gillette's second published tone poem. This study starts with the examination of the history of Vistas from its origins as a movement in Gillette's transcription of Paul Robert Fauchet's Symphony in B-flat to its subsequent transformation and publication as an original work for band. Next, …

Saxophonist Chris Cheek has been a reference for his work as a sideman with some of the most established jazz artists in the international jazz scene of the last twenty-five years. Despite his importance, there is lack of detail in the available publications about Cheek. The short length and journalistic character of the publications only produce surface descriptions of Cheek's style. There is a need to further describe the melodic elements present in Chris Cheek's style in order to have a better understanding of the implications and importance of these elements across the history of jazz saxophone and jazz pedagogy. In the past, several scholarly works have described the improvisational styles of jazz musicians using a multitude of analytical tools. The design of those studies often fails to provide a comprehensive view of the improviser's style because of the limited scope of the analyzed sources or the specific focus of the analysis. This analytical study presents a comprehensive view of Chris Cheek's style through the motivic and voice-leading analyses of six improvisations by the saxophonist. This design allows the study to discern between motivic development processes, melodic structures, formulaic material, and harmonic structures that belong to the saxophonist's idiom. By …

Giuseppe Concone's piano études number over a hundred, and are collected in seven various sets. They consist of pieces for elementary, intermediate, and advanced level pianists. A few of them have been printed in anthologies but most of them remain unknown. The present research consists of two parts: an overview of Concone's complete sets of piano études, and a detailed analysis of Op. 30, with a detailed focus on articulation, balancing, voicing, and interpretation. First is a brief overview of the Études Opp. 37, 46, 24, 25, 31 and 34. Then in the analysis of Op. 30, after explaining the salient features of this set of études, there is an illustration of the method by giving an analysis of each étude. Concone's Vingt Études Chantantes Op. 30 are a fine supplement of teaching repertoire for the intermediate piano students. The Op. 30 incorporates a diversity of technical requirements and musical merits that can help students transition from intermediate level to early-advanced level. They may also contribute to being aware of binary and ternary forms, and prepares students for learning other genres of the 19th century piano literature.

Noted for both vocal and symphonic output, Gustav Mahler's musical sophistication constantly puzzled scholars in the past decades. In his symphonic works, the mixed forms and styles in combination with the vocal influence make it abstruse for listeners to detect the meaning of the use of traditional instruments. The solo violin, which has an extensive history of appearing in symphonic compositions since the Baroque era, is an instance of a traditional instrument given an unusual function. For instance, Mahler's violin solos do not tend to showcase the virtuosity of the instrument as they normally do in orchestral music. In order to closely examine the role of the solo violin, I rely on aspects relating to introversive semiosis such as harmonies, rhythms, textures, phrase structures, and forms; then my focus shifts to extroversive semiosis, specifically to topics and contextual factors. By considering the violin as a musical sign, listeners can comprehend the instrument's structure, syntax, and ultimately the complex logic of Mahler's musical discourse.

Young Ja Lee (b. 1931) is regarded as one of the most important living female composers in Korea. She leads and contributes to the Korean classical music society as a gifted composer and a dedicated educator. This study focuses on how she has combined Western compositional techniques with elements of Eastern traditional music in some of her compositions, in particular, her Variations pour piano "Umma ya, Nuna ya." An interpretation of her Variations pour piano "Umma ya, Nuna ya" reveals that the composition features many of the particular and sublime aspects of Western compositional techniques in conjunction with traditional Korean music style. This study is an investigation of the interaction and assimilation of these disparate elements. The results of this study may inspire further research into traditional Korean music and bring recognition to important Korean composers, as well as encourage music educators to teach Korean composers' compositions.