The purpose of this thesis is to discuss the changes and developments of the accompanied solo song throughout the fifteenth and sixteenth centuries, including instrument usage and song types.

The purpose of this thesis is to analyze and compare a selection of books that can be used in the teaching of music appreciation in the junior high school and the high school.

It is interesting to note that several of Ravel's compositions for the piano were successful only after he had orchestrated them. Ravel, a pianist, had a natural gift for orchestration, and when writing for the piano he seems to have projected his thoughts to the orchestra; thus some of his works are more successful' for the orchestra than for the piano. Since he orchestrated several of his own piano compositions, these present an excellent opportunity for a study of his orchestrations.

The primary purpose of this thesis is to give the prospective performer of Schumann's piano works a better understanding of his many works for the piano and to give the pianist, and musicians in general, a better understanding of the pianistic devices employed by Schumann in his works for this instrument. Schumann rose to great heights for short intervals. He possessed enthusiasm, humor, charm, and eloquence. Such qualities have kept his music alive and have provided his listeners with lasting pleasure. Much of his music represents the nobility and warm-heartedness that characterized early Romanticism at its best.

The purpose of this study is to determine the general style characteristics of the works for solo trumpet by Alan Hovhaness, viz., Khrimian Hairig, Overture to Avak, Prayer of Saint Gregory, and Haroutiun. The musical elements of form, melody, harmony, tonality, rhythm, texture, and counterpoint are examined objectively in order to determine the essential features of the music. Further consideration is given to the idiomatic use of the solo trumpet in these compositions. Each composition is examined separately, the conclusions and generalizations of the style features being reserved for the final chapter.

The rhythmic analyses (derived from the rhythm tables of Chapter II) reveal: 1. Walton used rhythms sparingly. 2. Walton's rhythms constitute an evolutionary state of re-creation, i. e., Walton's rhythms are in empathy with each other. The harmonic analyses (derived from the harmonic fluctuation tables of Chapter II) reveal: 1. The most frequent chords of any classification occur in groups III and IV (chords of the highest tension). 2. The most frequent dissonant interval used is that of the major seventh.

This thesis uses two different musical analytical systems, one of Heinrich Schenker and one of Paul Hindemith, to analyze tonality within "Die Gurre Lieder" and "Fourth String Quartet" by Arnold Schoenberg.

The sacred anthem has had a unique conception and development that compares readily to that of other major forms of sacred music. Since an abundance of this music is used in our services, it is the purpose of this study to trace the history of the anthem from its origin in the early Tudor period to its culmination in the works of William Byrd. A special study will be made of the anthems by this master of the form.

The education program in America began with the self-contained classroom and is today gradually moving back to that concept. It is believed that more attention can be given to the interests, needs, and abilities of the pupil if he is allowed to remain in his home room with his teacher throughout the school day. This is especially true in the primary grades. In many cases the primary teachers have only the minimum requirement by law of six hours credit in music.9 Furthermore, it is known that many primary teachers have little or no supervision from a music specialist. It is with these facts in view that this tabulation is needed for aid in the appraisal and selection of textbooks available for the teaching of music in grades one, two and three.

The Chorale Cantatas by Johann Sebastian Bach are outstanding examples of his ingenuity. The existing data on the Chorale Cantatas are distributed throughout numerous volumes by many scholars. They have written much about the cantatas in general but not so much specifically about the chorales in them. In this thesis, the emphasis is on the chorales and Bach's treatment of them in the Chorale Cantatas. An historical approach to the cantata and the chorale is given as a preliminary to the treatment of the chorale in the chorale cantata. This was done that the reader might have a better understanding of them. The necessary material for this thesis was gathered from dictionaries, music lexicons, books, articles and the music principally in the Bach-gesellschaft edition. The material is organized according to the following plan: 1. The Church Cantata and its origin; the development of the Church Cantata in Germany; the use of the cantata in the worship service. 2. The Chorale, its origin and development; its changes as a result of the Reformation; its use in church services, and its use in musical composition. 3. Bach's treatment of the Chorale in musical forms. 4. Bach's treatment of the words of the …

It is the purpose of this thesis to offer some pertinent information in the form of a documentary symposium and analytical study in which historical and technical matters relative to Beethoven's fugal techniques in his choral compositions will be presented. References to specific musical examples in this composer's works will be illustrated by diagrammatic and verbal analyses, and correlated with the pagination of the scores of his complete works as published by Breitkopf and Hartel.

This thesis presents a brief history of the sonata form until the time of Beethoven. It also discusses Beethoven's use of the sonata form, and how it applies to his op. 111 piano sonata.

With the advent of the Ballades, Intermezzi, Cappriccios and Rhapsodies of Johannes Brahms the musical world was to witness the apex of a development of a particular style of pianoforte composition which began in the nineteenth century with the publication in 1803 of a group of seven pieces called Bagatelles, opus 33 by Ludwig van Beethoven. This style thus originated was the Caracterstücke.

This thesis has been written with several goals in mind. The first purpose has been to inform the reader about the life of Charles Ives and the influences he experienced that gave him the impetus to experiment and write music of a nature thirty years ahead of its time, while the rest of the world was basking in the waning light of Romanticism. The second purpose has been to describe in a short space general characteristics that may be found throughout the entire musical output of Ives. The third purpose has been to analyze in greater detail the major portion of his contributions to piano literature, the three piano sonatas, so that the student may better understand the complexities which will face him in performance of these compositions. Perhaps the strongest motivation for the present study has been the hope that it might induce more students to be explorers themselves and become familiar with this music of Ives.

It is the purpose of this thesis to present a study of the development of writing for the clarinet in chamber music during the period from Mozart (1756-1791) through Brahms (1833-1897). The first part is a brief history of the clarinet showing the stages of development of the instrument from its beginning to its present form and also surveys the field of chamber music in general, with special attention to the chamber music for the clarinet, and to the performers for whom many of these works were written.

The purpose of this thesis is to show through the presentation and analysis of authoritative information, together with opinions drawn from the information and analyses, how the clarinet grew in its function as a member of the symphony orchestra.

This thesis proposes to determine the construction of the two string quartets and to reveal through the study of the quartets the similarities and contrasts of the creative musical characteristics of Debussy and Ravel.

In the years during the writing of The Craft of Musical Composition, and for the next few years afterwards, Hindemith was engaged in writing a solo sonata for each of the instruments of the orchestra. Muser states that this series of sonatas continues a definite policy of providing music for people who want to play music, and not merely to listen to it. The three sonatas for solo brass instruments and piano were written during this period. The sonatas, written for trumpet, horn, and trombone, were written in the following order: Sonata for Trumpet and Piano—1939; Sonata for Horn and Piano—1939; Sonata for Trombone and Piano—1941. These sonatas, being written rather closely together, should have certain stylistic characteristics in common, and there should also be certain features peculiar to each sonata. To study these sonatas and compare them with each other structurally and stylistically is the purpose of this work.

The purpose of this thesis is to illustrate and compare, through a representative historical sampling of music, the concepts of tonality evolved by Paul Hindemith in his Craft of Musical Composition, Vol. I; and Heinrich Schenker in his Tonwille, MusijNkeael ische Theorien Fantasien, Das jeisterwerk in der Musik, and Per Freie Satz.5 When feasible, these two concepts will be compared with the conventional concept.

The concert arias of Mozart are probably among the least known works of this genius among composers, yet they represent no small part of his musical output and are scattered throughout every period of his life. He composed a total of fifty-seven in all, the first when he was only nine years old and the last one in the final year of his life. Mozart's fifty-seven concert arias are divided among the four voice groupings as follows: one for alto, eight for bass, ten for tenor and thirty-eight for soprano. Of these soprano arias one (K. 569)l is lost and two (K. 307 and K. 308) are merely ariettas on French texts. It is with the eighteen arias for normal male voice that this discussion will be primarily concerned; arias for the castrati voice will not be considered.

This thesis is a critical study of three violoncello suites of Johann 8ebastian Bach from the performer's point of view. Its purpose is to determine the comparative differences and similarities of several well known editions including the Bach Gesellschaft edition and the Pablo Casals recording. It will explain a few of the many discrepancies and provide adequate reasons for given suggestions and preferences concerning dynamics, tempi, ornamentation, bowing styles, and other elements of performance. By stating a brief historical background of the evolution of the violoncello and the development of musical form and style, it is possible to conceive Bach's ideas and intentions as he wrote the collection of six suites.

The purpose of this thesis is to discuss and give a descriptive analysis of twelve of the twenty-four preludes written by Claude Debussy. This paper also includes a brief history of preludes as well as possible influences upon Debussy and his compositions.

The purpose of this experiment is therefore (1) to design a test to measure the skill of a heterogeneous group of college music students and (2) to administer and evaluate an aural training program which could be used to develop efficiently aural intelligence. The students used in this experiment were intentionally chosen with varying abilities in order to permit comparisons. A careful record was kept of their ages, musical experiences, major instruments (voice, piano, violin, and other orchestral instruments), amount of training, skill and technique, and theory grades.

The following chapters concern the development of bands of musical wind instruments in Europe and America. These groups may be most conveniently divided into two main classes of bands, military and civilian. Military bands may be defined as those organizations directly under governmental or army rule. This large class of bands includes: brigade bands, regimental bands, post bands and service bands. Brigade bands in early English history comprised two or more regimental bands, each regiment maintaining several bands. These groups were also popular in colonial America. In turn, each regiment of the military (army) had units of companies including troops, batteries, or cavalries. The units were authorized to maintain bands in their respective companies; fife and drum bands were also included. Certain bands of these companies were stationed permanently at military headquarters; these are referred to as post bands. In this country an increase in the number of regular army bands (infantry, cavalry, and artillery) has been marked since the latter part of the nineteenth century. These army bands and those of other branches (navy, marine corps, air force, coast guard, etc.) are included under the general name of service bands. The second main class includes a large group of …