This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed …

The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents used in the study, and transcriptions of representative musical compositions.

This study investigates and documents tenor/bass trombone solo performances at the Gewandhaus, Leipzig, East Germany, between 1821 and 1876. Included is the discussion of a newly discovered composition, the Concertino fur Bassposaune und Orchester, by Carl Heinrlch Meyer, which is the earliest concerto for the tenor/bass trombone. Its performance at the Gewandhaus in 1821 marked the beginning of the solo tradition for the tenor/bass trombone, and the Leipzig Gewandhaus became one of the leading centers of solo trombone performance for the next fifty years. The study includes background information on the rise of the virtuoso soloist in nineteenth-century Germany. It specifically focuses on Friedrlch August Belcke and Carl Traugott Queisser and their performances at the Gewandhaus. All solo trombone performances at the Gewandhaus in the nineteenth century have been documented, and specific information has been provided regarding the soloists, dates of performances and repertoire performed on the concerts. The paper includes a discussion of performance reviews from the Allgemeine Musfkalische Zeitung. The conclusion discusses the importance of solo trombone performance at the Gewandhaus, and the reason for its sudden decline after 1876.

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.

Joseph Fiala (1754-1816) was a composer and performer of the classical period. His many compositions include manuscripts of a concerto for clarinet, taille, and orchestra in the Fürstlich Thurn und Taxis Hofbibliothek in Regensburg, West Germany and the Library of Congress in Washington, D.C. , U.S.A. This paper identifies the instrument called "taille" as the English horn and discusses the work in areas of form, harmony, rhythm, orchestration, and use of solo instruments. Comparison with contemporary works shows the piece is typical of the eighteenth-century symphonie concertante and, together with the composer's manuscript, provides a basis for editing of the solo parts.

Computer Simulacra is a musical work composed for amplified instrumental ensemble and computer instruments on tape. It is a computer-assisted work, composed with the help of a stochastic compositional algorithm, called PTERIO, designed by the composer.

The purpose of the lecture was to investigate the historical and musical heritage of the Moravian Church, with a particular interest in the works and players of the American Moravian Trombone Choir. The historical overview of people, customs, and practices is traced from its beginnings with the Unitas Fratrum in Bohemia through the Northern Germany settlement of Herrenhut and the establishment of the American Moravian colony at Bethlehem, Pennsylvania. The musical life of the church is represented by a discussion of the early hymns of the founding fathers in Bohemia and the subsequent instrumental music of the Moravian trombone choir in America. The trombone choir played chorales that were used to call the congregation to order, announce important visitors to the town, and provide music at special occasions. Anthems were played by trombones (when players were available) in regular church services, or outside when it was necessary to double voice parts. Concerted music was played in the Bethlehem Collegium Musicum. Biographies of the players of the 18th and 19th century trombone choirs provide information attesting to the proficiency and dedication of these musicians. A list of players who contributed to the trombone choir movement since the 19th century is included, …

The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents used in the study, and transcriptions of representative musical compositions.

The Garden Of Eden is a ballet for four instrumental quintets: brass, woodwind, string, and percussion. Each ensemble is associated with one of four dancers: God, Adam, Eve, -and the Serpent, respectively. The duration of this ballet is approximately sixteen minutes and is divided into three parts depicting (1) the creation of the world and Adam; (2) the creation of Eve-and the warning about the tree of knowledge; and (3) the Serpent's temptation of the main characters, as well as their subsequent banishment from the garden by God. One of my reasons for composing this work was to answer an important question: how to control musical motion and emotion. Since ballet incorporates both motion in its choreography and emotion in its program, it provided a perfect medium in which to work.

The location of the available research literature and its relationship to the pedagogy of the female high voice is the subject of this thesis. The nature and pedagogy of the female high voice are described in the first four chapters. The next two chapters discuss maintenance of the voice in conventional and experimental repertoire. Chapter seven is a summary of all the pedagogy. The last chapter is a comparison of the nature and the pedagogy of the female high voice with recommended areas for further research. For instance, more information is needed to understand the acoustic factors of vibrato, singer's formant, and high energy levels in the female high voice.

This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chapter III gives a survey of harmonic materials in this work, while Chapter IV reveals aspects of its structural coherence.

This study focuses on temporal aspects of the music of Krzysztof Penderecki and deals with these on the level of textural activity. The analyses are based on a referential idea called a "discrete sound event," defined as an occurrence of a sound or collection of sounds which, as a unit, is distinct from the surrounding texture. These sound events are then used to appraise textural activity from layer fluctuation and composite density. The pieces selected for applying these techniques are the Threnody to the Victims of Hiroshima, from 1960, the Fluorescences, from 1961, and the 1965 Capriccio for oboe and strings.

The purpose of this study was to investigate laryngeal movements in selected performance situations on alto saxophone. The specific research problems were to describe glottal activity in three selected musicians as they performed musical tasks with (1) various pitch ranges and registers, (2) fortissimo and pianissimo dynamic levels, (3) crescendo and decrescendo, (4) long tones with vibrato, and (5) legato and staccato styles of articulation. A fiberoptic laryngoscope was employed to gather the visual images, which were recorded on a sound synchronized video tape. A rating system was devised to provide graphic representation of the data. Results of the data indicated that the glottis was used as an airflow constrictor in certain performance situations, especially in pianissimo performance. Other conclusions were drawn, and suggestions for further research were discussed.

This thesis provides modern transcriptions for horn of twenty-six two- and three-voiced canons by Johann Walter, thereby adding to the literature available from the sixteenth century for that instrument. This project specifically attempts to introduce the high school and college student hornist to modal music in strict fugal form; the transcriptions appear as an appendix. The topics discussed in the body of this thesis include the canon, Johann Walter's life and significant contributions, sixteenth-century instrumental music, musicians' guilds, the zink, and the horn. This work is not intended to offer a comprehensive history of any of these areas, but to aid the teacher and student in the preparation and performance of these transcriptions.

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.

This investigation surveys pertinent literature, from 1917 to 1982 inclusive, regarding artistic vibrato and tremolo in singing. The contents are subdivided into individual investigative reports by various vocal researchers. Due to mounting confusion within the amassed literature, the need for systematic organization and evaluation is evident. Misunderstandings within the context of the literature and misnomers within the terminology require clarification and resolution. The evaluation intends to produce a proper perspective on vibrato and tremolo, eradicating some of the confusion surrounding the terms. Artistic vibrato is recognized as a desirable component in Western vocal music. In contrast, tremolo is deemed a deviant vibrato, i.e., a vibrato which deviates from artistic norms. The study attempts to clarify the distinguishing traits of these two vocal phenomena.

Celestial Dreams is a three-movement work for chamber ensemble. This piece employs algorithmic processes (coded in BASIC and Pascal) that generate poetic text and convert it to musical pitches. The three movements contain coherent structures that allow for the complete integration of all ensemble members into the texture and for the flexibility to have one ensemble member emerge as the musical foreground. The chamber ensemble includes strings, tape, slides, and a narrator, who recites the poetic text which forms the foundation of the piece.

Introduction -- The structure of Bartók's music: Basic tonal principles, Formal principles, Harmony -- Analysis of the Fugues: The subject, The answer, The countersubject, Overall organization of the Fugues -- Conclusion.

This work is a comprehensive study of the Sephardic Romancero and the historical, political and cultural elements that have contributed to the maintenance of the romance tradition in Sephardic life. The investigation begins with an overview of the past studies of the Sephardic Romancero and is followed by a survey of the history of the Sephardic Jews, both in Spain and in the Spanish Diaspora. An historical approach to the literary and linguistic aspects of the Sephardic Romancero follows and this approach is then applied to a musical study. The concluding chapter discusses the uses and functions of the romancero in the Sephardic world, particularly among the Sephardic women and the social processes that have contributed to the maintenance of the romance tradition in Sephardic culture.

This paper analyzes Carl Nielsen's Concerto for Flute and Orchestra. Marilyn Seale Depp identifies the significance of the piece and explores its melodic development, also providing background on Carl Nielsen's philosophy and composition style.

This paper traces the genealogy of the Hotteterre and the Chédeville families through a translation of three works by Jules Carlez, Ernest Thoinan, Nicolas Mauger. Carol Padgham Albrecht annotates these translations with biographical information and highlights the contributions of the instrument makers.

This paper provides a biographical tribute and analysis of the life and music of tenor saxophonist Sonny Rollins, who is known as one of the greatest jazz musicians. John Gunnar Mossblad explores the man's past, travels, and contributions.

This paper discusses the song cycle Despite and Still by Samuel Barber, created with three poems by Robert Graves, one poem by Theodore Roethke, and part of Jame Joyce's novel Ulysses. Phyllis Bush Thomas describes the feeling created by the song cycle and the compositional style of Samuel Barber.

This paper discusses the portrayal of the character of Carmen in the novel written by Prosper Mérimée and in the opera written by Georges Bizet. Sharon Grahnquist provides historical background to the character and her creation, and offers and interpretation of the intended performance.