This study examines the Piano Concerto in C sharp, Op.17 (1923), by Erich Wolfgang Korngold (1897-1957), in light of developing variation, techniques that transform motivic ideas and create musical continuity in this work. The troublesome reception history of Korngold’s piano concerto derives from its complex musical features, which have created difficulties in understanding and evaluating this piece. Consequently, critics and scholars often label the highly sophisticated yet tonal musical language in this piece a residue of Romanticism from the nineteenth century. In this document, in contrast, examination of motivic development and connections in Korngold’s piano concerto reveals thematic and structural coherence in light of Korngold’s idea of modernity. This study provides a historical and technical survey of developing variation and discusses Korngold’s implementation of these techniques in his early compositions and the piano concerto. By doing so, this study recognizes the progressive aspect in Korngold’s music.

In 1829, Passion settings entered the secular concert hall with Felix Mendelssohn’s revival of Bach’s St. Matthew Passion in Berlin. The genre has fallen in and out of favor with composers because of the subject matter and Bach’s prominence in the setting. James MacMillan’s St. John Passion has established itself as one of the preeminent modern passion settings by manipulating past idioms such as chant, chorales, and other popular passion conventions in concert with his use of Celtic folk idioms. He creates a passion experience that strives for a spiritually Catholic influence. This approach has earned praise and harsh criticism. MacMillan’s unique use of keening and the drone offers a uniquely Scottish passion that allows for Jesus’ crucifixion to be more poignant to the intended initial audience. In addition to his use of Celtic folk idioms, MacMillan uses added text; most central to this paper is The Reproaches. Movement eight (The Reproaches) is the emotional and musical climax of the work. This inclusion of text has shifted the climax, namely Jesus’s death and burial, to moments before his death. In addition, the value of the work as a liturgical work is lost by the inclusion of these texts, but a …

This study examines and identifies the differences in compositional approach in the operatic fantasies based on Bellini’s La Sonnambula and Weber’s Der Freischütz by Franz Liszt and Julian Fontana. These four fantasies are placed in the context of musical conventions and audiences in the first half of the nineteenth century. The two operatic fantasies by Liszt that are included in this study are representative of reinterpretations that employ formal and textural features suitable for the concert repertoire of piano virtuosos. In contrast, the fantasies by Fontana are indicative of the potpourri style, and suitable both for amateur performance as well as for pedagogical use. The different functions and purposes of the operatic fantasies of Liszt and Fontana are compared and contrasted, with attention to each composer’s respective intended audiences as well as their distinct compositional intentions.

The trumpet is among the most ancient of all musical instruments, and an examination of its history reveals that it has consistently maintained important and specific symbolic roles in society. Although from its origins this symbolic identity was linked to the instrument’s limited ceremonial and signaling function, the seventeenth century represents a period in which a variety of new roles and identities emerged. Bologna and Venice represent the two most important centers for trumpet writing in Italy during the seventeenth century. Because of the differing ideologies at work in these cities, two distinctive symbolic images of the instrument and two different ways of writing for it emerged. The trumpet’s ecclesiastic role in Bologna and its participation in Venetian opera put the instrument at the service of two societies, one centered around the Church, and another around a more permissive state. Against the backdrop of the social and political structures in Venice and Bologna, and through an examination of its newly-emerging musical roles in each city, the trumpet’s changing identities during a most important point in the history of the instrument will be examined.

Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques.

Études was composed as a set of five interrelated movements in the followingorder: Prelude, Introduction and Fugue, Triptych, Chorale, and Response. The pieces are compositional as well as technical studies. The movements specifically explore certain styles and forms unique to organ music, and reintroduce these elements in creative ways. As in the traditional étude, each movement contains virtuosic technical studies, which are designed to enhance manual and pedal facility and prepare the performer for advanced repertoire.

At the beginning of the twentieth century, the recognition of the contralto voice type had reached its apex in England. Throughout the remainder of the century, the number and popularity of recorded contraltos has decreased alongside the rise of the mezzo-soprano voice type. Due to the contralto’s decline and the lack of repertoire composed specifically for the voice, the definition of “contralto” remains somewhat ambiguous. The large contralto repertoire of English composer Ralph Vaughan Williams displays a unique sensitivity to the contralto, particularly with regards to vocal range, flexibility, tessitura, and sustainability. These works thus suggest a new perspective for the voice type. The scope of Vaughan Williams’s oeuvre examined includes each of his operatic roles for contralto and choral works featuring the contralto. Also examined will be the compositional techniques implemented within these pieces which demonstrate the strengths and weaknesses of the contralto voice. A workable definition of the voice type for the pedagogue and performer is included.

The aim of this dissertation is to lay the groundwork for an integrated approach to violin instruction for children who are not being groomed explicitly for professional careers as instrumentalists. The study presents a particular focus on the age of middle school children, in order to showcase a more specialized and definitive result of research without, however, distinguishing between advantages and limitations of different age groups of children who study music and learn to play the violin. My first goal is to craft a sample method of teaching with a premise that not all students studying music must or need to become professional musicians in their future. I promote an approach based on the premise that music has universal value available to all and that any kind of music education encourages the growth, personality development, and imagination of children. My second goal is to explore how music education functions in 21st century western culture. Research is based on teachings and methods established by Suzuki, Kodaly, Jaques-Dalcroze, and Orff, among others.

While the word “pedagogue” may evoke a vision of an instructor who is dogmatic and set in his own ways, the word descends from Greek origins: ped “child” + agogos “leader.” A pedagogue is, by definition, literally the servant who escorts the child to and from school – the “pedagogue” accompanies the student on the journey for knowledge. True to this definition, Douglas Campbell is model pedagogue – one who gently guided his countless students throughout their musical journeys. As Professor of Music (Horn) at Michigan State University for 45 years, and Horn Instructor at Interlochen Arts Camp for 25 years, Campbell was a significant influence on many developing hornists. Following their study with him, Campbell's students eventually won orchestral and college teaching positions across the United States and throughout the world. Having influenced an extraordinary number of horn students during his tenures at Michigan State University and Interlochen Arts Camp, Douglas Campbell's life and career serve as an excellent example of contemporary horn pedagogy in the United States. This dissertation provides a detailed biography of Douglas Campbell and provides evidence of his contributions to American horn pedagogy, while documenting Campbell’s performing career with the Richards Quintet, which toured the …

This dissertation provides a guide for appropriate use of North American art song settings of biblical psalms for solo voice written after 1950 in the worship services of Christian faiths. The songs analyzed are for all voice parts and a variety of accompanying ensembles. The placement of each song on a specific calendar day is guided by the individual church calendars and lectionaries, on the prevalent themes of the text, and the characteristics of the musical setting. Performance of these songs only in a concert setting limits their usefulness for singers, voice teachers, and music directors alike. A new and worthy performing context can be established by analyzing the text and musical settings.

Baroque music is an area largely neglected in the music education of young horn students and wind players in general. Baroque horn repertoire is very demanding primarily due to the range. Baroque composers wrote for horn using the uppermost register of the instrument. In this range the partials are closer together, allowing for more melodic writing. This music requires an advanced level of technique, endurance, and ability. Often this repertoire is not suitable for students until they are well into their collegiate years of study. Frequently this music is performed on descant horns. Since only a small number of middle school and high school horn students continue to play after they leave their school band programs, they many never get first hand experience performing Baroque music. Vocal students are often introduced to Baroque arias early in their training. Purcell’s songs and arias are an excellent example of the literature that young voice students use. These arias and songs can be the perfect portal to Baroque music for horn students as well. Here I have created an edition of Henry Purcell’s songs and arias for young horn students. Each aria used the text as a guide for the “affect” and its …

Penderecki made a tremendous variety of contributions to the cello repertoire. His profound respect for tradition and for his past is deeply appreciated by both performers and audiences. In each individual composition, he explored the cello’s sonorous possibilities and created a new technical and musical palette for the instrument. He worked with legendary, world-renowned cellists who not only gave the premieres of his works but also established deep friendships with him. The Divertimento/Suite for Cello Solo (1994-2013), a compilation of miniature movements, each with its sophisticated structure, demonstrates Penderecki’s three compositional style periods. Baroque and Romantic elements in each movement are achieved within their style characteristics. Penderecki’s Divertimento/Suite for Violoncello Solo is composed of eight contrasting movements that were written during a nineteen-year period. The work is characterized by a Neo-Romantic aesthetic and utilizes the cello’s dark lyrical tones with a variety of timbre and tonal contrasts. The purpose of the present study is to create a practical performance guide to this important musical work with a detailed stylistic, textural, and motivic analysis of all eight movements. Although there are many published documents and analyses of Penderecki’s orchestral, choral, chamber and other solo pieces, the Divertimento/Suite for Cello Solo has …

Throughout the twentieth century, Boris Goldovsky (1908-2001) played a significant role in training the operatic singer-actor. One of his most significant contributions was integrating music and drama. He taught his students how to develop a character, how to find dramatic clues in the music, and to become expressive artists free from monotonous operatic gestures and posturing. As author of the first textbook for training the operatic singer-actor, his curriculum was developed from experience, acting traditions, and mentor-student relationships. A new forum, Opera Workshop, allowed him to experiment and test his methods. Although Goldovsky is known to some scholars as the “Father of Training the Operatic Singer-Actor,” his presence in modern day training material is almost non-existent. How can we understand the needs of educating today’s operatic singer-actor without knowing the very foundation upon which it was built? This paper applies Goldovsky’s method of training to a staging and performance of Act II scene I from Humperdinck’s Hansel and Gretel. Providing this modern application of his training will demonstrate the relevance of his contributions for educators in a contemporary university setting. My findings suggest that Goldovsky’s approach and philosophy to training the young singer-actor provides practical and valuable knowledge that is …

Korean-German composer Isang Yun received international recognition as one of the successful and leading twentieth-century composers. Despite Yun’s lasting fame, some of his works remain lesser known such as all three of his violin concerti. Yun’s main compositional techniques in his violin concerti are abundant ornamentations and articulations that imitate the sound of Korean folk instruments but played on the violin. Without acknowledging Korean folk music performance practices and folk instruments, a violinist cannot accurately deliver what Yun’s music expressed. The fact that Yun’s Violin Concerto No. 3 imitates Korean string instruments, haegeum or komungo, it must be explained how Korean ornamentations are played and can be incorporated on the violin. The purpose of this paper is to provide these answers as well as technical suggestions regarding abundant ornamentations, frequent dynamic and articulation changes, as well as fingerings and bowings. It is hoped that this study will help violin performers to understand Yun’s Concerto No. 3 and encourage more frequent performances of it.

In January 1989, a much-rumored work by Dmitri Shostakovich titled Anti-Formalist Rayok received its public premiere. Rayok is a single-act satirical opera/cantata for bass soloist and mixed chorus. Each character represents a prominent Soviet political figure: Joseph Stalin, Andrei Zhdanov, and Dmitri Shepilov. The text of the libretto is either taken directly from actual speeches given by these political figures or follows their idiosyncratic style of public speaking. Rayok often falls victim to criticism for its lack of musical depth, a point of view that could easily lead one to see it as one of Shostakovich's lesser works. The purpose of this document is to examine the political environment of the Soviet Union in the early twentieth century in order to provide context for Shostakovich's Anti-Formalist Rayok and to show how Shostakovich uses satire in this piece. This dissertation document looks at the broader concepts of Formalism and Socialist Realism, traces how Socialist Realism became the established Soviet cultural aesthetic, and examines specific historical events in the 1940s and 1950s that relate to Rayok. Musical examples are taken from the section of the piece centering around D.T. Troikin. These examples demonstrate how Shostakovich uses Socialist Realist clichés in order to …

Aboulker’s operatic works present an opportunity for opera workshop programs in the United States to perform contemporary operatic works in a foreign language, revitalizing the operatic repertoire and giving students the opportunity to prepare and perform roles without the weight and influence of significant performance history. Aboulker’s style, which has been called “effectively simple,” allows developing students to work on new French language repertoire without the burden of excessively difficult or atonal vocal lines. Aboulker’s works are tuneful and humorous and her longest operatic work lasts a mere hour and a half. These qualities also serve to mitigate the challenge presented to the student by the French language. Many of Aboulker’s works are conceived specifically to be performed with piano only, or have already been published in piano reduction. Most of her operatic works are very short or divide easily into scenes that could be performed separately where the performance of a longer work is either not feasible or not desired. All of these characteristics combine to make the operas of Isabelle Aboulker a viable repertoire option for the university opera studio.

In Ghoera, Afrika-verse vir kinders, poet Hennie Aucamp demonstrates an affiliation with and reflection of his surroundings, such as the tribal communities he experienced as a child. This group of African children’s poems, published by Protea Boekhuis in 2011, became the source of inspiration for composer Niel van der Watt’s song cycle Die wind dreun soos ‘n ghoera, ‘n Siklus Boesman-mites. This study investigates and identifies significant compositional traits that contributed to van der Watt’s song cycle. To explore and understand the nature of such influences, the second chapter considers the composer’s early childhood; religious world views; student life; social, environmental, and political ideas; personal tonal language; and western musical elements. To ascertain possible indigenous Bushmen musical elements in van der Watt’s song cycle, the third chapter traces the history of the Bushmen and their marginalization, followed by a brief survey of historical writings on Bushmen music, and an identification process utilizing musicologist Percival R. Kirby’s research on Bushmen music as a foundation. The fourth chapter explores the origins of the cycle and other significant compositional influences. This study suggests that Hennie Aucamp’s poetry and Niel van der Watt’s song cycle represent a reconciling vehicle for cross-cultural understanding generating awareness …

Although Thomas Dyke Tellefsen’s mazurkas have been considered mere imitations of Chopin’s musical idiom, his mazurkas are closely related to Norwegian folk elements. Tellefsen adopted Norwegian folkloric elements from his own country and infused Norwegian spirit into his works to create his own musical language. To trace the Norwegian folk influence, this study examines folk dance (the springar), folk instruments (the hardanger fiddle and the langeleik), and folk melodic and rhythmic motifs. As the result, this research demonstrates that Tellefsen’s mazurkas were influenced by a phrase structure of Norwegian springar dance music and the exact sound effect of folk instruments (the hardanger fiddle and the langeleik) as well as Norwegian folk rhythmic and melodic formulas which are frequently used in Norwegian folk tunes. Furthermore, the comparison between Tellefsen and Chopin’s mazurkas demonstrates that although their mazurkas seem to have a similar musical style, Tellefsen’s mazurkas include his own traditional Norwegian folk aesthetic, which present original contributions to the genre.

Very few Latin American pieces for trombone as a solo instrument have entered the canon of trombone repertoire worldwide, despite the large number of compositions in this medium. Therefore, when a major composer writes a full sonata for trombone efforts need to be made to bring these compositions to light. The Argentine composer Carlos Guastavino wrote a sonata for trombone and piano that is virtually unknown outside of Argentina, despite the composer’s importance. He is known for his artistic choice of cultivating a traditional romantic style of composition apart from the new tendencies and influences of the artistic novelties of the twentieth century. Guastavino’s artistic position is very clear in the sonata’s highly strict formal organization and Guastavino’s unique treatment of tonality and modality. He was also loyal to his own style as composer, which is ultimately an Argentine song style. He utilized the lyrical qualities of the trombone to convey the type of melodic approach that he used in his vocal works. This paper investigates the Argentine song and Western sonata conventions featured on Carlos Guastavino’s Sonata para Trombón o Trompa y Piano. The paper argues that these features represent his unique approach to musical composition in the twentieth …

The objective of this dissertation is to review the discrepancies between the first edition, Stradal’s edition and Marzocchi’s edition of Reubke’s piano sonata, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as fingerings, pedaling, phrasing, tempo markings is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Detailed assessment of these discrepancies, accompanied by the author’s comments are listed in the comprehensive comparison table in Appendix A. Additionally, directions are given in cases of presumptive errors, and discrepancies are addressed with possible variant solutions. In conclusion, the relative merit of the three editions is assessed in Chapter 4.

À la Manière de Stravinsky is one piece in a series of works composed by Jean-Michel Defaye that written emulating the compositional styles of significant composers of the past. This dissertation compares Defaye’s work to common compositional practices of Igor Stravinsky (1882 – 1971). There is currently limited study of Defaye’s set of À la Manière pieces and their imitative characteristics. The first section of this dissertation presents the significance of the project, current literature, and methods of examination. The next section provides critical information on Jean-Michel Defaye and Igor Stravinsky. The following three chapters contain a compositional comparison of À la Manière de Stravinsky to Stravinsky’s use of rhythm, articulation, and harmony. The final section draws a conclusion of the piece’s significance in the solo trombone repertoire. This study will add to the published material on Jean-Michel Defaye and this influential series of pieces and is intended to further the interest of research into the works of this important composer.

Zoltán Gárdonyi is described as having exemplified “the continuation of the Liszt tradition” in his music; however, since for so much of his compositional life he was forbidden to publish by the Communist government in Hungary due to his connection to the Christian church, he has been largely forgotten. Shortly after the composer’s death in 1986, Gárdonyi’s son, Zsolt (b.1946) began publishing his father’s music in addition to his own. However, the elder Gárdonyi’s works are still not widely known outside Hungary and Germany. Gárdonyi’s ability to support and reflect text musically makes his songs excellent teaching tools and recital repertoire. A characteristic example of this may be found in his Fünf Lieder nach Gedichten von Rainer Maria Rilke. According to his son, Zoltán wrote these songs “in the German romantic tradition (e.g. Brahms) like a mirror for the romantic influenced lyrics.” Examination of the Rilke-Lieder, and of the poems which make up the cycle, demonstrates the composer’s ability to “mirror” text in both general tone and specific idea. Discussion of imagery, textures and sonorities, and elements of harmony, melody and rhythm as they relate to interpretation of the poetry, reveal the depth to which the poetry is embedded in …

The purpose of this critical essay is to introduce Vladimir Nikolaevich Tsybin to English-speaking readers and flutists, specifically to demonstrate how his Russian identity informed his career, affected his posthumous legacy, and influenced his compositions. The essay is divided into three parts: an outline of his career, a discussion of the pedagogical lineage and techniques he founded, and an analysis of "Russian" elements in one exemplary composition for solo flute, his Concert Allegro No. 3.

Until Serge Prokofiev’s 1924 ballet score Trapèze, the double bass occupied a background or at best a doubling role in almost all composers’ use of the instrument. Technical challenge was limited in these pieces, because composers did not see the instrument’s potential in a chamber music environment. As luthiers developed the instrument, the technical ability of players grew, and composers began writing more challenging music for the instrument. As one of the first major composers to see the double bass in a new light, Prokofiev wrote challenging music for the instrument. This paper illuminates the alluring pedagogical aspects of Prokofiev's Quintet in G Minor, Op. 39 and provides recommendations for accomplishing some difficult passages with ease.