This study examines the the songs of Yrjö Kilpinen and their use in the poems of Christian Morgenstern.

"An amiable personality, not himself an unusually passionate man, HoIst has excited more violent passions than any other contemporary English composer. How difficult he is to assess as a creative artist is perhaps indicated by the extraordinary fluctuations in his reputation." For a number of years he was completely unknown and ignored, living a quiet and unhurried life as an obscure teacher. Then with a momentary flash, after outstanding works such as "The Planets," and the "Ode to Death," he was caught up in a wave of public approval that made him, for a time, the recipient of national and even international honors. He was awarded the gold medal by the Royal Philharmonic Society, was made a Fellow of the Royal Col.ege of Music, and was offered honorary degrees by American universities.

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 Revolution of 1910 in Mexico marked a great political and social upheaval. At the same time a recasting of Mexico's music occurred. Modern Mexican music is a unique combination of the influence inherited from Europe and the indigenous music of the country. This work attempts to trace the development of that combination. Chapter I gives a background of music in Mexico through Pre-Cortesian times, the colonial period and the operatic nineteenth century. Chapter II deals with the men who shaped present day music in Mexico. Chapter III is an analysis of selected twentieth century piano works. The analysis shows the tendencies of ten Mexican composers in their use of melody and rhythm. It includes a discussion of harmonic structure and tonality. The composers whose works were chosen for consideration in the analysis range from Manuel M. Ponce, considered the father of modern Mexican music, to Carlos Chavez, recognized as the outstanding exponent of music in Mexico today.

Throughout the history of public school music in the United States, one of the problems which has continually been in the foreground is that of music reading, It is primarily a problem for the elementary school as that is the place where reading must begin in order for the children's interest and ability to be balanced. The elementary school is the focal point for the teaching of all skills and tools in learning. Certainly, reading is one of the major tools in the process of musical learning. In many cases the ability of the students to read music has been the basic criterion of the entire music program. Davison states that the aim and end of a large percentage of instruction has for so long been to train students to sing music at sight that it has grown to be a fetish. While such a standard as that is an over-emphasis of reading, most music educators will agree that the place of music reading in the elementary school is of utmost importance. The differences of opinions lie not so much in the goals to be reached as in the methods of reaching them. The purpose of this study is not …

A history of the evolution of dance music throughout time and the instruments used for each type of dance.

John Field (1782-1837), an Irishman, was the first composer to use the French term "nocturne," and was the inventor of the nocturne for piano. It can be seen with a glance at the scores that the orchestral notturni by the eighteenth century composers were very different than what is generally thought of today as a nocturne. Field introduced the idea of the nocturne that has remained much the same since. Frederic Chopin enlarged and improved the genre invented by Field, but it was Field's originality that brought this type of piece to piano literature. Indeed, John Field is hardly remembered today except as the inventor of the nocturne for the piano and for his influence on Chopin's Nocturnes. For that alone musicians will remain indebted to him.

The purpose of this study is to present a personal interpretation of progressive education and its function in "teaching" primary music. A few supplementary aids are provided to correlate with the Amarillo, Texas, Course of Study for Primary Grades to lend aid and encouragement toward a rhythmic approach to child learning.

This thesis begins by describing the piano's history and development and then goes into how Claude Debussy used the piano in his music and the style in which he composed for the piano.

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.