The purpose of this thesis is to give the reader an insight into the development of solo trumpet literature as well as to present historical information concerning the development of the trumpet and the effect it had on the literature written for that instrument. Only music originally written for trumpet will be considered as the many transcriptions of older music that now appears are not characteristic of the idiomatic writing for trumpet at that time.

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 present investigation deals with the cantatas of Dietrich Buxtehude written for three voice parts with instrumental accompaniment. An examination of the various musical forms which Buxtehude employed in these cantatas will comprise one of the two areas in this study. The other area shall be concerned with Buxtehude's usage of word painting (i.e., musical portrayal of word meanings). Before entering an investigation of Buxtehude's music, his life and background should be considered.

The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 48) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and performance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal literature of the Romantic period.

Although Willan is first and foremost a musician of the church, it is obvious that he has not cloistered himself in the organ and choir loft, as it were. As a composer he has written significantly in many fields, and as a teacher he has had a major influence in shaping the musical thought of a boundless number of Canadian musicians. As a musician of the church he has kept alive the great English traditions and made his own laudable and abundant contributions to church music practices. One of the first Canadian musicians of wide eminence, he has set an example worthy of the attention of younger Canadians who will contribute to the musical development of the nation.

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 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.

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.

To summarize in general the use of modes by Vaughan Williams, it could be said that the works that have been analyzed are characterized by frequent use of the traditional modes, but in a very free manner. The "Kyrie" of the Mass, "Pretty Bess," "Jolly Rutterkin" and Te Deum are confined somewhat closely to given modes, with some changes of mode, changes of tonality and use of altered chords. The "Gloria," "Credo," "Sanctus," "Osanna I," "Benedictus," "Osanna II" and "Agnus Dei" of the Mass, however, contain many striking chromaticisms. These chromaticisms are the result of use of many altered chords, a good deal of modulation and much combining of modes, often with startling cross-relations. The use of seventh chords in "Pretty Bess," "Jolly Rutterkin" and Te Deum further complicates the picture from that of the sixteenth century.

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.

It would be impossible to trace the evolution of the form of the scherzo without treating also to some extent the history of the minuet, as the scherzo would hardly have come into being in the way it did had there not been the minuet, even though as the scherzo grew to maturity it resembled less and less its parent-form. This thesis examines the early use and origin of the scherzo, and its use and evolution in the works of Beethoven.

The purpose of this thesis is to investigate the use of isorhythm in two of Arnold Schoenburg's chamber works, the Third and Fourth String Quartets. The study of rhythm in twelve-note music has been generally relegated to a position less prominent than that held by the study of any of the other important aspects of the style. This condition is due probably to the fact that rhythm underwent less change with the advent of the twelve-note school of composition than melody, counterpoint, or harmony experienced. However, Rufer states that "rhythm has a special formal function in Schoenberg's twelve-note music, in addition to its motivic function and to that of creating subdivisions.

The purpose of this paper will be to compare the Hindemith theory of harmonic tension as set forth in his book, Craft of Musical Composition, with his actual use of harmonic tension in compositional practice. The compositions used for this study are Hindemith's Sonaten für Klavier, published in 1936, consisting of three sonatas*. Although these pieces were published one year before the theory book, it seems reasonable to assume that Hindemith was at least formulating the ideas that would go into his book, and quite possibly was already writing it. The copyright date of the book is 1937. Therefore, any conclusions derived from the following analysis will not be affected to any degree by the time lapse between the writing of the two works in question. Analysis of the Sonaten für Klavier by Paul Hindemith reveals the fact that each of the sonatas is very different from the other two; hence, conclusions which apply to all three works are not generally possible.