It is not by accident that virtually every important study of Debussy's life or works (including the recent and definitive biography by Edward Lockspeiser) has been made from a psychological viewpoint. The peculiar nature of the composer's art, resulting from his intimate ties with the French symbolist poets and his contacts with many other extra-musical influences, makes such an approach not only advantageous, but necessary. In this brief study of Pelleas et Melisande, the composer's only completed music drama, an attempt will be made to trace these many and varied influences, correlate them with the composer's musical style, and thus arrive at a deeper understanding of the nature of this remarkable work, along with its place in the history of the music drama. The actual study of the structure of the opera will give equal consideration to both the literary and the musical elements. As the unique quality of this work is grasped, the justification of such an approach will perhaps be verified.

The purpose of this study was to investigate the uses of the falsetto voice in training the male singer. Developing the upper voice is one of the most difficult problems facing the male singers. A most controversial approach to solving this problem is the use of the falsetto. The falsetto has been a subject of mystery among singers and vocal teachers for centuries. Some authorities have ignored it; some have denounced; others have greatly extolled this vocal enigma. Many myths and misconceptions surround the subject of falsetto. Even in the present age of scientific research and knowledge, there is little understanding of the falsetto--of its value and its use. The material dealing with falsetto is very brief and inconclusive in most pedagogy books. Therefore, there seemed to be a need for a systematic collection of pedagogical ideas concerning the male falsetto. This report will attempt to present all sides of the controversy.,

The purpose of this problem was to select audio-visual materials that would enhance the teaching of music in the primary grades. Since audio-visual equipment and materials have gained a place of prominence in the modern education program, the teachers, administrators, and even the architects need to be cognizant of their possibilities and applications. Audio-visual aids should be investigated to disclose ways of improving their utilization in the learning process through the stimulation of the following human senses: sight, hearing, and touch. The results of many experimental research studies in the field of audio-visual education have proved that the application of audio-visual devices in the classroom greatly improves both understanding and retention as compared to conventional teaching methods. It is hoped that the identification, enumeration, and suggestions for utilization of audio-visual aids presented in this study will motivate the reader to give further attention to audio-visual materials as applied to his specific situation, with the awareness of their unlimited possibilities in increasing understandings through sensory experiences.

Analysis in relation to performance of the six authentic motets of J.S. Bach: Singet dem Herrn ein neues Lied ; Geist hilft unsrer Schwachheit auf ; Fürchte dich nicht ; Jesu, meine Freude ; Komm, Jesu, komm ; Lobet den Herrn, alle Heiden.

The "Mystery'" sonatas for scordato violin and continuo by H. I. F. Biber (1644-1704) had been largely ignored until 1905, when they were included in the collection of Austrian masterpieces, Denkmäler der Tonkunst der 0sterreich. Even then, they were the cause of some confusion which was later corrected in an addenda to the volume which included this series of sonatas. In the baroque period, scordatura was used by a few of Biber's contemporaries, but the technique is not commonly used today. In order to fully understand and to appreciate the " mystery" sonatas, a knowledge of scordatura is necessary, and this technique is discussed in Chapter II. Because the 17th century violins differed slightly from those used today, and the resources of the instrument had not yet been fully developed, a discussion of these aspects has been included. A comparison of the works of Biber with those of his contemporaries shows him to be an innovator who contributed greatly to the growing technique of the violin.

This study will include four compositions which were composed between the years 1955 and 1963. With the exception of the Serenade No. 12, for solo tuba, by Vincent Persichetti, all of the works are for the tuba and piano. The purpose of this thesis is to study each composition to determine the essential features of the music in regard to the composers' structural, melodic, and harmonic stylistic characteristics. The conclusions of the study will be found in the final chapter.

There is a need for a systematic collection of ideas concerning blend in choral sound. Many authorities discuss blend, but their concepts of the term are very divergent. These divergent concepts lead to emphasis of various factors which are important to the development or achievement of blend in choral sound. This emphasis in turn leads to various methods of achieving blend. Authorities ascribe several definitions to the term blend, as it relates to choral tone. These definitions should be studied collectively in order that a clearer concept of the term blend in choral sound may be developed. In studying blend in choral sound, several factors are generally deemed important. No study has been made which leads to a consensus concerning the relative importance of these factors. Scientific studies have been made of these factors, but the results have not been compiled and presented in one source. Authorities employ various methods in working with the factors which affect blend in choral sound. No study has been made which includes these methods. It is hoped that this study will contribute to the collecting and organizing of ideas regarding blend, including its various definitions and its important factors. It is also hoped that …

This treatise has been prepared largely because of an increasing interest in contemporary music and an awareness on the part of many music educators of its merits in the curriculum of public schools and colleges. Since contemporary music is a controversial subject among directors, it has become necessary to search for specific, positive approaches to the teaching of contemporary music in high school.

George Frederick Handel is one of the most important composers of oratorio in musical history. Between the year 1704, when he composed his Passion According to Saint John, and 1757, the year of his last oratorio, The Triumph of Time and Truth, Handel composed twenty nine works which have at one time or another been classified as oratorios. Only those works that are considered by all authorities as oratorios and are based on the Old Testament or Jewish history are included in this study. Handel writes solo roles for the tenor voice in all of the sixteen oratorios included in the study with the exception of the revision of Esther and in Deborah. The musical and dramatic function of the tenor solo roles varies with each oratorio. The significance of the tenor roles fluctuates with the dramatic impact of the story related by the oratorio and is completely dictated by it. Handel used all solo voices with concern for the best over all theatrical effect foremost in mind. To place in proper perspective his use of the tenor voice in relation to the other solo voices, such factors as the musical and dramatic importance of the tenor roles, character types …

The purpose of this study was to determine and describe ways in which music education can be used in Protestant churches. During the last twenty years, participation in church music has grown very rapidly. The increase is a result of the growth of music in general. Music has become an important part of home, school, church, and community functions. This is evidenced by many facts: symphony orchestras, as well as community instrumental and choral groups have increased in number to the extent that there are more today than at any time in history; school music has taken tremendous strides since 19257 and church music programs have been developed to such a degree that they attract large numbers of people. In spite of the tremendous advance of music in general, and in the field of church music in particular, there is still much that needs to be done in church music. For example, when "Sacred Music" is mentioned to an average group of Americans, some will respond with blank and uninterested stares. Others will mention some of the well-worn sentimentalized, semi-religious songs such as "He," "The Man Upstairs," "You'll Never Walk Alone," or other examples of commercialized religion, Those people, and …

The term ballade is the French and German spelling of the English word "ballad" and the Italian ballata. Although each of these terms is derived from the Latin ballare, meaning "to dance," each denotes an entirely different meaning. The synonomous usage of these terms is definitely misleading (1,p. 67), Frederic Chopin, 1810-1849, was first to use this term as a title for piano compositions. The purpose of this study is to reveal the formal characteristics of each of the four ballades that Chopin wrote for solo piano and to determine,through a comparison of the similarities and differences, some identifying characteristics of a ballade. These characteristics will be illustrated through a formal analysis of each ballade.

The London British Museum Manuscript Additional 35087, hereafter referred to as London Add. 35087, is an important parchment manuscript in large octavo choirbook arrangement from the beginning of the sixteenth century. Its measurements are 19.4 x 29.3 centimeters. The manuscript contains ninety-five folios and one stub where a leaf has been torn out (f. 4).1 The last composition in the manuscript is incomplete, which indicates that one leaf is lacking at the end (f. 96). Two sets of foliation are shown: the original Roman and a more recent Arabic. Both are placed in the upper right hand corner of folio recto. The sets agree in folios 4-93. Folios 1 and 2 show no Roman figures now; folio 3 has "ii," and therefore the missing leaf probably had "iii." The Arabic numbering does not account for this missing leaf. This folio might have been assigned "4," but this number is given on the next complete leaf to coincide with the Roman "iiii." At the end, by mistake, folio 94 has "xciii" and folio 95 has "xciiii."

Liapunov's Twelve Transcendental Etudes, although derivative in nature, have significant musical and technical value, and are sometimes strengthened by the inspiration of other composers' works. Neither highly creative nor original, LIaounov drew on forms and techniques supplied by the great pianist-composers of Western Europe, such as Schwann, Chopin, and Liszt. Not to be overlooked is the influence of his teacher and friend, Balakirev.

The purpose of this study was to analyze for reasons of interpretation the unaccompanied choral music of Felix Mendelssohn. What are the stylistic characteristics in each of the compositions selected for examination in this study? What comparisons and conclusions based on the analyses can be made concerning the character of compositional style in Felix Mendelssohn's unaccompanied choral music? What conclusions can be made concerning the interpretation of Felix Mendelssohn's unaccompanied choral music based on the compositional style of his music and an understanding of his musical attributes?