Draws a comparison between the piano variation techniques of Beethoven and Copland with reference only to the two works discussed herein, Thirty-Two Variations and Piano Variations, with the intent of gaining from these isolated examples knowledge of the changes in variation writing from Beethoven's time to the present.

This study has two divisions: Part I, an historical and analytical summary of the emergence and development of the divertimento and the serenade in the eighteenth century, and Part II, the culmination of these structures in the works of W. A. Mozart. Two primary purposes are envisioned: 1) to further our knowledge of how German Gesellshafts-musik evolved toward its peak in the second half of the eighteenth century, and 2) to furnish a useful analytical handbook of Mozart's works in these genres.

The Seville Cancionero is a manuscript collection of songs from late fiftennth-century Spain and is preserved today in the Biblioteca Colombina of Seville with the number 7-1-28. This dissertation describes the document and provides commentary and transcriptions of the Seville Cancionero.

This dissertation consists of four programs: one lecture- recital, two recitals for piano solo, and one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the performer to project music of various types and composed in different periods.

Four contrasting recitals were presented to fulfill the requirements for the degree Doctor of Musical Arts. The first recital contained music of miscellaneous composers. Two Preludes and Fugues by the North German Baroque composers Vincent Libeck and Dietrich Buxtehude were separated by Samuel Scheidt's Variations on the Netherlands folk song "Ach du feiner Reiter". The Brahms Chorale Prelude "0 wie selig seid ihr doch, ihr Frommen" and the Louis Vierne "Intermezzo" from the Third Symphony represented Romantic-style composition. The major work of the program was the Carl Nielsen Commotio, a large work in orchestral style. The second recital consisted completely of music by J. S. Bach. Four works of contrasting styles were presented: Concerto, Opus 3, No. 8, composed by Antonio Vivaldi and transcribed by Bach, Partita on Sie gegrisset, Jesu gtig, Sonata IV, and Fantasy and Fugue in G Minor. The third recital was the lecture recital: Registration of Orchestral Textures in Organ Music. This lecture was an attempt to deal with the contemporary problem in performance practice of registration of Romantic organ music. The trends in organ building in the twentieth century have ranged from a deeper exploration of the possibilities of the Romantic organ to the reevaluation …

Inasmuch as this investigator can determine, no major study has been done concerning music's relation to the "isms" selected for this discussion. The contemporary interest in the movements themselves has been so widespread that the documentation of them, in scattered accounts, is enormous. It is disappointing that these records provide little or no information about the musical aspects of the movements; the graphic and literary accounts, on the other hand, have been accorded generous treatments. Since futurism, cubism, and surrealism, in their origins, were oriented toward the visual and literary arts, it is not surprising that these two aspects would receive the greatest amount of attention. The meager attention to music and the distortion of its role in the movements, as has largely been the case, has created an artistic imbalance, This writer's efforts have been directed toward an exhaustive search for factors which have, in some way or other, linked music with these movements. Musical futurism has been the easiest to identify, although its underlying theories are not always clear, since the futurists, in explaining their theories, were not always convincing, perhaps even to themselves. This writer's main attempt has been to interpret ideas that were frequently vague and …

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.

A collective description and analysis of the first three Prussian sonatas of Bach

Instead of putting the emphasis on color in his orchestration, Brahms felt that the music was more important; not the orchestration. However, it would be a mistake to feel that he was deaf to orchestral color. When discussing color in regard to Brahms' orchestration it is necessary to realize that his use of color is much different than that of his contemporaries. This thesis discusses the four symphonies of Brahms and his usage of brass instruments within these symphonies, specifically the french horn, trumpet, trombone and tuba. It is apparent that he used considerable care in writing for the brasses as well as the other instruments and had complete command of the use of their individual colors.

The purpose of the present study is to determine the stylistic characteristics of Beethoven's early piano trios. For the purposes of this study, the term "piano trio" is defined as any work for three instruments in which a piano participates. Of the twelve such trios written by the composer, the first six are dealt with. There is in addition a brief discussion of a trio of uncertain origin. These six piano trios were composed over a span of about ten years (1785-1795), between the ages of fifteen and twenty-five. Although there is a great deal of uncertainty as to the exact time and place of origin of these trios, the first three are generally considered to have been written in Bonn, and the last three in Vienna.

The object of this study was to compile a list of solo literature for beginning college voice students and analyze these solos for pedagogical and performance purposes. There is no lack of printed material on the subjects of singing and voice culture. But it is not readily accessible to teachers since it is extremely diversified and rather diffusely distributed throughout a variety of sources, such as books, periodicals, and scientific papers. Several lists and books containing songs for beginners have been compiled.

The purpose of this study is to trace the early development of a popular twentieth-century chamber music ensemble, the woodwind quintet. The first chapter concerns the history and background of the use of woodwinds in chamber music leading to the development of the quintet. The second chapter discusses the first compositions for this ensemble and their composers. An appendix provides musical examples illustrating the use of the instruments in the early woodwind quintets.

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.,

This thesis centers around a certain twentieth-century compositionaI device, the method of composition with twelve tones. There are many terms to designate this device, for example: "basic set," "tone-row," "note-series," "serialism," "serial technique," "twelve-note series," "twelve-tone technique" or "twelve-tone method." TI is thesis is a methodical research demonstrating the contemporary conventional way of scientifically and artfully manipulating twelve equal tempered degrees of the chromatic scale to produce a desirable system. In order to arrive at any substantial conclusions, it is necessary to make a critical examination and evaluation of known twelve-tone compositional procedures from as many angles as possible, so as virtually to exhaust every practical and speculative potentiality included in the technique, that is, within the range and limits of our present needs. This examination and evaluation will also involve a comparative investigation of various uses of the device, in order to produce and suggest ideas for further theoretical insights. The ultimate purpose of this thesis is to pinpoint the "hows" and "whys" of Rochberg's use of the twelve equal tones in Sonata-Fantasia.

The art of transcribing orchestral accompaniments for organ is one of the most difficult problems which organists must face. Although a few will become professional recitalists, most organists will at one time or other have a church position and be required to play oratorios and other large choral compositions which were originally scored for orchestra. Several of the most popular of these works (Handel's Messiah, Saint-Saëns's Christmas Oratorio, Fauŕe's Requiem) have already been arranged for organ, but the majority are available only in piano reductions. The main body of the paper deals with this latter group of works, for it is here that the most urgent problems exist. However, some of the organ arrangements now available need considerable revision because they try to imitate the whole orchestra and are virtually impossible to play. Therefore, some preliminary comments on already existing transcriptions seem necessary.

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.

The purpose of this study was to investigate, through stylistic analysis, the choral problems in twelve selected choruses from George Frederick Handel's oratorio, Messiah. The twelve choruses were selected for analysis in this study after consultation with several authorities in the field of choral music and on the basis that they are representative of problems encountered in the remaining choruses. Each of the twelve choruses was analyzed individually. Chapter I of this study presents the purpose of the study, the sub-problems involved, definitions of terms, delimitations, the basic hypothesis of the study, the basic assumptions of the study, methodology and the plan of the report. Chapter II of this study contains a brief biographical sketch of Handel, a discussion of the circumstances surrounding the composition of Messiah, and a survey of the Handelian oratorio Chorus. Chapter III presents the results of the analysis relevant to a discussion of each of the twelve choruses followed by a sectional presentation of the choral problems. In Chapter IV, a summary, some conclusions and recommendations are offered. Appendices A and B present reviews of selected recordings and vocal-piano editions of Messiah respectively.

The selected works by the composers studied in this thesis might well stand as illustrative of the normal development of the use of the bass trombone near the close of the nineteenth century. Although notable progress was made by the cited composers in increasing the bass trombone's usefulness in the orchestra, each composer also continued to use the bass trombone as it had been used in previous years, such as in doubling bass parts, harmonic backgrounds, and for strong rhythmic punctuations.

Most of Domenico Scarlatti's harmonic progressions are quite orthodox when considered abstractly or free of their positioning in the score. The harmonic movement is given interest by subtle alterations in time; for example, (1) simultaneous upper and lower voices of different lengths, when repeated several times, change their relationship with each other; (2) one voice may be simply delayed so that it lags behind the other voice, thus combining to produce irregular harmonic sound on many succeeding beats; (3) the combination of two or more chords appearing on one beat is similar to number (2) but does not necessarily occur more than once.

The purpose of this study is to describe contemporary plans for training the boy's changing voice and to prescribe ensemble material for these voices. Specific Problems: Analysis of the general problem leads to subordinate questions, or sub-problems, which may be stated as follows: 1. What are the contemporary plans of training the boy's changing voice? 2. What are the most usable musical materials available for use by ensembles which include boys with changing voices?

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 …