The lecture recital was given on November 20, 1972. The discussion of Webern's Variations and Dallapiccola's Quaderno Musicale consisted of a analysis of the two works followed by a comparison of stylistic and performance aspects. The two works were then performed. In addition to the lecture recital four other public recitals were given. Two of these consisted entirely of solo literature for the piano. The third recital was a vocal chamber music recital and the fourth consisted of a piano concerto performed with an orchestra.

In this study of vocal chamber duets the various approaches used in duet writing from the late sixteenth century through the nineteenth are examined. Various meanings attributed to the terms "vocal duet" and "chamber duet" are considered, and an appropriate delineation of the genre is determined. The study begins with examination of bicinia, dialogues, and concertato madrigals of the late sixteenth century, three kinds of works related to the continuing lines of interest in duets of later centuries: pedagogical duets, dialogue duets, and duets shaped by general musical trends. After a foundation has been laid in the sixteenth century, examples of duets of various kinds for the next three centuries are considered. It is seen that a discontinuity in the history of the vocal chamber duet occurs during the Classical period. Operatic and chamber duets prior to this time show great similarities in style. Operatic and chamber duets of the nineteenth century show distinct differences in style. At the same time that differences between operatic and chamber duets were increased, the differences between solo and duet chamber works by the same composer were decreased.

Antonius Divitis (ca. L4715-ca. 1525) was born in Louvain, Belgium, and belonged to the generation between Josquin and Gombert. Divitis is listed in various sources as Antoine de Rycke, Le Riche, Davitz, Davtitz, and possibly Richardus Antonius, all of which mean "Anthony the Rich." His extant works include three complete masses, two parts of masses, three magnificats, five motets, two fragments (probably parts of motets) and one chanson. The purpose of this study was to collect, transcribe, and collate all existing manuscripts and prints of Divitis' compositions as well as biographical information about the composer, and to analyze the compositions for information about his techniques, as well as those of his contemporaries. Only two compositions came to the investigator in modern notation, with the remainder in various manuscripts and printed editions by such notable printers as Attaingnant, Gardane, Giunta, Petreius, Petrucci, Rhaw and Rotenbucher, from the first half of the sixteenth century. All variants in the sources were recorded and, in several instances, included in this edition wherever they seemed'to improve the musical readings.

The lecture recital was given July 10, 1973. The Symphonie-Passion by Marcel Dupre was performed following a lecture on various factors that influenced the development of the organ symphony in France. In addition to the lecture recital, three other public recitals were performed, including solo compositions for the organ and three chamber works for organ and instruments. The first solo recital, including works of J. S. Bach, P. Hindemith, L. Sowerby, and L. Vierne, was performed on June 4, 1969. On April 17, 1970 the second solo recital was performed. Compositions by J. S. Bach, D. Buxtehude, M. Duprd, N. Dello Joio, S. Karg--Elert, and J. Langlais were included in the program. On January 25, 1971, a program of organ chamber works by N. Lockwood, D. Pinkham, and F. Martin, as well as solo works by F. Lizst, W. Latham, and Marcel Duprl, was performed. The four programs were recorded on magnetic tape and are filed with the written version of the lecture as a part of the dissertation.

The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs was intended to demonstrate a variety of music written originally for trombone. The lecture recital, "The Trombone in German and Austrian Concerted Church Music of the Baroque Period," was presented on July 3, 1974. The lecture was an attempt to illuminate the position of the trombone, both as an ensemble instrument and as a solo obbligato instrument, in church music of the Baroque period. The program included the performance of two works by Heinrich Schutz for bass voice, four trombones, and continuo; one work by Andreas Hammerschmidt for alto, bass, trombone, and continuo; and one work by Johann Joseph Fux for soprano, trombone, two violins, and continuo. A line of influence was traced from the Venetian composers Giovanni Gabrieli and Claudio Monteverdi, through Schiitz, Hammerschmidt, and Fux, to Mozart.

The San Juan Ixcoi Mass is part of the San Miguel Acatan Repertory which was found in the northwestern highlands of Guatemala before being purchased by the Lilly Library at Indiana University. Even though the authorship and date of the mass cannot be established, the mass is similar to works from the Josquin generation. Not discounting the few transcription difficulties as well as isolated compositional weaknesses, the San Juan Ixcoi Mass demonstrates the reasonably high quality of music that was performed and even possibly composed in northwestern Guatemala three centuries ago. A modern performance edition of the mass complete with critical notes and commentary on the transcription is included within the thesis.

Thomas Ravenscroft, the English composer, editor, and arranger, is known for his participation in the St. Paul's Boys' Choir, as instructor of music at Christ's Hospital School, and as a prodigy. His best-known publications are a setting of the psalter, The Whole Booke of Psalmes, and the treatise, A Brief Discourse,which is an effort to revive mensural notation. Ravenscroft's works contain many examples of popular Elizabethan music which he edited and arranged. Part II of this thesis consists of an edition of his third publication, Melismata, a collection of nine rounds and fourteen partsongs. A list of critical notes is also included. The commentary to the edition includes a biography, a discussion of his works, the background and origin of the songs in Melismata, and an analysis of these songs.

This study attempts to show the relationship of Hindemith's harmonic theories and practice in the revision of Das Marienleben, op. 27. The study is based on Hindemith's The Craft of Musical Composition, commentaries on Hindemith's application of his theories, and analyses of Das Marienleben. Chapter One concerns Hindemith's contribution as a theorist, including a synopsis of his harmonic theories, and his application of the theories in his compositions. Chapter Two concerns Das Marienleben itself, including general information about the work and its revision, and an analytical comparison of its two versions. Chapter Three concludes that Hindemith made improvements in the new version in accordance with his harmonic theories through replacing ambiguous harmony with carefully controlled fluctuation and clearly defined tonalities.

The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The chamber music program included a trio with the violin and cello performing with the piano. The repertoire of all of the programs was intended to demonstrate a variety of types and styles of piano music from several different historical periods. The lecture recital, "The Poetic Ideal in the Piano Music of Franz Liszt," was an attempt to enter a seldomexplored area of Liszt's musical inspiration. So much has been written about the brilliant and virtuosic compositions which Liszt created to demonstrate his own technical prowess that it is easy to lose sight of the other side of his creative genius. Both as a composer and as an author, Liszt reiterated his belief in the fundamental kinship of music and the other arts. The visual arts of painting and sculpture were included, but he considered the closest relationship to be with literature, and especially with poetry.

This thesis is concerned with the historical context and evaluation of the string quartets of Franz Berwald. It will establish the environment within which Berwald composed these quartets, and show the results of his efforts. The material for this investigation was gathered from musical scores and literature about music. Chapter I gives an introduction to the thesis and a short biographical sketch of Berwald. Chapter II surveys the string quartet in the first half of the nineteenth century, citing the work of major composers. This chapter concludes with an examination of the influences on Berwald's musical styles. Chapter III surveys Berwald's musical output and describes the Quartet in G Minor. Chapter IV describes his last two quartets. The evaluations and conclusions are presented in Chapter V.

It is the intent of this thesis to shed a new investigative light upon a musician whose importance as a creative personality and aesthetician has been sorely underestimated or at least unappreciated by fellow musicians and audiences of his own and succeeding generations, a musician who formulated a new musical aesthetic which involved the utilization of compositional techniques diametrically opposed to those which had held dominant influence over the musical world for more than half a century, a musician who attempted to fuse the Italian sense of form and clarity with Teutonic profundity, complexity, and symbolism. This musician was Ferruccio Busoni. This thesis will concentrate on the history of the Faust legend and Busoni's final work, his opera Doktor Faust (c. 1924), the creative problems opera imposed upon Busoni, and his attempt to solve them vis-a-vis his own personal aesthetic.

The lecture recital was given December 5, 1971. A discussion of Beethoven's 33 Variations on a Waltz by Diabelli, Op. 120 included the circumstances under which the work was composed, analysis of the composition, and controversial opinions on the Variations. The piece was then performed by memory. In addition to the lecture recital three other public recitals were performed. These consisted entirely of solo literature for the piano. The first solo recital was on April 12, 1970, and included works of Bach, Beethoven, and Liszt. Part of the preparation included the writing of program notes of a historical and analytical nature. The second solo recital, on January 31, 1971, consisted entirely of sonatas by Beethoven, Chopin, and Prokofiev. The final solo program, on August 11, 1972, included works by Bach, Schumann, and Granados. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.

The purpose of this investigation is to examine Reichardt's reasons for his development of the genre Liederspiel. A brief biographical sketch of Reichardt reveals an innovative character who was responsible for several developments within the history of music. The Liederspiel was particularly affected by the French vaudeville. However, an investigation into the character of each shows that they are really quite different. A translation of an article by Reichardt from the Allgemeine Musikalische Zeitun discloses the purpose of the composer in his presentation of the Liederspiel to the public. The first Liederspiel was Liebe und Treue and was a complete success. The libretto and piano vocal score shows the construction of liebe und Treueand an English translation aids in its understanding.

This study seeks to discover the extent and manner of Debussy's use of the motive in thematic material. A total of 40 melodic examples were analyzed in order to show their relationship to a single motive, a three-note figure having a step-leap relationship. Using eighty-four series of examples, the study shows the melodies analyzed to be 85% motive-derived. The study concludes, therefore, that Images I is a remarkably economical work, using a single three-note motive as a unifying and developmental basis.

The problem was to survey and collect ideas on the use of improvisation as a teaching and learning tool in elementary piano instruction and to prescribe activities and exercises for second through fourth grade piano classes. These areas were examined: philosophies and theories influencing traditional instruction, effects of creative keyboard activities on children's musical development, specific teaching strategies using improvisation, evaluative procedures, and suitability of materials for young children. Data collected from published and unpublished materials were classified, and presented concerning the feasibility of using keyboard improvisation with early elementary children. It was found that suitable improvisational exercises allow the child to organize his perceptions into the basic concepts of music. Recommendations for teachers and researchers were made.

This study is an attempt to investigate part form structures in Brahms' Intermezzi, Opp. 116-119. Chapter One deals with the stylistic perspective in Brahms' piano writing in general as compared to his late works. Chapter Two concerns three aspects: 1) structural norms in part forms which are presented in many currently available textbooks on musical forms, 2) application of selected Brahms Intermezzi to above norms, and 3) the role of cadential types in part forms. Chapter Three analyzes structural aspects of all the Brahms Intermezzi in Opp. 116-119 and comments on pieces which appear problematic in terms of structural layout. Chapter Four, deals with the relationship between different thematic types and overall formal schemes.

The piano first came into existence about 1709, but until the 1770's it was probably used most successfully as an accompanying instrument because of the small volume of tone it could produce. In its earlier stages the piano was not capable of producing even as big a tone as a large. sized harpsichord, During these seventy years piano builders experimented a great deal with the piano and its mechanisms, As with any instrument, some ideas were kept and improved, and others were tried and then discarded.

The value of the type of musical analysis presented in this study is based on the assumption that the more thorough an understanding the performer has of his repertoire, of both musical and non-musical elements, the more authentic the performance will be. A knowledge of the wishes of the composer and of the historical period, added to an analysis of poetry, melodic contour, harmony, rhythm, accompaniment, and texture, provides the performer with the necessary background to form his interpretation of a song. The interpretation of "Wo die schonen Trompeten blasen" depends upon an accurate execution of the various rhythmic patterns in both the vocal line and the accompaniment. The sometimes opposing rhythms (two against three) between the voice and accompaniment should be carefully observed. Another important interpretive aspect is the portrayal of both characters in the poem (the soldier and his sweetheart). Character differentiation is primarily achieved through the singer's vocal color, intensity, and general deportment. The singer must thoroughly understand the poetry and have formed a definite personality for each character. In "Das irdische Leben" the individuality of each character in the poem is even more essential. The three characters are musically differentiated by the three individual patterns of …

The minor choral works are those exclusive of the well-known choral works. Symphonic movements for chorus are also excluded. Conflicting and incomplete information from the composer himself and from secondary sources were principal research problems. The published letters, the memoirs, and a small number of secondary sources, containing little more than passing references, form the body of the research material beyond the scores themselves. The arrangement is by opus number, with unpublished works inserted chronologically by date of composition. A description of the circumstances surrounding each work' s composition precedes a study of the music within each chapter. The last chapter delineates stylistic characteristics of the minor choral works.

Sergei Prokofiev experimented with styles which shocked the public because his ideas were far ahead of his time. In the 1930's, the Soviet composer turned to a neoclassical style. His Sonata, Opus 119, for violoncello and piano, is a product of this final period of composition. The purpose of this study is to determine the stylistic characteristics of this sonata. This study includes a detailed description of the compositional techniques Prokofiev used in this work. These techniques are categorized according to the basic stylistic elements. The sources of data are comprised of the score of Prokofiev's Sonata, Opus 119, as well as books on twentieth-century music and on Prokofiev as a man and as a composer. The score was used for purposes of analysis.

The purpose of this paper is to acquaint the reader with the state of the recorder as a musical instrument in this century. Information has been gathered from standard texts and journal articles to gain more recent ideas. The work is divided into three sections: (1) a brief history of the instrument; (2) a biographical sketch of Arnold Dolmetsch, the man who was most responsible for the revival of the recorder in this century; and (3) a detailed examination of the use of the recorder today. This last section includes the recorder in education, music written for it, recorder performance and organizations, and construction of the recorder. An appendix lists recorders that are available to players in this country. It is this writer's conclusion that the recorder today has regained its status as a performing medium.

The purpose of this study was to develop a guide to help teach commercial music style imitation, Styles selected were ragtime, dixieland, Whiteman, Goodman, Miller, bop, Berry, Presley, Motown, hard rock, horn band, soft rock, straight ahead big band, Ellington, Basie, country rock, bluegrass, Country-Western, Mantovani, Boston Pops, and Love Unlimited Orchestra. Melody, harmony, rhythm, voicing, instrumentation, form, special effects, performance techniques, electronic alteration, and articulation were discussed for each style. A table summarizing each discussion, and an arrangement and recording of the same melody in each style were included, The guide appears successful, judging from commercial writers' estimations, The work will probably aid writers, performers, researchers, and publishers. Similar works could be done on other commercial and ethnic styles.

The purpose of this thesis is to contrast Wagner's usages of the ninth, eleventh, and thirteenth intervals and chords, as found in Die Walküre, Act I and Götterdämmerung, Act I.

Innocents Abroad, a musical for the stage, deals with events in the life of Mark Twain, 1867-1869, particularly his courtship of Olivia Langdon and his efforts to establish himself as a writer. It emphasizes his struggle to be true to his individuality and outspoken honesty while trying to win "Livy," the product of the society he satirized and often condemned. The book, based on actual events, contains much of Twain's humor and wisdom. The vocal score is written in a contemporary style, for various vocal combinations, including full chorus and includes piano accompaniments and chord symbols for guitar and bass.