During the first half of the twentieth century the trumpet has gained its position as a solo instrument, even surpassing its esteemed position in the High Baroque Era. With the combined efforts of performers like Herbert L. Clark, Ernest S. Williams, and Joseph Arban, and the efforts of the French school of trumpet playing, notably those of Raymond Sabarich, the trumpet has risen from a mere accompanying instrument of the Classical Period and early Romantic Era to its present place as an expressive solo instrument. In this relatively new position the trumpeter is faced with one serious problem: that is one of limited literature. The trumpeter of today is almost compelled to perform either works of the Baroque Era or solos written within the last thirty years.

The British Museum, Additional Manuscript 4918, provides an interesting insight into the sociology as well as the music of the Baroque period. This treatise was written by an unknown "music-lover," who was not a musician by profession. All that is definitely known about his identity are the initials A.D.V. that appear on the title page. The manuscript is dated 1702. In method and design this work represents the transitional character of the seventeenth and eighteenth centuries. Because the author was not a professional musician, it is important to consider the sociological aspects which influenced the writing of a treatise of this sort. A study of the development of Baroque musical treatises indicates a direct parallel with the social and political temperament of the time.

The influence of existing musical trends is evident in almost every composer. Prokofiev entered the musical scene in Russia when Scriabin was the recognized leader in innovation. To understand fully the rapid popularity of Prokofiev one must be aware of the musical forces of his time, the circumstances leading up to them and their influence on Prokofiev. In the latter half of the nineteenth century there began a movement toward nationalism in music. Among the most important of these nationalistic countries were Bohemia and Russia. Composers deliberately drew their inspiration from the musical resources of their native country. From all that is known a native Russian music did not exist before the nineteenth century. The music enjoyed by the upper class and royalty had to be imported. In the eighteenth century this included Italian opera and in the beginning of the nineteenth century, French opera. Pianists such as Field, Mayer and von Henselt were popular as both teachers and performers.

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.

Favorable judgment of a work of art, or of a man, usually means that the work of art, or a record of the man, will be preserved for future generations to judge for themselves. An unfavorable judgment may result in a richly deserved obscurity or an irreplaceable loss, unless favorable circumstances combine to preserve the evidence for a more perspicacious generation. One can be forgiven if he distrusts history's judgment; mistakes which have been corrected are legion (the case of J. S. Bach comes most vividly to mind) and skepticism is warranted unless or until the facts are available for confirmation. It is difficult to explain the paucity of information about Jacques-Christophe Naudot, Not that he is another J. S. Bach; neither Fleury, who made the first serious effort to revive interest in his music in the early 1920's, nor Ruf, who has done much in this regard recently, nor this writer makes any such claim. He does not, however, deserve the obscurity that has been his lot. If his music is not always profound, it nevertheless has both intrinsic and historical value, and some of his works reveal considerable contrapuntal skill. It may be that Naudot stood in the …

There are no records to substantiate that one of the passengers on the Mayflower brought an oboe with him in 1620, but diaries, journals, and newspaper articles document its presence and utilization in the United States a few years after that date. A reference to musical instruments occurs in the inventories of the goods of two neighboring New Hampshire "plantations" taken approximately ten years after they were originally settled. At "Newitchwanicke, ld of Julie, 1633. . . in the Great House, 15 recorders and hoeboys" were listed, while "at Pascattaquack 2d Julie, 1633," one day later, there were no less than "hoeboys and recorders 26" and "1 drume"!1 By 1635 New Hampshire had 56 oboes and recorders alone. 2

The subject of the present study, Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, abbreviated Florence 2439,1 contains secular and sacred vocal music of the late fifteenth and early sixteenth centuries, with texts in French, Dutch, Italian, and Latin.

The purpose of this thesis is to give an account of the comparable use of dissonance of Palestrina, Lassus, and Victoria through harmonic analysis and statistical comparison, illustrating the stylistic differences among the three composers works. The thesis does. not attempt to cover text setting, melodic construction, ranges, or aesthetic evaluation of composition other than that which pertains to dissonance. The analysis of dissonance was done with primary consideration being given to the vertical structure of the harmony, observing the linear structure only with relation to the approach and resolution of that dissonance.

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 …

This study examines the development and creation of the clarinet in the seventeenth and eighteenth century, and the start of their use as a solo instrument in the eighteenth century. This explores Mozart's utilization and development for the clarinet to other various composers and their contributions.

Sowerby's compositions based on hymn tunes cover the extent of his career - from 1913 to the time of this study. There are two purposes in selecting them for study: to describe the development of Sowerby's musical style; and to show, from a study of these compositions, the various devices, forms, and techniques which are effective in this area of composition in general.

Humfrey's music, which is chiefly sacred, includes a large number of anthems, odes, services and songs. His compositions, particularly his sacred compositions, have received extensive investigation only on one other occasion, in Henry Bryce Jordan's unpublished dissertation on the subject. Of his sacred music, the anthems form by far the largest and most signification part. Six of them were printed in W. Boyce's Cathedral Music (London, 1760); twelve more, including the "club anthem" and an evening service, are to be found as part of the Tudway Collection of the British Museum (Harl. MS 7338) and others are extant in manuscript at the libraries of Ely, Salisbury, Windsor, the Friz-william Museum (Cambridge), Christ Church (Oxford, Birmingham University, St. Michael's (Tenbury), and the Additional manuscripts in the British Museum. It was primarily int he anthems that Humfrey introduced into England some of the declamatory methods of the French theatre and thus secured for himself the credit of having established their form and style. His solo songs, on the other hand seem to occupy a somewhat less esteemed position, attributable perhaps to their remarkable simplicity, and in few cases to their apparent neglect of such musical fundamentals as melody and rhythm. It is …

Sonata in A major, Opus 120, was written by Franz Schubert in 1819. The sonata was chosen for this study because of its proximity to the middle of the span of time in which Schubert wrote his piano sonatas. His first piano sonata was written in 1815 and the last in 1828. Since no sonatas were written in either 1821 or 1822, the years in the middle of this span, the sonata written in 1819 was chosen.

The purpose of this study is to show how standards of pitch became a matter of importance in musical performance. The existence of innumerable varieties of pitches was not an actual handicap in a time when voices were accompanied by only one instrument, or when a singer accompanied himself. But when instruments began to be used with the church organ, and ensembles were formed to play in the royal courts, a standard pitch was found to be desirable. Many factors were involved in the adjustments of pitch as small ensembles evolved into the military band and the symphony orchestra. An attempt will be made to show how many of the standards were derived, and what long lasting effects they had.

The purpose of this study represents an illustration of the techniques of public relations in music education as well as the urgent necessity for their development. Especially during; this era, American public schools are faced with the problem of providing a balanced curriculum whose chief interests lie in subjects of a scientific nature. Educators feel that this type of training is not only necessary to keep the nation ahead or equated with others scientifically, but that it is inevitably the best in preparing the student for adulthood. Public school music, in many instances, has not lived up to its responsibilities in providing the kinds of music and the type of community service it should render. Consequently, many educators feel justified in either reducing or eliminating fine arts programs in their schools. It is necessary, therefore, that the music educator study measures of encouraging musical growth in his environment, and this growth can be assured through a study of the techniques and tools of public relations.

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.

Born April 2, 1873, on the estate of Oneg in the province of Novgorod, Russia, Sergei Vassilyvitch Rachmaninoff was the fifth of the six children of Vassili and Lyoubov Boutakova Rachmaninoff. Rachmaninoff's aristocratic descent was traced to the Hospodars Dragosh, rulers of the realm of Molday from the fourteenth to the sixteenth century. One of the daughters from this family had married a son of the Grand Duke Ivan III of Moscow. The son's nephew was named Rachmanin, and from this source the family name originated.1 Rachmaninoff's mother was the daughter of a general, head of Araktcheyev Military College in Novgorod and the owner of a number of estates in the district. It was with a dowry of five of these estates that Lyoubov Boutakova married Vassili Rachmaninoff, and on one of these estates, Oneg, the couple settled down to married life.

Both science and empirical knowledge seem to indicate that anatomical considerations relating to potential muscular interference be established at the incipiency of the serious study of voice. Experience shows that if this aspect of vocal development is not pursued with utmost diligence, an early deterioration of the vocal instrument is possible many years before a normal expectancy. It has been discovered, also, that the study of articulation, pronunciation, modulation, emphasis, gestures and interpretation seem to avoid, primarily, the necessity of muscular training, per. This thesis will not include, in detail, the aspects of the use of the breath, except in a perfunctory manner. The same can be said of resonance and diction. It will endeavor, however, to indicate the muscular differences of the singing and swallowing actions. Furthermore, it will advance some suggestions for the avoidance of constrictive muscular influences which might impede the singing musculature. Finally, a phonatory process will be presented for consideration as a muscular mechanism to be made operative in connection with a direct control procedure.

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.

"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.

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

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.

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.

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