Both of the Chopin concertos are the earliest of his works to be found in the ordinary piano repertoire, and they possess the direct influences and inherited traits of the composer. Since he did no more orchestral work after completing these two works, it is evident that he thought only in terms of pianistic expression. Probably one of the reasons for Chopin's ineffectiveness as an orchestral writer is due to his inability to conform to the classical form: sonata allegro. The e minor concerto is representative of his treatment of the larger forms. Analyzing the elements of an early work of the composer reveals the degree of maturity in individual traits. Elements of basic chord structure and use of harmony, melodic characteristics, and pianistic expression mark the style of a composer. This concerto demonstrates the beginning of chromatic harmony in his time and in his own writing; it contains melodic beauty and pianistic features which make it acceptable in standard concerto repertoire in spite of its many defects.

This study was prompted by the writer's interest and experience in the field of two-piano performance. At the beginning of this writer's two-piano work the available material was scarce, and much of it was inadequate in quality from the standpoint of both composition and arrangement. It seems strange that this particular form of chamber music, so delightful to play and so enjoyable to listen to, did not completely take popular fancy until the twentieth century. During the past ten years however, teachers are realizing the benefits derived from training students in two-piano playing. There is no doubt in the writer's opinion that two-piano concerts will henceforth always be in demand.

It is the purpose of this thesis to list and evaluate the published materials for junior high school band that the director may have a comprehensive knowledge of materials adapted to that level.

For several decades since the rise of extensive instrumental music instruction, various music periodicals have devoted a certain amount of space to printing comments, suggestions, and other pedagogical material to aid the student in playing a particular instrument. The writer, in his belief in the value of this material, has chosen to make a survey of various periodicals and to catalog certain items as a reference guide to the location of significant articles.

The problem undertaken in this paper is a study of sonata form in regard to the number, types, and key schemes of movements in the pre-Haydn sonatas and a comparison of these with the sonata form as Haydn established it. Finally, a detailed analysis of the Haydn E-Flat Major sonata is presented showing typical formal characteristics. The history of the sonata form does not begin simultaneously with the advent of the sonata itself, for the sonata as we know it today is the result of many stages of experimentation. Its growth and development were a gradual process which lasted the better part of three centuries. Many composers contributed to this growth, but the sonata form itself cannot be ascribed to any particular composer.

This study considers only one aspect of music of the twentieth century--that of dissonance. Through an analysis of harmonic tension in the twelve fugues of the "Ludus Tonalis" by Paul Hindemith, a two-fold significance is notable. First, consideration of the broad tendencies of modernism is necessary. second, with Hindemith as a chosen representative of certain aspects of the twentieth century style, the study attempts to show more specifically certain characteristics of the composer himself in the use and treatment of dissonance, one of the more technical features of style in modern music.

Ravel' s "Tombeau de Couperin," a suite for piano, was published in 1918 by Durand. Its first performance was in the Salle Gaveau in Paris in April, 1919. Shortly afterwards Ravel scored four of the six movements of the piano suite for small orchestra, composed of flutes, oboes, clarinets, bassoons, and horns in pairs, English horn, trumpet, harp, and strings, The new version was introduced in America in 1920. The four orchestrated movements, Prelude, Forlane, Menuet, and Rigaudon, have no programmatic content and the titles identify the forms used. "Le Tombeau de Couperin" is a souvenir of World War I. Each movement is dedicated to the memory of a French soldier fallen in battle. The "Tombeau" form dates from the seventeenth century and is a musical "homage" to Francois Couperin, clavecinist of Louis XIV, and one of the great names of French music. "The separate movements, cast in eighteenth century dance forms often used by Qouperin have been described as "tonal wreaths," not too somber nor too profuse, laid with tenderness on an unforgotten tomb." This piece represents Ravel's extreme effort to express himself in the simplest possible manner. The music is subtly archaic; form, line and texture artfully suggest …

Due to the increased importance of music in everyday life, the expanding enrollment in most colleges brought on by the return of war veterans, and the ever increasing popularity of dance music, more and more schools are incorporating dance bands as part of their musical program in connection with their recreation and college promotion activities. Since this is more or less a new development, it is of interest to all school administrators to see just what is being done in regard to dance music in the schools. Therefore, it is the purpose of this study to determine the extent and usage of popular dance bands in colleges at the present time, and to present certain problems which are apt to confront the administrator of such an organization.

The purpose of this study is to make an investigation of the musical score of "The Passion According to St. Matthew" with attention given to the pictorial elements or symbolism in the composition. The study is confined mainly to the one composition, but attention is given to the historical background of the work, and examples of the pictorial technique of sacred music as it had been developed in the Netherlands.

Within this document, the writer hopes to present a thorough study of the various methods and materials which are available for the beginning, intermediate, and advanced band classes of the Goose Creek Independent School District, Goose Creek, Texas, taking into consideration the organization of the school system as it exists at the present time.

There is often difficulty in determining the most desirable medium to be used in the composition of music. After careful consideration, the writer chose the medium of piano to present the following musical composition. In the initial investigations, it appeared that the vocal idiom might provide a more suitable choice. However, piano teaching rather than work in the vocal field will probably consume a greater part of the writer's time in the future. The writing of a piano composition, then, appeared to be a justifiable decision.

The following study deals with the structural elements of the six Mendelssohn Organ Sonatas, opus 65. The problem excludes stylistic considerations. The Mendelssohn organ works are the greatest that appeared from the time of J. S. Bach until the nineteenth century. The Sonatas "have long been accepted as 'classics' of the instrument." Of them Mendelssohn himself wrote in a letter to his publisher, "I attach much importance to these Sonatas." They have no formal predecessor and no formal counterpart in subsequent organ literature. Their structures are hybrid, contrasting, unique, and unconventional; yet, to the writer's knowledge, there is no material available which presents a thorough, scientific formal analysis. It is hoped that the following study will fill this need.

The instrumental composition of the band is an outgrowth of utilitarian improvisation. The well-developed percussion section, and the voluminous reed and brass sections are a carry-over from the Military, where the emphasis was on functional beating of time for marching. Mobility and volume sufficient for the accompaniment of troop movements were also necessary. Until recent times, the band existed only for functional matters, never as an independent and self-justifying medium with its purpose being a musical organization. Through the growth of military, professional, and school bands, the band of today has developed into a musical organization in its own right, which can perform almost anything in the technical range of composition.

The purpose of the creative approach in music education is to furnish the child with opportunities for originality of expression and for freedom and adventure. This thesis examines the goals and purposes of using creativity in music eduction.

A study of the critical work of Virgil Thomson, critic for the New York Herald Tribune and of Olin Downes, music critic for the New York Times, will perhaps give a better understanding of how different emphasis on purposes may influence critical work. Each man wrote brief, journalistic reviews. They attended many of the same concerts; yet, their critical judgments differed in many respects.

The purpose of this study is to make the Protestant church workers more efficient in their use of music in religious work by giving them a clear conception of the kind of music to be used and by suggesting detailed plans and methods by which desirable results may be secured in the use of church music. Ideal standards have their place, but here it is proposed to be matter-of-fact, practical and concrete, and to secure immediate results with the average church member and choir singer as the final criterion in every phase of the work. The purpose is not to emphasize high ideals but to instruct and inspire all those who have leadership in the service of church music, that they may be able here to provide the greatest religious helpfulness that the use of music can bring the souls to whom they minister.

Though perhaps we shall never know the music to which these religious lyrics were written, the poems have never ceased to be the source of inspiration for the spirits of men since they were first sung. Each psalm seems to have an underlying purpose with a personal message for each reader. In the Book one can find a reply to every sort of question, for the Psalms are filled with expressions of emotion brought about by all human experience. The collection of these 150 songs or psalms makes up what is known as the Hebrew hymn-book or the Book of Psalms.