In music education today there is a trend toward a greater understanding of the fundamentals of music. Investigations have been undertaken to determine exactly what a musical tone is made of and why individuals respond to it in certain ways. In all fields these endeavors have led to an objective view of what has been primarily a subjective area. A knowledge of why something happens or of a relationship between factors in a situation is always of ultimate value in teaching situations. In this light many studies have been done concerning musical tone analysis, and particularly, clarinet tone analysis. The clarinet has been the center of tone analysis for some thirty-five years, perhaps because it is an acoustical enigma, or perhaps because there are more clarinetists interested in analyzing their instrument. In any case, analyses have been performed dealing with characteristic partial spectrums, design of the bore in relation to the tone, effect of the reed on tone, effect of the player on tone, and comparisons of tones produced by clarinets made of various substances. This paper deals with the latter of these topics: comparisons of tones produced by clarinets made of various substances. The object of this research is …

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.

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 …

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 is to trace the invention and development of a greatly abused instrument, the saxophone, and its use in the symphony orchestra. The first chapter concerns the instrument's invention and acceptance. The second chapter discusses physical characteristics of the saxophone. The third chapter deals with the particular methods of using the saxophone in orchestral literature by various composers, from its use in the nineteenth century through the present. An appendix provides a comprehensive listing of orchestral literature in which the saxophone is utilized.

The need for a valve mechanism of some type was first felt by French horn players, and after the horn's valve system had somewhat proved itself to composers as well as instrumentalists, it was adapted for the other brass instruments.

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 …

Since the nineteenth century the Two Part Inventions have become standard repertoire for piano students. However, piano teachers have often failed to give serious consideration to the suitable selection of Inventions for study. Piano students have commonly formed a dislike for Bach's piano music because of an ungratifying initial experience. There is little material written in English dealing with the Two Part Inventions. Those studies of the Inventions which do exist consist mainly of brief articles in periodicals and limited discussions in piano literature books. Therefore, there seemed to be a need for a systematic collection of pedagogical ideas concerning the Two Part Inventions. In addition, it was felt that an analysis of the problems in each piece and a subsequent graded list of the Inventions would be a step toward a more intelligent and more knowledgeable approach in the teaching of these compositions.

In this thesis, Ned Rorem's Poems of Love and the Rain is analyzed, with conclusions being drawn in the sphere of musico-textual relationships within individual songs.

The purpose of this study was to examine the justifications for and production problems of presenting elementary children in public performances.

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.

Computers are used in the music field for generation of sound, for composing music, for analysis of music, and for musicological applications, such as cataloguing a bibliography of music literature. These areas are relatively new aspects of computer usage, and research is being conducted to stay abreast of current technological advancements. Avant-garde composers are challenged by new advances in music. Computer-generated music is one of the new trends, but the composer is usually limited in the use of the medium for two reasons: there are no computers to which he may have access, and/or there is not enough knowledge about computer-generated music. The composer sometimes feels that he must have vast knowledge of the computer before he can attempt to use it in musical composition; however, a limited amount of investigation of computer-generated music has shown that methods can be codified to the point where great technical knowledge is not required of the composer.

Computers are used in the music field for generation of sound, for composing music, for analysis of music, and for musicological applications, such as cataloguing a bibliography of music literature. These areas are relatively new aspects of computer usage, and research is being conducted to stay abreast of current technological advancements. Avant-garde composers are challenged by new advances in music. Computer-generated music is one of the new trends, but the composer is usually limited in the use of the medium for two reasons: there are no computers to which he may have access, and/or there is not enough knowledge about computer-generated music. The composer sometimes feels that he must have vast knowledge of the computer before he can attempt to use it in musical composition; however, a limited amount of investigation of computer-generated music has shown that methods can be codified to the point where great technical knowledge is not required of the composer.

The purpose of this study is to trace the development of a practically extinct woodwind instrument, the basset horn, and its use by composers as both a solo and an orchestral instrument. The first chapter concerns the development of the basset horn from the earliest imperfect specimen to the modern-day instrument. The second chapter deals with the physical characteristics that are peculiar to the instrument. The third chapter discusses the literature and musical history of the basset horn. An appendix provides a comprehensive listing of literature for the instrument.

This study outlines the life of Carl Nielsen, and explores the symphonic elements of his work The Commotio.

The comparison of structural and formal traits in the concert grossi of Corelli's Opus VI and Vivaldi's Opus III will proceed in the following manner: first, the cycle as a whole will be taken up; next, the individual movements will be considered. Finally, in each instance of comparison, Corelli's music will be dealt with first.

The real importance of the twelve-tone system would seem to lie in its structural possibilities. It combines the inherent potentialities of the theme of a movement in sonata form with those of the theme of a fugue and of variations. It creates a coherent texture throughout the single movements and the work as a whole. It is needless to say that this kind of coherence can also be achieved in serial compositions, that is, in movements in which not the full row of twelve tones, but only seven or eight or nine tones form the basic row.

In music, the term verismo usually refers to a realistic or naturalistic movement in Italian operas of the late nineteenth century. From the dawn of Italian opera four features have been manifested--umanita (humanism), sincerity (sincerity), passione (passion), effetto (not only theatrical effect but the supreme dramatic moment). The elements of verismo are among the characteristics present in the operas of Giuseppe Verdi where they reached a zenith of development. It is upon these veristic aspects, as identified in the second chapter, that the operas Cavalleria Rusticana and Pagliacci were based. Rigoletto, Il Trovatore, and La Traviata richly exhibit these elements of verismo which have been identified in the fourth chapter.

Whereas general conceptions of Menotti's style are available in various articles, none of the previous writings on this subject have attempted to give a detailed analysis of the techniques and devices used by Menotti in his operas. As has been stated, Menottils greatest asset as a composer of opera is his genius for employing a unique fusion of music and drama. The purpose of this study, then, is to isolate the various concepts and devices of composition used by Menotti and deduce how he has used them to create dramatic impact. The work chosen for this analysis is The Medium, which established Menotti as the foremost composer-librettist of modern opera.1 4 It is felt that this opera offers a cross section of the concepts and devices used in all of the operas composed thus far by Menotti.

The purpose of this report is to present a plan of study for a course in vocal pedagogy.

The purpose of this research is to program cycles or units of study which may be used with the Cyclo-Teacher Learning Aid, a commercial teaching machine produced by the Field Enterprises Educational Corporation of Chicago. The program will consist of the mechanics of music and will be designed for use with the seven- and eight-year-old child in primary choirs of the graded choir program of Southern Baptist churches.

The purpose of this study was to design a rehearsal method for presenting the historical and theoretical aspects of selected works for concert band. 1. 'What systematic approach can be designed for studying the historical aspects of a musical work? 2. What systematic approach can be designed for studying the theoretical aspects of a musical work? 3. What compositions can be used to demonstrate historical and theoretical elements? 4. What rehearsal method can be devised by applying the systematic approaches for studying historical and theoretical aspects to the selected works?