This thesis examines the history of the use of trumpet and cornet, and analyzes their use in several Stravinsky pieces: Petroushka, The Rite of Spring, L'Histoire du soldat, and Ragtime. The study concludes that Stravinsky, at the time of the composition of the analyzed pieces, was instrumental in elevating the cornets and trumpets to a more important position in the orchestra.

In this study, every effort has been made to cover the principal factors in the solos from the incidental music which are peculiar only to this part of Purcell's work. The melody and text have been of primary concern. The effects of the social and economic background of the times and the actual dramatic setting of the songs are given careful attention. It is not the purpose of this work to study the harmonic style of Purcell. This is admittedly a most intriguing and attractive subject. However, as the principal accompaniment is the continuo and the implied harmonies of his figured bass are not always clear the harmonic style will not be treated as an element of the solos. It is fully worthy of individual treatment which would be free to draw upon the vast instrumental examples of his work in a comprehensive study of his style. A complete survey of the songs is included in Appendix D for reference and for the information of the reader. It is hoped that the reader will be encouraged to pursue a closer study of these songs, and to consider their possible use today.

"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.

It is interesting to note that several of Ravel's compositions for the piano were successful only after he had orchestrated them. Ravel, a pianist, had a natural gift for orchestration, and when writing for the piano he seems to have projected his thoughts to the orchestra; thus some of his works are more successful' for the orchestra than for the piano. Since he orchestrated several of his own piano compositions, these present an excellent opportunity for a study of his orchestrations.

This thesis provides a brief history of opera as well as analysis of the operas of Giuseppe Verdi.

It is the purpose of this thesis to show Martin Luther's influence and trace his ideas in the development of music in the Lutheran Church.

The purpose of this thesis is to trace the history of the trumpet in chamber music through the first half of the 20th century. It aims to discuss the technical advances in the instrument and demonstrate the importance of the trumpet in this medium. Chamber music is defined, in this thesis, as all serious instrumental music for two or more instruments played with one instrument to a part. The selections have been chosen on the basis of recognized merit of the composer, the variety of instrumentation, and the availability of music.

This work is a study of the historical and social background, the life and the compositions of Heinrich Schutz.

It is the purpose of this thesis to offer some pertinent information in the form of a documentary symposium and analytical study in which historical and technical matters relative to Beethoven's fugal techniques in his choral compositions will be presented. References to specific musical examples in this composer's works will be illustrated by diagrammatic and verbal analyses, and correlated with the pagination of the scores of his complete works as published by Breitkopf and Hartel.

The harmony of Vaughan Williams defies classification in terms of traditional harmony alone, making use as it does at times, of structures of superposed fourths, so-called "added-note" chords, and random sonorities, as will appear. Therefore, the chords will be placed into two principal categories of usage, traditional and non-traditional.

To provide a background for this study, an attempt has been made to correlate the facts known about Playford's life and work. The examination of the treatise has two main objectives: 1. to give an exposition of the material presented by Playford (which includes not only theory of music with examples, but also instructions on singing and on playing the viol and the violin, as well as a number of musical compositions); and 2. wherever possible, to discover the sources used by Playford in writing the treatise.

The purpose of this study is to determine the general style characteristics of the works for solo trumpet by Alan Hovhaness, viz., Khrimian Hairig, Overture to Avak, Prayer of Saint Gregory, and Haroutiun. The musical elements of form, melody, harmony, tonality, rhythm, texture, and counterpoint are examined objectively in order to determine the essential features of the music. Further consideration is given to the idiomatic use of the solo trumpet in these compositions. Each composition is examined separately, the conclusions and generalizations of the style features being reserved for the final chapter.

The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 48) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and performance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal literature of the Romantic period.

This study of Franz Liszt presents the Hungarian master as a figure of conflicting forces, a sort of conflicting forces, a sort of Dr. Jekyl and Mr. Hyde of music. In other words, Liszt was a dual personality. In this study of Liszt's major piano works, it will become evident that several factors were vital in the ultimate realization of these works.

To summarize in general the use of modes by Vaughan Williams, it could be said that the works that have been analyzed are characterized by frequent use of the traditional modes, but in a very free manner. The "Kyrie" of the Mass, "Pretty Bess," "Jolly Rutterkin" and Te Deum are confined somewhat closely to given modes, with some changes of mode, changes of tonality and use of altered chords. The "Gloria," "Credo," "Sanctus," "Osanna I," "Benedictus," "Osanna II" and "Agnus Dei" of the Mass, however, contain many striking chromaticisms. These chromaticisms are the result of use of many altered chords, a good deal of modulation and much combining of modes, often with startling cross-relations. The use of seventh chords in "Pretty Bess," "Jolly Rutterkin" and Te Deum further complicates the picture from that of the sixteenth century.

Although Willan is first and foremost a musician of the church, it is obvious that he has not cloistered himself in the organ and choir loft, as it were. As a composer he has written significantly in many fields, and as a teacher he has had a major influence in shaping the musical thought of a boundless number of Canadian musicians. As a musician of the church he has kept alive the great English traditions and made his own laudable and abundant contributions to church music practices. One of the first Canadian musicians of wide eminence, he has set an example worthy of the attention of younger Canadians who will contribute to the musical development of the nation.

The present investigation deals with the cantatas of Dietrich Buxtehude written for three voice parts with instrumental accompaniment. An examination of the various musical forms which Buxtehude employed in these cantatas will comprise one of the two areas in this study. The other area shall be concerned with Buxtehude's usage of word painting (i.e., musical portrayal of word meanings). Before entering an investigation of Buxtehude's music, his life and background should be considered.

The purpose of this thesis is to investigate the use of isorhythm in two of Arnold Schoenburg's chamber works, the Third and Fourth String Quartets. The study of rhythm in twelve-note music has been generally relegated to a position less prominent than that held by the study of any of the other important aspects of the style. This condition is due probably to the fact that rhythm underwent less change with the advent of the twelve-note school of composition than melody, counterpoint, or harmony experienced. However, Rufer states that "rhythm has a special formal function in Schoenberg's twelve-note music, in addition to its motivic function and to that of creating subdivisions.

It would be impossible to trace the evolution of the form of the scherzo without treating also to some extent the history of the minuet, as the scherzo would hardly have come into being in the way it did had there not been the minuet, even though as the scherzo grew to maturity it resembled less and less its parent-form. This thesis examines the early use and origin of the scherzo, and its use and evolution in the works of Beethoven.

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.

The Revolution of 1910 in Mexico marked a great political and social upheaval. At the same time a recasting of Mexico's music occurred. Modern Mexican music is a unique combination of the influence inherited from Europe and the indigenous music of the country. This work attempts to trace the development of that combination. Chapter I gives a background of music in Mexico through Pre-Cortesian times, the colonial period and the operatic nineteenth century. Chapter II deals with the men who shaped present day music in Mexico. Chapter III is an analysis of selected twentieth century piano works. The analysis shows the tendencies of ten Mexican composers in their use of melody and rhythm. It includes a discussion of harmonic structure and tonality. The composers whose works were chosen for consideration in the analysis range from Manuel M. Ponce, considered the father of modern Mexican music, to Carlos Chavez, recognized as the outstanding exponent of music in Mexico today.