Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authentication, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tradition of the craft rather than on the individual maker.

This study is concerned with the examination of choral symphonies by major nineteenth-century composers. Its purpose is to delineate the common characteristics which these works have. Emphasis is given to the investigation of the choral elements in the symphonies. Detailed musicological studies of nineteenth-century music are minimal; there has. been a particular lack of interest in nineteenth-century works for chorus. Therefore, the principal sources of data for this study were the full scores of the following nine symphonies: Beethoven's Symphony No. 9, Berlioz' Romeo and Juliet and the Funeral and Triumphal Symphony, Mendelssohn's Lobgesang, Liszt's Faust Symphony and Dante Syrmphony, and Mahler's Symphonies Nos. 2., 3, and 8. Other important sources included major biographies of the composers of the symphonies listed. chapter is devoted to each of these composers, subdivided as follows: a general survey of the composer's other works for chorus and/or orchestra; the historical facts connected with the composition and first performance of the individual symphonies; analysis; and conclusions.

Although Shakespeare deliberately downplays characterization in his moonlit dream fantasy, both Britten and Siegmeister exploit this dramatic element as the basis of their opera settings of the play. Through the operas, the shallow characters take on new dimensions, creating musical experiences existing quite independently of Shakespeare, while at the same time retaining the atmosphere of a dream-fantasy. Placing emphases upon varying aspects of the play, the two composers create entirely different revelations from the Bard's dream. This paper presents a study of the way in which drama and characterization are treated in the operas, A Midsummer Night's Dream and Night of the Moonspell.

Composer Michael Nyman wrote the one-act, minimalist opera The Man Who Mistook His Wife for a Hat, based off the neurological case study written by Oliver Sacks under the same title. The opera is about a professional singer and professor whom suffers from visual agnosia. In chapter 1, the plot and history of the opera are discussed. Chapter 2 places The Man Who Mistook His Wife for a Hat alongside a selection of minimalist operas from Philip Glass and John Adams. Chapter 3 contains a history of the Fluxus art movement and shows where Fluxus-like examples appear in the opera. Chapter 4 includes Nyman's usage of minimalism, vocal congruencies, and Robert Schumann as musical elements that convey the drama.

Santa Eulalia M. Md. 7, dated January 20, 1600, is part of the San Miguel Acatán Repertory, which originated in the northwestern highlands of Guatemala and is presently owned by the Lilly Library of Indiana University. The manuscript contains thirty-four four-part songs and dances, two thirds of which are villancicos for Christmas, Easter, the Eucharist, and the feasts of All Saints and St. Michael. The remaining third consists of Latin biblical texts in either fabordón or contrapuntal settings, three pieces with Náhuatl texts, and an instrumental pavana. The thesis contains a modern edition of Santa Eulalia M. Md. 7 with critical notes and commentary, a comparison of the pieces with villancicos and fabordones of European origin, and a survey of several aspects of Mayan culture.

This study is a translation of and commentary on an eighteenth-century treatise written by Juan Miguel Urtasun de Yrarraga. Its purpose is to contribute to the field of knowledge of eighteenth-century Spanish materials, making an original work of that era accessible to the reader unfamiliar with the Spanish language.

Francis Poulenc's one-character opera La Voix humaine (1958), a setting of the homonymous play by Jean Cocteau, explores the psychological complexities of an unnamed woman as she experiences the end of a romantic relationship. During the forty-minute work, she sings in a declamatory manner into a telephone, which serves as a sign of the unrevealed man at the other end. Poulenc uses musical motives to underscore the woman's changing emotional states as she recalls her past relationship. The musical dramaturgy in this work resignifies Debussy's impressionist symbolism by collapsing devices used in Pelléas et Mélisande in a language that shifts between octatonicism, chromaticism, harmonic and melodic whole tone passages, and diatonicism. This late work recontextualizes elements in Poulenc's Dialogues des Carmélites (1953-56), and the end of the opera provides a theme for his Sonate pour Clarinet et Piano(1962), as Poulenc reflects on his youthful encounters with Cocteau, Erik Satie, and Les Six.

The purpose of this paper is to create a modern transcription/edition and an historical study of Munich Mus. Ms. 1511b thereby helping to define the social and pedagogical ramifications of lute repertoire from the mid-sixteenth-century. Because of the amateurish nature of the compositions, the conclusion of this study is that a member of the Herwarth family probably used the manuscript for learning purposes. Dance, grounds and other related forms found in the manuscript are discussed. Also included is an incipit concordance that can be used as a cross-reference for further research.

Wagner's second opera Das Liebesverbot, composed in 1835 and first performed in Magdeburg in 1836, could be termed Wagner's "Italian" opera. It represents Wagner's attitudes and feelings at the time of its composition. During this period in Wagner's life the composer had become particularly enchanted with Italian music and also with the Italian way of sensuous and carefree living. At the same time his disillusionment with German conservatism and pedantry also had an influence on the composition of this opera.

In the early years of the nineteenth century, when bowed string instruments were assumed to have reached the apex of their development, there arose among antiquarians and scholars a widespread interest in tracing the ancestry of the violin and related members of the chordophone family. This task proved to be exceedingly formidable not only because of the enormous amount of often obscure evidence which had to be taken into consideration but also because of the manner in which many items of evidence seemed to contradict each other. The issue is still not resolved to the complete satisfaction of every party concerned. Literally scores of different and often conflicting arguments have been advanced, and it could perhaps be justly said that the only furtherance thus far realized has been that of the confusion rather than the resolution of the issue.

Many consider Gace Brulé (c1160-c1213) and Thibaut IV, Count of Champagne, (1201-1253) to have been the greatest trouvères. Writers on this subject have not adequately examined this assumption, having focused their energies on such issues as tracking melodic variants of individual works as preserved in different song-books (or chansonniers), the interpretation of rhythm in performance, and creation of modern editions of these songs. This thesis examines the esteem enjoyed by Gace and Thibaut in both medieval and modern times which derives from their exemplarity of, rather than difference from their noble contemporaries.

Three works by Tippett stand together among his compositions because of their similarity of subject and performance medium. All are large works for soloists, chorus and orchestra, on meditative librettos, and intended for unstaged presentation. Only A Child of Our Time is given the genre designation "oratorio" by Tippett. An in-depth analysis of these works and the model for A Child of Our Time, Handel's Messiah, reveals that though they neither present religious subjects nor, in the case of The Vision of Saint Augustine and The Mask of Time, exhibit traditional formal divisions associated with oratorio, Tippett's works do indeed belong to the oratorio repertoire of the twentieth century.

Sebastien de Brossard (1655-1730) was a French priest, a zealous collector and historian, a musician of merit, and the author of one of the first dictionaries of musical terminology, the Dictionnaire de musigue of 1703. Largely self-taught in music, Brossard studied theology and philosophy at Caen. He was appointed curate at Strasbourg A in 1687 and maitre de musique in 1689. In 1698 he was made grand chapelain and mattre de musique at Meaux, where he remained until his death. His complete works and immense personal library are contained in the Bibliotheque Nationale in Paris. The first edition of Brossard's solo motets was published in 1695 under the title Elevations et motets a voix seule, avec la basse continue. The title Prodromus Musicalis was used for the second edition, published in 1702, and may be loosely translated "Musical Forerunner" or "Musical Prelude." The motets contain a vocal line with text and a figured bass. The present edition presents a faithful rendering of the figured bass and was prepared from a second edition copy contained in the North Texas State University Music Library. In order to enhance the performance and understanding of the eight motets, much of the prefatory material included …

John Cage’s Concerto for Prepared Piano and Chamber Orchestra (1950-51) holds a unique position within the composer’s oeuvre as the first work based in part on chance-derived compositional procedures. Cage entered into such practice gradually, incrementally abandoning subjective taste and personal expression through the course of the work. Drawing from the philosophical framework provided by Cage’s "Lecture on Nothing" (1950) and "Lecture on Something" (c. 1951-52), this thesis explores the aesthetic foundations of the concerto and examines Cage’s compositional methodology throughout its three movements. Special attention is paid to the procedure underlying the first movement, whose analysis is based largely on the composer’s manuscript materials for the work.

This thesis examines a collection of three songs, "In Flanders Fields," "He Is There!," and "Tom Sails Away," written by Charles Ives in 1917, from primarily a literary perspective involving Transcendentalism and intertextuality. Ives's aesthetic builds upon the principles of Transcendentalism. I examine these songs using the principles outlined by the nineteenth-century Transcendentalists, and Ives's interpretations of these beliefs. Another characteristic of Ives's music is quotation. "Intertextuality" describes an interdependence of literary texts through quotation. I also examine these songs using the principles of intertextuality and Ives's uses of intertextual elements. Familiarity with the primary sources Ives quotes and the texts they suggest adds new meaning to his works. Transcendentalism and intertextuality create a greater understanding of Ives's conflicting views of the morality of war.

The symphonie concertante, a product of the late eighteenth-century Parisian concert societies, provided a vehicle for display of the virtuoso style sought by contemporary audiences. The works of the Chevalier Joseph Boulogne de Saint-Georges, one of its chief exponents, served as strong influences on the development of the form and its diffusion throughout Europe. The symphonies concertantes of Opus VI, No. 1 and Opus X, No. 2 (according to thematic numbering of Barry S. Brook) date from ca. 1775 and 1779 respectively. A complete set of parts for each is to be found in the private collection of M. Andre Meyer in Paris (Opus VI) and in the Universitetsbiblioteket at Lund (Opus X). The thesis contains background material on contemporary Parisian musical society and the life of Saint- Georges, and a modern scoring of the above symphonies concertantes with analysis and conclusions.

Gustav Holst's one-act opera Sāvitri (1908-9) represents a turning point in his compositional style, which came at a significant time in British history. Holst combines a simpler style informed by his work with English folksong with the Wagnerian style that permeated his earlier compositions. Although influenced by a British imperialist view of the world, Sāvitri renders Hindu-Indian culture in positive terms without relying on the purely exotic, offers a perspective on gender relationships that does not depend solely on convention, and presents the commoner as the British ideal rather than romanticizing the aristocracy. The result is an opera subtle in its complexity, approaching the profound themes of love, death, and spirituality with emotional restraint and self-control.

The tragedie en musique of Quinault and Lully was a highly successful new genre, representative of contemporary Parisian life. However, it is still largely viewed in the negative terms of its detractors, the proponents of classical tragedy. The purpose of this study is to redefine the tragedie en musique in terms of seventeenth-century modernism. An examination of the society and poetry of the contemporary gallant world provides the historical framework for an analysis of both the libretto and music of Quinault and Lully's Atys (1676). This study attempts to bridge the historical and cultural distances that until now have hindered accessibility to this major new genre in seventeenth-century literature and music.

In the summer of 1906, Marion Bauer (1882-1955) boarded a ship to Paris to meet with Raoul Pugno, a French pianist and composer. Juliette Nadia Boulanger (1887-1979) was also close with Pugno around the same time. Living with the Pugno family in Gargenville during the summer, Bauer was able to travel to Paris, where she met several important musicians of the time and also nineteen-year-old Boulanger. Pugno, who worked closely with Boulanger, asked her to teach counterpoint and harmony to Bauer. Boulanger agreed and reportedly asked Bauer for English lessons in payment. Both women went on to become important music pedagogues, teaching hundreds of students. Their meeting allowed Bauer and Boulanger to share their ideas on teaching and music with each other. As time passed, the relationship between the two women fade from collective memory, but Boulanger's teaching principles of harmony, hearing, la grande ligne, and music history and literature live on through her students and fellow teachers and composers. Bauer's writings demonstrate similarities to these four key principles. Using Kimberly Francis and Emily Green's understanding of Pierre Bourdieu's theory of cultural production and an analysis of Boulanger's pedagogical principles, I believe that Boulanger's early accumulation of cultural capital and …

In 1939, composer Julia Smith's first opera Cynthia Parker dramatized the story of a Texas legend. Smith manipulated music, text, and visual images to make the opera accessible for the audience in accordance with compositional and institutional practices in American opera of the 1930s. Transparent musical themes and common Native Americans stereotypes are used to define characters. Folk music is presented as diegetic, creating a sense of authenticity that places the audience into the opera's Western setting. The opera is codified for the audience using popular idioms, resulting in initial but not lasting success.

Music that is categorized as part of the Indianist movement in American music (ca. 1890-1925) typically evokes Native American culture, ritual, story, or song through compositional gestures. It may also incorporate Native American tunes. Amy Beach (1867-1944) is considered to have composed five Indianist works, but her Theme and Variations for Flute and String Quartet, op. 80 has not been included as one of them. This thesis rethinks categorization of the piece, seeking the "Indian" in it through examination of its gestures, instrumentation, and relationship to contemporary Indianist compositions.

Benjamin Keach (1640-1704) was a seventeenth-century preacher and hymn writer. He is considered responsible for the introduction and continued use of hymns, as distinct from psalms and paraphrases, in the English Nonconformist churches in the late seventeenth century, and is remembered as the provider of a well-rounded body of hymns for congregational worship. This thesis reviews the historical climate of seventeenth-century England, and discusses Keach's life in terms of that background. Keach's influence on congregational hymn singing, hymn writers, preaching, and education is also examined. Keach's writings and contributions to hymn singing are little known today. This thesis points out the significance of these writings and hymns to seventeenth-century religious life.

Johann Anton Kobrich (1714-1791) was the priest and organist of the parish church of Landsberg am Lech in upper Bavaria from 1730 until his death. A prolific composer, Kobrich wrote several works for organ, including the Wohlgeubter Organist (1762), a three-part collection of preludes, fugues, and toccatas. The major portion of this thesis consists of an edition of twenty-six selected pieces from the original fifty-eight in this collection. Also included are a bibliography of Kobrich, a discussion of his significance among other contemporary composers, and a survey of the organs and organ music of eighteenth-century southern Germany. In addition, there is an analysis of the Wohlgeubter Organist and a commentary on its significance.

Paulus Matthysz, a prominent music printer in Amsterdam during the seventeenth century, published Jacob van Eyck's Der Fluyten Lust-hof and a collection entitled 't Uitnement Kabinet. Three extant copies of Lust-hof include a tutor Vertoninge...op de Handt-fluit, presumably by Matthysz, and a tutor by Gerband van Blanckenburgh, Onderwyzinge...op deHandt-Fluyt. Their content is not correlated with Lust-hof, and they were presumably designed for inclusion in the Kabinet II. Confusion over the tutors' conception has led to published misinformation jeopardizing their historical worth. The casual generalizations regarding the two tutors can be refuted by reestablishing the interrelationship between the tutors and the two collections. This paper employs a comprehensive study into their origins in order to rectify how the tutors are referenced in the twenty-first century.