In spite of an increasing interest in the analysis of Renaissance music by contemporary theorists, few analyses of lute music exist. It is hoped that this thesis will serve to open a new area of analysis to scholars of Renaissance music. Chapter I deals with the background information necessary for the analysis, including Dowland's biography, lute history, technique, and notation, and the practice of modality on the lute. An overview of Dowland's music, especially the solo lute music, ends the chapter. Chapter II traces the form and development of the fantasia and surveys Dowland's seven fantasias. In Chapters III-V, the works are divided according to mode and analyzed in terms of counterpoint, dissonance, motivic development and modality. Chapter VI provides concluding remarks.

This thesis provides evidence that a particular "topos" from the high Baroque's exalted style, the so-called chaconne bass, made a profound impact on a considerable body of Mozart's compositions from the last ten years of his life in Vienna. After identifying the topos in the first chapter, a detailed study in chapter two shows how Mozart's faith in the extraordinary emotional power carried by this topos was enough for him to work it into all of the completed keyboard fantasias. Chapter three illustrates that an understanding of the chaconne bass and its unmistakable association with the fantasia style can shed new light on three of Mozart's most enigmatic compositions from his final period, K. 465, K. 491, and K. 527.

This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.

The objective of this paper is to show how Olivier Messiaen's Mode de valeurs et d'intensites influenced the development of postwar serialism. Written at Darmstadt in 1949, Mode de valeurs is considered the first European work to organize systematically all the major musical parameters: pitch, duration, dynamics, articulation, and register. This work was a natural step in Messiaen's growth toward complete or nearly complete systemization of musical parameters, which he had begun working towards in earlier works such as Vingt regards sur 1'Enfant-Jesus (1944), Turangalila-symphonie (1946-8), and Cantyodjaya (1949), and which he continued to experiment with in later works such as Ile de Feu II (1951) and Livre d'orgue (1951). The degree of systematic control that Messiaen successfully applied to each of the musical parameters influenced two of the most prominent post-war serial composers, Pierre Boulez and Karlheinz Stockhausen, to further develop systematic procedures in their own works. This paper demonstrates the degree to which both Boulez' Structures Ia (1951) and Stockhausen's Kreuzspiel (1951) used Mode de valeurs as a model for the systematic organization of musical parameters.

This thesis presents an analysis of Copland's first major serial work, the Quartet for Piano and Strings (1950), using pitch-class set theory and tonal analytical techniques.

Dominick Argento (b. 1927) occupies an important position among American composers. This thesis discusses his 1980 choral work Peter Quince at the Clavier: Sonatina for Mixed Chorus and Piano Concertante. On the surface, the choral and piano parts of this four movement work often sound dissimilar. To create unity within this composition, Argento utilizes a small number of generative elements that govern the pitch, intervallic, and rhythmic dimensions of the composition. This thesis also discusses the relationship between the music and the text, a poem by Wallace Stevens (1879-1955).

Harry Partch's tuning system is an important contribution to tuning theory, and his music is original and significant. Part One of this study presents a brief biography of Partch, a discussion of his musical aesthetics (Monophony and Corporeality), and a technical summary of his tuning system. These elements are placed in historical perspective. Part Two presents a comprehensive analysis of "And on the Seventh Day Petals Fell on Petaluma," discussing the organization of formal, textural, rhythmic, linear, and tonal elements in the thirty-four "verses" of the work. Part Two concludes by showing how large-scale structure in the work is achieved through an overlay process.

The study of Bela Bartok's Four Dirges for piano (1909- 1910) is significant in that this period of 1908 to 1910 was particularly experimental and formative for Bartók, especially in tonal aspects of his compositional style. Furthermore, very little research and analysis has been done on these smaller works. This thesis contributes an analytical study of this early style and also shows its influence on larger mature works in subsequent years. A complete analysis on each dirge contains graphs of tonal structures and patterns constructed by Bartok within each composition. The concluding chapter summarizes overall characteristics of the dirges.

This study first narrates on the importance of theory of lü-lü (theory of tone generation) in the history of Chinese music from the Chou Dynasty (ca. 400 B.C.) to the Chin Dynasty (ca. end of 19th century), its symbolism and ramification. The main body of this study is devoted to critical translation of Huang Ti-Pei's Perspectives of Chinese Music, particularly those sections which give chronological narratives and comparative critiques of major theories of lü-lü, in order to provide the western scholarship with documents toward understanding the evolution of tone system of Chinese music. The study concludes with a comparison of Chinese tone systems from ancient time to present, and offers comments on comparison of tone systems between the eastern and western musics.

This study is an attempt to investigate part form structures in Brahms' Intermezzi, Opp. 116-119. Chapter One deals with the stylistic perspective in Brahms' piano writing in general as compared to his late works. Chapter Two concerns three aspects: 1) structural norms in part forms which are presented in many currently available textbooks on musical forms, 2) application of selected Brahms Intermezzi to above norms, and 3) the role of cadential types in part forms. Chapter Three analyzes structural aspects of all the Brahms Intermezzi in Opp. 116-119 and comments on pieces which appear problematic in terms of structural layout. Chapter Four, deals with the relationship between different thematic types and overall formal schemes.

Sergei Prokofiev experimented with styles which shocked the public because his ideas were far ahead of his time. In the 1930's, the Soviet composer turned to a neoclassical style. His Sonata, Opus 119, for violoncello and piano, is a product of this final period of composition. The purpose of this study is to determine the stylistic characteristics of this sonata. This study includes a detailed description of the compositional techniques Prokofiev used in this work. These techniques are categorized according to the basic stylistic elements. The sources of data are comprised of the score of Prokofiev's Sonata, Opus 119, as well as books on twentieth-century music and on Prokofiev as a man and as a composer. The score was used for purposes of analysis.

The purpose of this thesis is to contrast Wagner's usages of the ninth, eleventh, and thirteenth intervals and chords, as found in Die Walküre, Act I and Götterdämmerung, Act I.

Sections of Haydn's piano sonatas chosen for study have been analyzed to determine the composer's technique in modulation and the key schemes resulting from these modulations, and to discover the consistent patterns and exceptional patterns in these sonata movements as a group. As revealed in this analysis, Haydn is consistent in that the key scheme patterns of several development sections are identical. Also modulations, as categorized according to key relationships, are often accomplished by the same or similar procedures. However, there are important and interesting exceptions to these consistent practices which add variety and seem to contribute to Haydn's growth as a composer

The problem with, which this thesis is concerned is that of analyzing and comparing the fugal writing and contrapuntal style of J. S. Bach in the fugue expositions of The Well-Tempered Clavier and that of Paul Hindemith in the fugue expositions of the Ludus Tonalis. This comparison is made on the basis of a comprehensive analysis of the fugal expositions both collections of fugues mentioned ( The Well-Tempered by Bach and the Ludus Tonalis by Hindemith). Chapter I includes a discussion of the careers and compositional techniques of Bach and Hindemith. An emphasis is placed on a comparison of Bach's fugal writing with that of his immediate predecessors (composers of the seventeenth and early eighteenth centuries who were writing in the fugal style) and on a comparison Of Hindemith's theory of tonality, as expressed in The Craft of Musical Composition, with that of the traditional harmonic concept of Bach's day. Chapter II deals with the evolution of the fugal concept. In this chapter, imitative forms of composition which gradually evolved toward the fugue are traced from their very early beginnings through the sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries. Emphasis is placed on the fugal form that Bach used and …