The purpose of this study is to examine the songs Tre Sonetti del Petrarca by Ildebrando Pizzetti. Effort is made to provide the performer with musical and poetic analyses to aid him in the preparation and interpretation of the songs. A consideration of the development of Italian solo song from 1822 to 1950 and brief biographical sketches of both the composer and the author of the text are included as background material. It is assumed that a detailed examination of the music and poetry will lead to a more meaningful expression in performance.

It is assumed that the performer of Le Berger Fidele will be capable of a more accurate performance and a more historically authoritative interpretation if he thoroughly understands all musical aspects of the cantata. Due to the lack of written directions from earlier composers, it is important that the performer research the period, composer, and composition to insure a more accurate, interpretive performance. The first chapter delves into the life and works of Rameau. The second chapter follows the development of the French solo cantata from the beginning of the art song to its culmination. Ornaments peculiar to French cantata are discussed in the third chapter. In Chapter IV each pair of recitative and aria is examined and analyzed according to form, harmony, rhythm, melody (including phrasing), dynamics and ornaments, and instrumentation. The cantata is built up in a succession of three arias. Each aria is da capo in form and is preceded by a recitative and an instrumental introduction. Each air is concluded with an instrumental postlude.