This study addresses on facet of Joseph Turrin's compositional oeuvre: his published works for solo trumpet. Complete histories if all six trumpet compositions are chronicles. A discussion of formal organization and significant style features including harmonic language, melodic style and rhythmic features is included. A detailed performance analysis follows. The degree of difficulty of each work is assessed through an investigation of tessitura, range, melodic contour, endurance factors, fingerings, and technical features of the accompaniment. Analysis of tempi and dynamics, articulation and phrasing, and timbral considerations provides additional points of focus to the study. Finally, the importance of Turrin's works for trumpet and his impact on trumpet literature is assessed. Idiomatic aspects of composition that make Turrin's music attractive to performers are investigated and discussed.

Etudes have been composed to address the primary challenges found in ten selected euphonium wind band pieces. Each work was chosen based on its frequency of occurrence in military band auditions as well as its appearance in excerpt books and journal articles. Practice drills, practice variations, and overtraining studies are the primary concepts used for composing each etude. List of selected works: (1) Roman Carnival Overture Op. 9, Hector Berlioz; (2) First Suite in E-flat for Military Band Op. 28 No. 1, Gustav Holst; (3) Barnum and Bailey's Favorite, Karl King; (4) The Melody Shop, Karl King; (5) Aegean Festival Overture, Andreas Makris arr. Albert Bader; (6) Theme and Variations Op. 43 A, Arnold Schoenberg; (7) Festive Overture Op. 96, Dmitri Shostakovich arr. Donald Hunsberger; (8) Festival Variations, Claude T. Smith; (9) The Stars and Stripes Forever, John Philip Sousa; and (10) Suite from the Ballet: Pineapple Poll, Arthur Sullivan arr. Charles Mackerras.

Factual evidence concerning the ancestry of the clarinet has been a perpetual topic of debate among musicologists and organologists. Scholars have widely agreed that the clarinet, first documented in 1710, emerged from the baroque invention of the chalumeau (invented circa 1690), which in itself was an improvement upon the recorder. Considering the chalumeau's short lifespan as the predominant single reed instrument in the early eighteenth century, the chalumeau inspired a monumental amount of literature that includes vocal and instrumental genres written by distinguished composers. Vivaldi is considered to be the most significant composer that wrote for both clarinet and chalumeau; he wrote for both instruments simultaneously throughout his life whereas his contemporaries seemingly replaced the chalumeau with the clarinet. This project will discuss Vivaldi's proximity to the chalumeau and the clarinet and will provide an in-depth analysis of relevant works by the composer to determine how he, unlike his contemporaries, treated the chalumeau and the clarinet as separate and equally viable instruments. Following a brief history of the chalumeau and clarinet in Italy and a relevant biography of Vivaldi (Ch. 2), this document will discuss the integral Vivaldi compositions that include clarinet and chalumeau and the role of the clarinet …

British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Witold Lutoslawski in his innovative works for instrumental sounds and electronics. His most recent work for flute, Sonic Archaeologies No.1, was premiered at the University of North Texas by Mary Karen Clardy, flute; Brian Lock, piano/electric keyboard; and Daniel Pardo, laptop/live mixing. The purpose of this dissertation is to provide flutists with artistic and technical guidance in preparing this work for flute, prerecorded orchestra, interactive electronics and improvisatory accompaniment. Sonic Archaeologies No. 1, a piece in five movements (Black Rain, Psychomania, Kodo, Susperia, and Deep in the Machine), incorporates contemporary techniques to create sounds other than the Western concert flute, with the use of live reinforcement devices such as microphones and time-based audio effects within a D.A.W. (Digital Audio Workstation.) Reggae, Hip-Hop and cinematic styles are juxtaposed within the work, fusing current genres with traditional rhythmic forms like the ones found in a bourrée. As the solo instrument, flute provides more textural than melodic elements, and the performer is required to interact with an unpredictable sonic soundscape as a result of the improvisatory element of the keyboards and computer. The notation of Sonic Archaeologies No.1 invites …

This dissertation explores the themes of collaboration and creativity in the relationship between arranger Nelson Riddle and vocalists Frank Sinatra and Ella Fitzgerald. It examines the balance between structure and freedom as well as the specific musical results that emerge from collaboration between an arranger and vocalists who are considered among the greatest in their fields. An examination of their interactions, musical scores, and performances, reveals that the constraints that are present in a collaborative effort can lead the artists to find a shared process to make a creative, unified product.

Music travels across the past in the form of composers borrowing from each other. Such musical borrowings and quotations involve not only the use of melodic materials but also musical structures, texts, symbolism and other types of inspiration. The pre-existing musical idea being used is linked to a specific memory of a particular composer and time. The artistic allusions of composers connect the present and the past. Music also travels across the present and into the future. The outcome of contemporary composers borrowing from each other influences the present period and affects later composers' musical inspiration, i.e., it affects future composers, and therefore, the future. Composers frequently refer to melodies or musical idea from contemporaries and reinterpret them in their own compositions. This is largely because composers do not write in isolation and have been inspired and influenced by contemporary musicians and cultural contexts. However, these musical borrowings sometimes raise questions about the composers' creativity and authenticity. This is largely due to the nature of inspiration and imagination, which determines who or what is original. With this in mind, why do composers still borrow musical ideas despite the risks involved? In what ways do they overcome criticism and demonstrate the …

The paper is divided into six chapters. The first two provide a brief summary of the evolution of multiple percussion and biographical information about Kraft. The remaining chapters are an examination of the origin, sound sources, compositional style, and performance problems of the ten Encounters pieces. The paper concludes with several appendices, including a chronological listing of Kraft's compositions which use percussion, a list of percussion equipment and notational symbols used in the Encounters pieces, and a discography of Kraft's music.

Johann Joseph Fux's influence on the development of eighteenth-century alto trombone literature is significant. His music, when compared with that of other composers who wrote for the alto trombone before 1730, reveals a more elaborate and frequent use of the instrument. Many of Fux's compositions call for alto, tenor, or bass trombone, but his Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 are of particular interest in regard to the composer's treatment of the alto trombone. This study points out the technical demands placed on the trombonist in Fux's works as compared to such contemporary composers as Antonio Caldara and Marc'Antonio Ziani. The primary goal of this study is to substantiate the importance of Fux's role in the development of the alto trombone repertoire. Published and unpublished works by Fux that significantly incorporate the instrument have been studied and compared to compositions of his contemporaries. A thorough discussion of Sonata a Quattro and Alma Redemptoris Mater illustrates the technical aspects of his alto trombone writing. The secondary goal of this study is to create a performing edition of Sonata a Quattro and Alma Redemptoris Mater. The existing editions in Denkmaler der Tonkunst in Osterreich and Johann Joseph …

An examination of the compositional style, subject matter, and use of technology as found in Thea Musgrave's 1987 composition Narcissus for solo flute and digital delay. Includes a short history of Musgrave's formal training, an overview of her creative output, and a discussion of the evolution of her compositional style from her studies with Boulanger in Paris to the present with special emphasis on her dramatic-abstract concept and her forays into post-modernism. Provides insight into Musgrave's choice of mythological text, the literary basis of the Narcissus legend, and its impact on Western thought. Identification of principal motifs, discussion of harmonic implications, melodic language, and optional intermedia effects; and explanation of the electronic effects used within the work. Detailed analysis of the motifs, their electronic manipulations, and how they represent aurally the characters of the Narcissus myth. Listing of Musgrave's works with flute or piccolo in a primary role, details of her transcription of Narcissus for solo clarinet, and diagrams of digital delay controls and stage setting follow as appendices.

Johann Friedrich Fasch's music displays a stylistic variability characteristic among some composers of the early eighteenth century, a time in which the mature Baroque style period of Western art music was beginning to show new elements of the Classical style. Opinions regarding Fasch's contribution vary from praise for his role as one of the most important pioneers to simple acknowledgment as merely one among many significant, forward-looking, transitional composers. During the early eighteenth century, a wealth of fine literature for solo oboe was produced. Current oboe repertoire includes many standard, mature Baroque concertos of the early eighteenth century; few works representative of evolutionary compositions hinting toward the development of a new historical style period are available. The primary purpose of the lecture recital is to introduce to the oboe repertoire an edition of a concerto by Fasch, one representative of the transition from Baroque to Classical eras.

Four works are selected to demonstrate the stature and demands of this craft and to represent a pinnacle in the art of contemporary woodwind doubling. Concerto for Doubles, by Thomas Filas, Concerto Tri-Chroma. by Michael Kibbe, Rhapsody Nova, by Clare Fischer and Suite for Solo Flute. Clarinet and Alto Saxophone by Claude Smith all represent rare, major solo works written specifically for three individual woodwind doublers. The paper will begin with a history of the practice of woodwind doubling from the fifteenth century to the present. The four works will then be examined by considering form, style and related performance practices.

Louis Cahuzac was one of the most sought-after clarinetists in the first half of the twentieth century. He was also highly respected as a conductor, as a teacher, and as a composer of music for the clarinet. The selections performed and discussed in the lecture depict Cahuzac's use of simple compositional forms and procedures which blend the expressive capability of the clarinet with its technical potential.

The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the resolution note; trills were begun on the main note unless preceded by a grace note; tremulo was usually an alternation of a main note with its lower neighbor note and this ornament is normally indicated at points of harmonic prolongation. The last chapter discusses general approaches to arranging these works for the guitar and the specific influence of ornamentation on the performance of the sonatas on guitar. Details from eight sonatas arranged for the guitar are used to exemplify the conclusions of the research.

This dissertation primarily concerns performance aspects in compositions for piano and tape, using three specific works as the basis for discussion: Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages. These compositions are representative of the medium as a whole, yet each offers its own unique set of performance problems.

Given the diversity found in today's Japanese culture and the size of the country's population, it is easy to see why the understanding of Japanese wind band repertoire must be multi-faceted. Alongside Western elements, many Japanese composers have intentionally sought to maintain their cultural identity through the addition of Japanese musical elements or concepts. These added elements provide a historical and cultural context from which to frame a composition or, in some cases, a composer's compositional output. The employment of these elements serve as a means to categorize the Japanese wind band repertoire. In his studies on cultural identities found in Japanese music, Gordon Matthews suggests there are three genres found within Japanese culture. He explains these as "senses of 'Japaneseness' among Japanese musicians." They include Fence, Flavor, and Phantasm. Bringing a new perspective to the idea of Japanese influence, I trace the implementation of these facets of Japanese music through the wind band music of Japanese composers. I demonstrate that Japanese wind band genres are the result of a combination of Japanese musical elements and Western influence and argue that the varying levels of this combination, balanced with historical and cultural context, create three distinct genres within the Japanese …

The objective of this dissertation is to review the discrepancies between Concert Sans Orchestre and Grande Sonate edited by Ernst Herttrich, Grosse Sonate No.3 Op.14 Erste and Zweite Ausgabe edited by Clara Schumann of Robert Schumann's No.3 Op.14, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as notes, rhythms, metronome marking and expression signs is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Suggested solutions are followed by each example.

Arnold Cooke composed many works for oboe including two sonatas, a concerto and several pieces for chamber ensembles; however, his works are rarely performed. Through the analysis of form and tonality in his first oboe sonata, Cooke's musical style and influences become apparent. His musical style was primarily influenced by his teacher, Paul Hindemith, and can be characterized by traditional forms with the contemporary use of quartal harmonies and a variety of tertian sonorities. Cooke wrote music that is accessible for performers and audience members, and one way he achieved this accessibility is through the repetition of melodic ideas. In addition to exact melodic repetition, he also unified his works through fugue-like passages and sequences. Although he lived during a time of experimentation by many composers, Cooke maintained conservative elements in his music that he learned through his studies at Cambridge and through his studies with Hindemith. His first oboe sonata is tonal although he varied modes and used chromatic harmonies throughout. Cooke's clear writing and unique sound in his Sonata for Oboe and Piano (1957) provide oboists a solo piece for the repertoire that demonstrates a modern approach to the traditional style of composition.

Hummel's Concerto for Trumpet (Concerto a Tromba principale) is overtly operatic and is stylistically reminiscent of Mozart's Don Giovanni. Using the methodology of Leonard Ratner and Wye J. Allanbrook, it is possible to explore gesture and rhetoric in Hummel's Concerto for Trumpet and Mozart's Don Giovanni, and achieve a deeper understanding of the stylistic similarities shared between the two works. In the third movement, dance is the most significant link to Don Giovanni. In the second movement, Hummel alternates between the emotions of Donna Anna and Don Ottavio as they appear in act 1, scene 13. The first movement makes extensive use of contrasting topics identified with buffa and seria characters to advance the musical narrative. Comparing Hummel's concerto and Mozart's opera is a hermeneutical approach that illuminates several performance practice implications. Knowing the expressive similarities and rhetorical strategies common to both works clarifies several issues, such as tempo, ornamentation, and above all, expression. Though Mozart's Don Giovanni and Hummel's Concerto for Trumpet are unequal in significance, it would be valuable to any interpretation of Hummel's concerto if the performer and audience acknowledge that the work is rhetorically and stylistically similar to Mozart's Don Giovanni.

This study documents the career of Joseph Eger (b. 1920), who had a short but remarkable playing career in the 1940s, 1950s and early 1960s. Eger toured the United States and Britain as a soloist with his own group, even trading tours with the legendary British hornist, Dennis Brain. He recorded a brilliant solo album, transcribed or arranged several solos for horn, and premiered compositions now standard in the horn repertoire. He served as Principal Horn of the New York Philharmonic, Los Angeles Philharmonic, and the National Symphony. Despite his illustrious career as a hornist, many horn players today do not recognize his name. While Eger was a renowned horn soloist in the middle of the twentieth century, he all but disappeared as a hornist, refocused his career, and reemerged as a conductor, social activist, and author. This dissertation seeks to be the long-overdue comprehensive documentation of Eger's career as the first American horn soloist and his contributions to the world of horn playing. First, a biography of Eger is presented, focusing especially on his education and career as an orchestral player, soloist, and recording artist, including its intersections with the lives of many prominent musicians and personalities of the …

Theodore Leschetizky's singular pianistic legacy survives to this day because of his revolutionary pedagogical methods and his compositions for the piano repertory. The amalgamation of these two aspects formed his distinctive contributions to the fields of piano and piano pedagogy and left an indelible mark on the history of the instrument. His students lead an impressive list of the greatest artists of the previous century, each influencing the evolution of pianism with their own remarkable style and personality. While Leschetizky was arguably without peer as a pedagogue, many pianists today are unaware of the vast number of compositions that he wrote. These pieces were intended not only for the concert stage, but also as a very specific pedagogical repertoire that he used within his own teaching studio. This repertoire comprises a vital component of the Leschetizky legacy, albeit one which is often slighted in comparison. It is imperative that the pianists of our current generation understand the dual aspects of his contribution to our art form, in order to fully grasp the way in which he has changed the face of pianism. The purpose of this dissertation and lecture recital is to enumerate the various aspects that constitute the dual …

This dissertation addresses specific theoretical issues within Gotkovsky's Eolienne. She was a student of Messiaen, and his influence is evident in Eolienne, but at the same time, Gotkovsky's compositional voice is both personally distinctive and reflects l'esprit de temps of the twentieth century Parisian musical world. The research provides extensive analytical insight into Gotkovsky's musical language in Eolienne, specifically her use of symmetrical scales, emphasis on timbre, and formal constructs. Because there are limited scholarly resources available on the subject of flute and harp chamber music, and a small amount of biographical information on Gotkovsky, this dissertation is a significant contribution within the area of chamber music for flute, both historically and theoretically. It provides an analysis of Gotkovsky's musical language and the analysis gives performers access to musical-theoretical information previously unavailable.

My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the "Indianist" composers between 1890-1920 and other composers known primarily as "mainstream" composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the "Indianist" movement around 1920, but has enjoyed a new creative activity in the area called "Classical Native" by current day Native American composers. The findings are that the creative interest and source of inspiration for the earlier "Indianist" compositions was thought to have waned in the face of so many other American musical interests after 1920, but the tradition has …

The initial composition of the Fifth Symphony in E-flat Major, Op. 82 was undertaken as a commission to celebrate the composer's fiftieth birthday. Unhappy with the initial efforts, two revisions were then performed; the first was in 1916 and the final revision in 1919. Despite the larger form of the work seeming to have been changed between the 1915 and 1919 versions, the smaller gestures of thematic expression in both versions remained similar. On the surface, it had appeared that the composer had eliminated a movement, changing the 1919 version into a three movement form. This view was not challenged by the composer at the time, and since the earlier versions had either been withdrawn or destroyed, there was no way to compare the original efforts to the final product until recently. In comparing the 1919 version to the original, a definite strong parallel can be seen between the two - despite the changes to form, rearrangement of melodic material, and the seemingly different number of movements. However, the parallel is enough that the 1915 version can be a guide to classifying the 1919 version, an act that has eluded many scholars since the 1920s. Most importantly, comparing the two …

The Khan Variations is the first work for solo marimba by Argentinean composer Alejandro Viñao (b.1951). Since publication in 2001, Khan Variations has been performed at many international percussion festivals and is often a repertoire choice for performers in the final round of numerous marimba competitions. This thesis and accompanying lecture recital provide a supplemental guide to Alejandro Viñao's Khan Variations, focusing on analytical and structural theory, as well as performance practice, thus filling the void of information on this piece in the percussion community. Khan Variations was jointly commissioned by twelve of the world's prominent marimba performers and educators, including: Michael Burritt, Jack Van Geem, William Moersch, Robert Van Sice, and Nancy Zeltsman. The project organizer of the Khan Variations commission was Nancy Zeltsman, Chair of the Percussion Department at the Boston Conservatory and a leader in the field of commissioning new marimba works. Utilizing William Moersch's organization New Music Marimba as the financial conduit, Zeltsman and her group issued this commission in 1999. Alejandro Viñao studied composition with the Russian composer Jacobo Ficher in Buenos Aires, and Viñao later went on to complete his doctorate in composition from City University in London. His works span the genres of …