This study aims to two problematic aspects of the Phrygian mode: a. the development of a harmonic pattern at the cadence that differs from that of the other modes and of the major and minor modes as well; b. the observation that the Phrygian scale inverts all of the intervallic properties of the Major scale. The result of these two observations is that when the reductive techniques of Heinrich Schenker are applied in the Phrygian repertory, melodic and harmonic properties are brought into conflict with each other. However, application of alternative models of the Ursatz developed by Lori Burns has certain benefits for demonstrating musical properties in the Phrygian repertory.

The objective of the dissertation is to examine Cyril Scott's musical language as exhibited in his Piano Sonata, Op. 66. Subjects of discussion include Scott's use of form, rhythm, melody, tonality, and harmony. Also included are a biographical sketch of the composer and his philosophical view of modernism. A comparison of the original version and the revised edition of this sonata, as well as references to Cyril Scott's two other piano sonatas are also included during the examination of his harmonic and rhythmic style.

The harpsichord concertos of Wilhelm Friedemann Bach (1710-1784) have suffered undeserved neglect. The four authenticated solo concertos remain in manuscript, with the result that his contribution to the history of the keyboard concerto has been largely overlooked. This study begins to correct this situation by examining these four concertos--F41 in D Major, F43 in E Minor, F44 in F Major, and F45 in A Minor--as well as the published two-harpsichord Concerto in E-Flat Major, F46, and the incomplete Concerto in E-Flat Major, F42 in order to assess W. F. Bach's contribution to the keyboard concerto following its origins in the early 1700s. The results of this investigation show that W. F. Bach took the early keyboard concerto of his father's generation and added many of the characteristics which became associated with the mid-eighteenth century concerto. Friedemann retained the polyphonic interplay between tutti and solo, harmonic language, and tonal plan of his father's compositions and added a wealth of rhythmic ideas and a more modern melodic style. He worked within an established four ritornello/three solo plan for the outer movements, but employed a variety of formal plans for the middle movements. Friedemann heightened the contrast between the solo and the orchestra …

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.

Because of the lack of information concerning the success or failure of Schubert's bilingual edition and concerning the relationship between the English texts and Schubert's settings, most performers take the conservative route of performing both the songs from Lady of the Lake and the rest of Schubert's English song repertoire only with the German translations. Because of the desirability of performing this repertoire in English for English-speaking audiences, this study examines all of the English songs of Schubert to determine whether the original poems can be successfully substituted for the German translations. Editions of the settings that can be effectively performed with the English texts are included in the appendix, in order to make available editions which reflect Schubert's ambition to make his songs easily accessible to non-German-speaking audiences.