This study is an investigation of the dramatic expression in thirty musical settings of Goethe's "Erlkonig," to attempt to determine why the works by Franz Schubert and Carl Loewe have achieved such popularity.

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 …

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.

Symphonie Militaire is a three movement work for twelve solo wind instruments composed by Edouard Batiste (1820-1876), a professor at the Paris Conservatoire and organist. The composition is scored for flute, two oboes, two B-flat clarinets, two bassoons, E-flat trumpet with valves, two F horns with valves, trombone, and B-flat ophicleide. In this edition, which was prepared from the original manuscript, the trumpet part is transposed to B-flat and a tuba has been substituted for the ophicleide. Based on a study of the score, as well as knowledge of wind band music of the period, several speculations have been made concerning the reason for the composition of the piece. The limited instrumentation supports the idea that, like other military symphonies, Symphonie Militaire may have been written for a special occasion. The work is, however, at least a reflection of the concern in 1845 for the reconstruction of the French military bands.

This thesis is concerned with the historical context and evaluation of the string quartets of Franz Berwald. It will establish the environment within which Berwald composed these quartets, and show the results of his efforts. The material for this investigation was gathered from musical scores and literature about music. Chapter I gives an introduction to the thesis and a short biographical sketch of Berwald. Chapter II surveys the string quartet in the first half of the nineteenth century, citing the work of major composers. This chapter concludes with an examination of the influences on Berwald's musical styles. Chapter III surveys Berwald's musical output and describes the Quartet in G Minor. Chapter IV describes his last two quartets. The evaluations and conclusions are presented in Chapter V.

In this study the choral-orchestral compositions produced by Hector Berlioz are examined in detail for characteristics of musical form, textual setting, and methods of scoring for chorus and orchestra. Reasons for the preponderance of the choral-orchestral medium in Berlioz' output are examined in two introductory chapters. The initial chapter concerns Berlioz' personal experiences as an observer, conductor, and critic of choral music, while the second is devoted to Parisian customs in regard to the choral-orchestral medium during the eighteenth and early nineteenth centuries. Included in the historical chapter is a discussion of the haute-contre (high tenor or countertenor) voice preferred in French choruses of that period plus a short review of French orchestral practices, operatic choruses, the French Chapel, Parisian concert societies, and the Paris Conservatory. Especially important is the segment on revolutionary musical fetes which fostered grandiose compositions for chorus and instruments of extremely simple structure. Berlioz' sense of form was governed by his Gallic heritage and for this reason many critics have accused him of formlessness, when in fact his compositions invaribly revolve around a succinct formal plan, admirably executed. Berlioz added to the conservative French tradition which favored the strophe and the Rondeau (an unvarying refrain following …

The purpose of this thesis was to make available for performance and study an edition of the twenty-two secular songs published in this collection by Johann Jacob Löwe and Julius Johann Weiland in 1657. The thesis contains twenty-two secular songs for one, two, or three voices with continuo accompaniment and ritornellos for one or two violins, and/or viola, as well as translations of Lowe's preface and dedication and a poem to Lower and Weiland by Heinrich Schaffer. The work contains three chapters, the first covering Lowe's life and work and association with Weiland, the second the state of German secular song in 16050, and the third a critical commentary on the editing of the songs. Editorial corrections are included.

The purpose of this investigation is to examine Reichardt's reasons for his development of the genre Liederspiel. A brief biographical sketch of Reichardt reveals an innovative character who was responsible for several developments within the history of music. The Liederspiel was particularly affected by the French vaudeville. However, an investigation into the character of each shows that they are really quite different. A translation of an article by Reichardt from the Allgemeine Musikalische Zeitun discloses the purpose of the composer in his presentation of the Liederspiel to the public. The first Liederspiel was Liebe und Treue and was a complete success. The libretto and piano vocal score shows the construction of liebe und Treueand an English translation aids in its understanding.

The document consists of a commentary on the historical background of the work and an edition of the restored score. The commentary treats its relationship to the ballad opera, sources and alternate settings of the music and libretto, a history of the development of "Hail to the Chief," biographical sketches of the primary composers, and a section on early productions in England and America. The commentary includes a history of the English and American premieres, lengths of the first-runs, and the names of the theatres in which the performances were mounted. The reconstructed score is a piano-vocal performance edition with dialogue, cues, scenery, costume and property plots indicated in detail.