The opera, The Pilgrim's Progress, was written by Ralph Vaughan Williams in 1949. "The Seven Songs" are analyzed for performance, examining the elements of music and text of the songs, including melody, harmony, form, vocal line and accompaniment, with the intent of forming conclusions in regard to their usefulness as singular selections, or as a group, for performance.

The purpose of this investigation is to trace briefly the development of opera in Germany during and after the Thirty Year's War as a background for the understanding of the milieu in which Keiser's Pregunda was created, and to study in detail this work as a representative of contemporary North German opera.

Symphony No. 1 is a three-movement work for orchestra. The movements have the following tempo indications: (I) Allegro ma non troppo, (II) Lento, and (III) Allegro giocoso. The composition is scored for 3 flutes (3rd flute interchangeable with piccolo), 2 oboes, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, contra-bassoon, 4 horns in F, 3 trumpets in B-flat, 2 tenor trombones, bass trombone, tuba, percussion (timpani, snare drum, and triangle), and the usual complement of strings.

The form of the movement is as follows: Slow introduction; forceful theme "A"; lyrical theme "B"; bridge between second theme and development section; development of theme "B"; another bridge developed from a fragment introduced immediately preceding the bridge which is used for a climax before theme "C" is introduced and developed. with the end of the development of theme "C", the development section ends, and thus begins the recapitulation of themes "B" and "A" in that order with little variation in either from that of the exposition. Theme "C", since it played such an integral part in the development section, is not brought back in the recapitulation.

This study seeks to examine the history of the ricercare, specifically in the baroque era. In this work, all types of keyboard compositions that utilize imitative counterpoint have been examined. Late baroque fugues have been examined to determine which characteristics of the earlier ricercare remained in general use and which specific compositions contain elements causing them to resemble strongly the parent form. This volume is a musical supplement to the thesis.

A thesis about the String Septet. The author explains that it deals with problems concerned in the reconciliation of contemporary aesthetics with extensions of romantic harmony, classical and pre-classical form, classical figuration and ornamentation, and contrapuntal organization.

Three Units is a symphony in three movements: fast-slow-fast. The general shape or large form of each unit is noticeably different from its counterparts, although all three exhibit a common feature: an evolutionary process in which one or more musical genres form the basis for the entire movement.

"SINFONIETTA" is constructed on a free usage of the traditional Sonata-form. It has an introduction; an Exposition, with two principal themes; a Development, in which both principal themes are used; and a Recapitulation, in which both principal themes are combined.

This symphony was composed for the purpose of communicating with a contemporary audience and not to please some unknown colleague or future generation. Therefore, experimentation with novel media or systems was rejected in favor of a more conventional approach.

"Music for Orchestra and Electronic Tape" is an attempt to combine the instruments of the symphony orchestra with electronic sounds which were pre-recorded on tape. The composition is divided into three sections, comprising a large ABA' form with an introduction and a coda. An electronic event occurs between each section.

John the Baptist is a passion focusing on the sufferings of John in six movements for contralto, tenor, baritone, and bass soloists; chorus of mixed voices; boys' choir; and orchestra.

Concerto for Piano and Orchestra is a three-movement composition by Dan Beaty.

This study traces the development of the baton conductor from his earliest origin up to and including the present day. From his initial role, that of a time beater and teacher, he has progressed to that of an interpreter and creator of music.

This quartet is comprised of two wind instruments, flute and clarinet, and two stringed instruments, violin and violoncello. This unusual combination affords a wide variety of colors in both melody and chord-voicing that are impossible with an "unmixed" quartet.

"Symphonic Overture" is constructed like a symphony in miniature with the traditional sonata-allegro form used as a vehicle to expose the three contrasting actions, and to combine them into one concise movement.

"Gethsemane to Calvary" is a sacred cantata for mixed voices and keyboard accompaniment. It is divided into six sections which are called parts. With the exception of part one which is a potpourri overture, the parts are divided into a variety of choral forms.

Sinfonietta is a one-movement piece for full symphony orchestra. The work contains five themes, three of which are the more important. The remaining two are subordinate because they are shorter, and not as fully developed as the A themes. A diagram of the form of the piece is shown on the following page as Figure 1. The duration of the work is approximately 14 minutes.

Symphony Concertante is a three-movement work for a string orchestra and a soloist group of winds which includes flute, oboe, clarinet in B-flat, bassoon, horn in F, and trumpet in B-flat. The movements have the following tempo indications: (I) Allegro ma non troppo, (II) Lento, and (III) Allegro con fuoco.

"Quintet for Woodwinds " is in four movements. The form of each movement is basically traditional: the first movement is in Sonata form; the second movement is a Theme and Variations; the third movement is a short Chorale; and the fourth movement is a Rondo. The themes of the movements are interrelated, giving a cynical effect.

Polymetrics is a one-movement work for symphonic wind ensemble, of approximately 8 minutes' duration. The instrumentation includes thirty woodwinds, thirteen brasses, and ten percussionists. The pitch organization is based on two hexachords that encompass all twelve pitch classes.

The problem of classifying variations according to technical plan and stylistic treatment centers on the determination of which elements of the theme (melody, harmonic scheme, structure) are retained in each component variation and the compositional methods (elaboration, embellishment, motivic fragmentation) which are applied.

The String Quartet is comprised of three movements: Allegro, Adagio, and Vivace. The Allegro utilizes a monothematic Sonata Allegro form: the Adagio is through-composed, and the Vivace is a Rondo. All three movements feature a lean harmonic texture, much of the harmony resulting from linear movement, i.e. counterpoint.

The first movement of the "String Quartet" opens with a gradual unfolding of the lead motive in the first six measures of the section marked "Largo." The second theme is heard in the first two measures of the section marked "Moderato" after a false start by the first violin. The third movement utilizes the essential dance characteristics of the "Minuet" marking.

New York Cycle consists of the settings of three poems for bass-baritone voice and eight instruments. The poems, each of which serves as the basis for one movement, are "The East River's Charm" by Samuel Bernard Greenberg, "Brooklyn Bridge" by Vladimir Mayakovsky, and "The Skyscraper Loves Night" by Carl Sandberg. The instrumentation employed consists of two French horns, vibraphone, timpani, and string quartet.