The purpose of this dissertation was to provide three transcriptions for solo organ along with a performance guide and commentaries for each of them. The original orchestral pieces, Sonata da chiesa Op. 3, No. 3 by Corelli, Overture to La forza del destino by Verdi, and Festive Overture Op. 96 by Shostakovich, were selected according to technical accessibility as well as artistic possibilities for the new performing medium. Each chapter, devoted to one transcription, is divided into three sections: (1) an introduction, containing a brief overview of the piece and the process of transcription with musical examples; (2) a performer's guide, including basic analysis, registration and manual suggestions, and tempo suggestions for each movement or section; and (3) the organ transcription score, providing suggested registration and manual changes, tempo and dynamics, and an indication of the composer's original orchestration and instrumentation. Four appendices are given. Appendix 1 presents the stop list of the Gheens Memorial Organ at Broadway Baptist Church in Louisville, Kentucky, on which all three transcriptions have been performed. Appendices 2, 3, and 4 are the registration lists used for the performance of these organ transcriptions.

Floral decoration, like other things, has passed through varying phases of development. In certain stages especially when the hothouse flowers were newer and more of a novelty than at the present time, there were fashions in flowers as well as in clothes.

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The traditional division between "original" and "arrangement" is impossible to sustain for most of Liszt's oeuvre. By virtue of the amount of original creative thinking displayed in his finest operatic fantasies and transcriptions they deserve as detailed a study as any other group of works. Our knowledge is deficient even with regard to identification and dating; the Fantasia on Le Nozze di Figaro and Don Juan is unknown in its original form, while the Fantasia on Il Giuramento has remained unidentified. All of Liszt's works share the same improvisatory approach to composition. Both original and operatic themes are found in his sketchbooks, although sketches of larger sections of the fantasias are rare. Many operatic pieces originated hi concert-improvisations before being committed to paper. Thereafter they were subjected to a process of revision that frequently continued after publication. The operatic fantasias of the 1830's and 40's illustrate Liszt's episodic treatment of musical form, with an indulgence in short-range harmonic effects and little concern for overall tonal planning. Some techniques of thematic metamorphosis and transition anticipate features of Liszt's Weimar compositions, and the roots of his fondness for concluding apotheoses can be clearly seen, particularly in the Fantasia on Der Freischütz. The fantasias and transcriptions vividly illustrate the course of Liszt's compositional and pianistic development, from early precocity through mature mastery to late austerity. The influence of Thalberg can be detected as the motivation for Liszt's return to the operatic fantasia after a hiatus of several years, although he did not adopt aspects of Thalberg's piano style until 1839. His finest fantasias from the years 1839-43 are characterised by bold virtuosity, compositional ingenuity and a striking attempt to encapsulate the dramatic course of an opera within the confines of a fantasia. As operatic pieces formed a large part of Liszt's concert repertoire until 1848 they were almost invariably based on operas of proven popularity. A more innovative and altruistic choice of material is evident only from the beginning of the Weimar period.

Thesis--Musicologie--Saint-Louis (Mo.)--Washington univ., 2001. / Bibliogr. p. 526-542.

Treatise (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 170-171). Available also in a digital version from Dissertation Abstracts.

Thesis (D. Mus. Arts)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 175-180).

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ed. D.)--Teachers College, Columbia University, 1959. / Typescript. Type C project. Sponsor: Howard A. Murphy. Dissertation Committee: Hugh Porter, Harry R. Wilson. Includes bibliographical references (leaves [158]-162).