Felix Mendelssohn Bartholdys <i>Paulus</i>, Op. 36 (1836) is one of the most important nineteenth-century contributions to the oratorio genre. Current scholarly understanding of the oratorios creation rests on three dissertations: Stuart Douglass Seaton identified, transcribed, and discussed some of the sketches for Paulus; Siegwart Reichwald examined the extant autographs for Paulus; and Jeffrey S. Sposato thoroughly documented the collaborative compilation of the libretto. None of these studies, however, provides a thorough examination of all the sketches for <i>Paulus</i>. <br> <br> This study constitutes the first complete transcription of the sketches for <i>Paulus</i>, basing its methodology on the transcription practices of Joseph Kerman and Fabrizio Della Seta. Critical notes are provided alongside the transcriptions, and analyses based on comparisons of the sketches to the autograph and printed versions of the score are attempted. The results reveal new insights concerning the composition of <i>Paulus</i>, ranging from compositional details to structural planning and chronology of the sources. When compared to the various versions of the oratorio, for instance, the longer sketches demonstrate Mendelssohns concern for rhythmic continuity and harmonic planning. The sketches furthermore help clarify the complex chronology of the autograph scores. In addition to these findings, this study identifies two previously unidentified sketches pertaining to an aria from <i>Paulus</i>.

<p> Johann Sebastian Bach&rsquo;s <i>Chaconne</i> is a staple of violin repertoire. Many instrumentalists have adapted it and many arrangements now exist, ranging from simplistic to complex. This paper provides various insights on how to perform the <i>Chaconne</i> on marimba. Comparing different adaptations, as well as analyzing performances by excellent musicians, helps give direction to my own interpretation. The <i>Chaconne</i> is a challenging undertaking for any instrumentalist, but this paper will shed light on how to perform Bach&rsquo;s great work successfully, on marimba. </p>

This dissertation is a combination of acoustic and electronic musical creation, acoustic instruments and digital instruments, and a combination of all of these areas. Part I is an original composition for orchestra with the new instrument set as soloist. Part II is an examination of the development and influences of creating a new electronic musical instrument. Part I is a composition for AEMI (the Actuated Embedded Musical Instrument) and orchestra, entitled Meditation on Solids, Liquids, and Gas. This composition is a dialogue between the orchestra and instrument, set as an exchange of ideas; sometimes ideas lead to conflict, others lead to resolution. This also serves as a way to feature some of the musical capabilities of this new instrument. Part II is an examination of AEMI and its influences. Chapter 1 includes a discussion of existing instruments whose similar features influenced the development of AEMI: the Theremin, Manta, JD-1, Buchla controller, EVI and EWI, and Chameleon Guitar. While AEMI instrument does not have the same performance mechanics as the Theremin, Evi, or Ewi, understanding the physicality issues of an instrument, like the Theremin, provided insights into creating a versatile instrument that can be easily learned yet have virtuosic character. Ultimately, embedding expressivity, such as subtlety and nuance into the instrument, would be one of the most difficult aspects of creating an instrument and would demand the largest amount of work. Chapter 2 describes the aesthetics, technical aspects, difficulties, and musical abilities of the instrument. Attempts to combine acoustic and electronic music are not novel, the incorporation of acoustically driven resonance by electronic embedded instruments is new. The electroacoustic nature of this instrument is different than most electronic instruments. The controller and user interface is electronically driven, and its speakers/acoustic drivers are embedded within the instrument. This discussion may provide insights to musicians, composers, and instrument makers involved in the finding of new avenues of musical expression.

Donald Swann is best known for his long-time collaboration with lyricist and singer Michael Flanders, with whom he served as composer, pianist and fellow singer. He composed many other serious works beyond the Flanders and Swann collaboration, including song cycles, operas, masses and other choral repertoire. This study explores one example of Swanns classical repertory: "The Road Goes Ever On: A Song Cycle," a collection of nine musical settings of texts by J. R. R. Tolkien, author of "The Lord of the Rings." Beginning with biographical and stylistic synopses of both the composer and the poet, subsequent chapters include: an historical overview of the cycles composition, publication, and reception; an examination of Tolkiens Elvish languages of Quenya and Sindarin and the proposal of systems of lyric diction for each; and interpretive performance guides for each of the songs, emphasizing the relationship between music and text. Appendices follow with permissions letters, documents of special interest, and poetic texts too lengthy for inclusion in the main body of the document.

Larry L. Fleming is a prominent figure in American church music, widely known for his compositions and choral arrangements as well as his creative approach to concert programming as the conductor the National Lutheran Choir. No formal research has yet been done on Fleming, and I believe it is a fitting time for an examination of his contributions to choral music. In this study I will examine the unique choral programming techniques utilized by Larry Fleming in his annual Christmas Festival with the National Lutheran Choir. In particular, (1) his frequent use of short, fragmentary excerpts of larger musical works, (2) his use of sacred poetry from non-biblical sources for narration, and (3) the elimination of composer credits and composition titles in the body of the printed program. Audiences appreciate thematic programming,¹ and Fleming's methods offer tremendous opportunity for inventiveness on the part of conductors when planning concerts. I therefore contend that each of the three programming innovations listed above are viable and creative ideas other conductors could adopt in putting together their own thematic programs. In order to demonstrate this assertion, I created an original choral Christmas program utilizing his techniques. While the model program produced for this study replicates several of Fleming's programming innovations exactly as he used them I certainly do not recommend that conductors create concerts that are mere imitations of those produced by Fleming. It is my hope, rather, that this sample program will demonstrate the possibilities in creative programming, and will perhaps activate the imagination of conductors to devise their own unique approaches to programming. Since some readers may find my use of certain Fleming programming innovations controversial, particularly those related to the excerpting and adaptation of musical and poetic sources, this study will conclude with a brief look at how the philosophical issue of artistic license may affect the use of these innovations.

The present document is a requirement for the Doctoral of Musical Arts degree at Louisiana State University. First, I will present the biography of the Composer Adolfo Mejía, ordered in five different cities where his career was developed. Later, I will describe some aspects of Colombian traditions. I do this with the intention to better understand the composer and some of the pieces entitled with indigenous dance and rhythmic names from different parts of the country. There will be an emphasis on two regions out of six, those more closely related to Mejías life. In the same way, I will present a list of the works composed by Mejía. This is not by any means conclusive nor definitive. It is the result of combining the dates of composition, their instrumentation, and the availability of their scores. Additionally, I will make a performance edition of four of his compositions. Similarly they are all chamber music: two of them for two violins, cello and piano, another one for just cello and piano, and lastly an original composition for violin and piano, for which I have made a simple transcription for cello and piano. These pieces are short in length but rich in content. In them, one finds traditional rhythms in a more sophisticated style.

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The purpose of this research project is to provide the reader and the prospective performer with a comprehensive view of the song cycle Songs from Liquid Days by Philip Glass. Chapter 1 of this document gives a brief compositional history of the cycle. Chapter 2 provides biographical sketches of the composer and the cycles four poets: Paul Simon, Suzanne Vega, David Byrne, and Laurie Anderson. Chapter 3 discusses performance practice suggestions for Songs from Liquid Days, including commentary on tempo, style, ensemble choices, pacing, and analyses of both text and music. Chapter 4 compares the artistic interpretations of the 1986 authoritative recording with the musical score. Appendices found at the end of this document will include the following: a preface from Mr. Glass where he discusses his perceptions of Songs from Liquid Days and a comprehensive list of the composers musical oeuvre for solo voice. The methodology used while researching includes the musical score, the composers own words regarding the cycle, and the creative interpretations of the artists from the cycles original album. It is the hope of this author that, through this research project and presentation, this cycle may be introduced to the classically trained singer and finds its place in the standard song repertoire.

<p> Clarinet and harp duets are not performed very often, as the repertoire list is rather meager. They are a product of modernity, with the first significant number of published duets arriving around the turn of the twentieth century, with the piano having already been a very popular partner for the clarinet for 150 years. I have chosen to help solve this problem by providing an analysis of a modern clarinet and harp duet, well known in neither the clarinet nor the harp field. Through an interpretation of Jean-Michel Damase&rsquo;s <i> Sonate pour Clarinette et Harpe</i>, I focus on the compositional style of Damase to help me provide a deeper understanding of the piece to ultimately bring the clarinet and harp closer to a standard compositional combination. </p><p> In a semiotic interpretation, I use the triadic model of Charles Sanders Peirce (representamen, interpretant, and object) to interpret the sign, which I designate as Damase&rsquo;s compositional style. The union of these three parts provides meaning to the sign. </p><p> I use the compositional techniques common between various well-known composers and this sonata to conclude that Damase&rsquo;s style is a conglomeration of these other composers&rsquo; styles. In this interpretation I provide an academic foundation for the compositional style of an obscure composer, and I provide a rich understanding of a complex piece that can hopefully inspire others to discover other clarinet and harp duets.</p>