This thesis discusses Christian orthodoxy in the English novel during the time period from 1930 to 1950.

This dissertation draws some of the innovative composers from the early 1900's to the 1960's into the spotlight to highlight their new musical and pianistic ideas. These composers, including Debussy, Schoenberg, Webern, Bartók, Cowell and others, brought new creative forces into piano music, generating many distinctive features of modern music. The discussion of new resources in harmonic language, timbre, texture, form and concept of time has a direct bearing on aspects of Richard Wilson's Eclogue itself as well as aspects of performance problems. American Composer, Richard Wilson, has written three substantial piano solo works, Eclogue, Fixations, and Intercalations. Eclogue, from 1974, is a one-movement work. The detailed analysis of Eclogue covers aspects of form, harmonic language, timbre and texture, and rhythm and time. In addition, essential issues of performance problems such as notation, rhythmic control, extended techniques, hands distribution, and pedaling are also discussed.

Bibliography: pages 336-354. / Tegniese en tematiese vernuwing, aansien én verguising van sy literêre werk, 'n opsienbare openbare lewe én dood - dit alles het bygedra dat Koos Prinsloo bykans 'n kultusfiguur geword het en dat sy skrywersloopbaan en literêre arbeid 'n uiters interessante, maar komplekse studieterrein is. Verskeie artikels en nagraadse studies oor uiteenlopende aspekte van Prinsloo se verhale is reeds voltooi, maar daar is nog geen sistematiese ondersoek gedoen oor die verhouding tussen feit en fiksie soos dit na vore kom in sy vier bundels nie. Met die skrywer se afsterwe in Maart 1994 is sy oeuvre afgesluit. Dit is dus vir die navorser moontlik om tot bepaalde gevolgtrekkings te kom ten opsigte van 'n volledige korpus tekste. Die werkswyse in hierdie studie is om Prinsloo se verhaalbundels in chronologiese volgorde te ontleed, te bepaal watter verhale outobiografiese merkers vertoon, na te gaan watter tegnieke die skrywer gebruik het om sy tekste te fiksionaliseer/defiksionaliseer, en wat die funksies en konsekwensies is van die byhaal van die "werklikheid" by die fiksionele. Die uitsprake van kritici word by elke bundel gegee, met die navorser se reaksie op die kritiek. As gevolg van die omvang van hierdie studie, word daar nie aandag gegee aan die (meer omvattende) verhouding tussen "feit" en "fiksie" in Prinsloo se oeuvre nie. Sodanige studie sal meebring dat die talryke dokumentêre verwysings in sy werk nagevors en die funksionaliteit daarvan bepaal word. Hierdie studie konsentreer net op die verhouding tussen die outobiografiese feit en fiksie in sy werk, maar verwys, waar nodig, na sommige van hierdie dokumente.

The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.

Indiana University-Purdue University Indianapolis (IUPUI)

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