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Music in the early seventeenth century is marked by important stylistic changes. The co-existence of the art of 'strict' counterpoint and of the evolvement of the traits of the stile moderno and the experimentation resulting from Vicentino's theories constitutes a composite phenomenon in regard to music in southern Italy. Giovanni Pietro Del Buono is one of the composers who incorporates and merges all the above elements in a very artful and fascinating collection of seventy-two canons; twelve oblighi and fourteen sonatas, all based on the hymn Ave Maris Stella which is used as a cantus firmus. The concept of 'artificioso' compositions, which depicts music as an art with an important intellectual side, reflects the scientific development and supremacy of intellectual culture in the seventeenth century. Many collections containing pieces composed with particularly complex compositional techniques appeared at that time. In the present thesis a collection so far overlooked is examined and conclusions are drawn concerning Del Buono's particular compositional idiom. An analytical account of the canons and oblighi proves that they are not only products of the stile antico and of the Roman school, but have influences from both the traits of the stile moderno and the Neapolitan musical idiom. A detailed account is provided of some of the sonatas, revealing techniques related to hexachordal theory and Vicentino's theories concerning chromaticism. Also proved is the fact that the manuscript containing the resolutions of the canons and oblighi is not an original manuscript by Del Buono, as scholars have previously stated, but is, in fact, from a later date, written by an unknown scribe. In the second part of the thesis an edition is included of the whole collection in modern transcription.

This thesis considers how collaboration between composer and performer affects the practice of these musicians. The established paradigm for the creation of new work in the context of contemporary classical music promotes separation between composers and performers. Typically the composer is seen as 'creator', the performer as 'interpreter', and the audience as the 'recipient' of the music. This inherent hegemony creates division between these musicians, creating expre~si~e barriers in the development and the dissemination of new work. In this research, the creative processes of both composition and performance are assessed in the context of collaborative practice,in a continuum where both composers and performers are seen as integrated elements within music making. In order to evaluate collaborative practice between composer and performer I commissioned five Irish composers to write solo bass clarinet pieces for me to perform. These five individual cases provided an opportunity to examine collaboration in a practical framework. An integral part of each commission was the examination of collaboration through the careful documentation of the creative processes of interactive practice. Over the course of a year I worked collaboratively with the composers concerned in a series of practical sessions where the new works were discussed. and tried out. A key part of these meetings was the investigation of various elements relating to collaboration, including. notation, improvisation and transmission. A significant amount of data was collected in the course of this examination including audio recordings and transcripts ofmeetings. The fmdings from this research 'indicate that collaboration between composers and performers can have significant beneficial effects on musicians' practice. These benefits include increased motivation, creative stimulation, multiple communication modes and notational clarification. These represent some of the practical fmdings from this investigation of the effect collaboration has on the practice of composers and performers.

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