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v. 1. Analytical commentary -- v. 2. Concerto for horn and wind orchestra -- v. 3. Tandem for bass clarinet and violoncello -- v. 4. Boogie Woogie Ètudes for solo piano -- v. 5. Duo! for clarinet, violoncello and piano -- v. 6. Three pieces for Eb clarinet -- v. 7. Epicentres for orchestra -- v. 8. Broken Lines for eleven solo strings -- Cassette 1: Recordings of Tandem, Concerto for horn and wind orchestra -- Cassette 2: Recordings of Boogie Woogie Ètudes and three pieces for Eb clarinet.

This study comprises a description and analysis of the textual and musical components of a homogeneous corpus of Ifo songs - songs which occur within the telling of traditional folktales - from the Orumba area of Anambra State of Nigeria. Because Ifo is a mirror of the mind and thought of the people, a reflection of the tensions and conflicts within the society, in Chapter One different but related facets of Igbo cultural life deemed essential for the understanding of the content of Ifo are delineated. The two subsequent chapters demonstrate that Igbo concepts of music differ from those of the west, and that although Igbo vocal and instrumental musical expressions may have some features in common, basically they differ in idiom and style. Hence in Chapter Two Igbo concepts of music, musical categories, and types, are explained. In this context Ifo is established as sui generis in the gamut of traditional vocal music. The social functions of music, and the forces, both indigenous and foreign, that influence Igbo musical practices, are also discussed. In Chapter Three traditional vocal music is treated in detail, and in subsequent chapters the focus is on Ifo. The special features of Ifo are described in Chapter Four; the textual components in Chapter Five; and the stylistic elements in terms of music-text relationships, vocal modes, and singing style in Chapter Six. Chapter Seven is devoted to musical analysis. Chapter Eight consists of a summary and conclusion. The potential value of Ifo in Igbo studies, especially in the field of Arts and Humanities, is unquestionable. The melodies are of importance for composition; the subject-matter is appropriate to folk opera, and to use by novelists, and dramatists; and the texts provide excellent material for the study of Folklore, poetry, linguistics and sociology.

John Weldon (1676-1736) was 'Composer to the Chapel Royal' from 1708/9 until his death. As such he was a highly regarded member of an elite musical institution in early eighteenthcentury England. Over the last quarter century or so, musicological studies in this area have largely concentrated on the canonic figures of Purcell and Handel, leaving something of a terra incognita as regards the music of their contemporaries. Recent studies in the field of theatre music have begun to address this gap and there has been some limited renewed interest in the music of William Croft, Weldon's contemporary, also a Composer to the Chapel Royal. This study further addresses this lacuna by providing the first complete critical edition of Weldon's sacred work, much of which is unpublished and is edited here for the first time. Of particular interest are several substantive verse anthems; not one example of these important contributions to the repertory of the Chapel Royal in the early eighteenth century has previously been printed. The introduction to the edition comprises five chapters. Chapters 1 and 2 contextualise the music through a thorough re-examination of Weldon's biography and a consideration of the Chapel Royal in which the music was performed, respectively. Chapter 3 provides, for the first time, a proposed chronological catalogue of his sacred music followed by an in-depth stylistic assessment of that music. Chapter 4 provides two case studies of compositional practices that result in either new versions of extant anthems that exist alongside previous versions, or revisions by the composer that supersede the previous material. Performance issues themselves are explored not only through Notes on Performance (addressing issues such as tempo, ornamentation and voice type), but also through a detailed study in Chapter 5 of accompanimental practice as deduced from the extant primary source material.

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In the early 19th Century, Germany was gripped by a fascination with the ‘North’ that influenced writers and philosophers like Herder, Goethe, Uhland and Fontane as well as music. Countless compositions emerged, which were either inspired by works of important writers like Robert Burns, Sir Walter Scott, and Macpherson or by the gloomy atmosphere of the Northern landscapes in general. While this ‘Nordic tone’ in music was of fundamental importance for 19th Century musical aesthetics, scholars seem to have a very vague understanding of what the ‘Nordic tone’ should evoke and an even vaguer idea of how exactly this was to be achieved. This confusion is partly due to ambiguity in the terminology: just as Herder and his contemporaries had made no distinction between Gaelic, Celtic, and Germanic heritages, mid 19th Century German critics did not distinguish between, for instance, an ‘Ossianic manner’, an overall ‘Nordic character’ or a ‘Scottish style’. Sharing Mendelssohn’s enthusiasm, the composer Carl Loewe (1796-1869) wrote a number of ballads dealing with Scottish, English and Nordic themes. However, an important question to be addressed is: can one really analytically detect a ‘Nordic’ tone in Loewe’s ballads, however programmatic a composition’s ballad title may sound, particularly given the vagueness of the discussion about the ‘Nordic tone’? Secondly, given the terminological ambiguity, did Loewe differentiate between an English, Scottish and Scandinavian tone or did he adopt an all-inclusive ‘Nordic tone’? This dissertation revisits the question of the ‘Nordic tone’ in Loewe’s English, Scottish and Nordic ballads. How does Loewe’s approach towards these nations differ, considering that he visited England and Norway, but never Scotland? It will be demonstrated how Loewe’s image of the Northern cultures was formed, to what extent he differentiated between England, Scotland and Scandinavia, and whether he adopted an all inclusive ‘Nordic’ tone.

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Church ministers often lack confidence in making musical choices, negotiating with musicians, or knowing how to make best use of often limited musical resources. Building on my experience as a part-time liturgy tutor for a diocesan ministry course, as training incumbent, and leader of workshop and seminars, and on investigations into the current provision of ministerial training, available resources, and the responses of new and experienced ministers from the Church of England and from the Lutheran Church, the outcome is a Musical Toolkit intended to support ministers. There are three chapters, preceded by an introduction which highlights the roots of this investigation in the everyday practice of public ministry, leading up to a Toolkit which ultimately as a web-based resource will offer ordained and licensed ministers of the Church of England readily accessible help and advice, as and when they need it, with options to pursue certain avenues of enquiry further. The Introduction sets the scene and introduces the context of the research and the questions to be addressed. Chapter 1 then addresses the ecclesiastical and social context of the study, covering how music has developed and is currently practised in the Church of England, aiming to identify what are the perceived and actual needs. Chapter 2 moves from personal experience to the research itself with new and experienced Church of England clergy, leading to chapter 3 which investigates current provision for liturgical training for ministers in the Church of England, and current literature available. Chapter 4 summarises the conclusions and outcomes of the investigations leading to the final outcome: the Musical Toolkit, which is now being adapted for online use, where it will be of most use to clergy and other ministers.

Manuel de Falla was the only Spanish composer of his generation whose music was - and is - widely performed and admired outside his own country. The universal acceptance of his work is due in no small part to the cosmopolitan elements of his musical language: elements which developed as a result of his wide experience of music by contemporary composers of other nationalities. This dissertation investigates relationships between Falla and other European composers of his own generation (except fellow Spaniards), including Dukas, Debussy, Ravel, Schmitt, Roussel, Delage, Koechlin, Casella, Malipiero, Stravinsky, Kodaly, Bart6k, Szymanowski, Vaughan Williams and others. Falla's friendship with each composer is discussed, as is his knowledge and experience of their music, and documented instances (where they exist) of their influence on his own work. The investigation is based on examination of historical documents (most of them preserved at the Archivo Manuel de Falla, Granada) and primary sources, including items of correspondence (mostly unpublished), printed scores (including Falla's own annotated collection), concert programmes, contemporary press reviews and articles, manuscripts, published memoirs, and photographs. Transcriptions of surviving correspondence between Falla and his European contemporaries are included as appendices, along with inventories of scores of . contemporary music in his library, and of performances of it which he gave and at which he was present.

The Penitential Psalms is often referenced as Orlando di Lasso’s most famous piece; however, it remains largely untouched by scholars, plagued by some of the same problems that typically impede research on Lasso’s works: that is, bulk and musical variation. Although there have been a few comparative studies of the cycle with the most recent being Stefan Schulze’s study on modality in settings by Orlando di Lasso, Alexander Utendal and Jacob Reiner: Die Tonarten in Lassos “Busspsalmen” (1984), this is the first study since Herrmann Bäuerle’s dissertation Musikphilologische Studie über die Sieben Busspsalmen (1906), that deals exclusively with Lasso’s Penitential Psalms from an analytical perspective. Because of the problems mentioned, analysis of the Penitential Psalms is very much a methodological challenge, due to its scope and use of varied musical style throughout the cycle. Structure was indubitably a primary concern in the composition of the Penitential Psalms, as shown in the title of the work published first in 1584 – ‘modis musicis redditi’. In proving the hypothesis that Lasso, indeed, employs other musical elements, as well as mode, in such a capacity as to reinforce the structure of the cycle, there are two main lines of inquiry in the musical aspects that were analyzed in this study (motivicity and harmony): (1) To what extent do certain observed phenomena occur and what function does this serve? (2) To what degree are these phenomena used in the composition? The minor doxology was used as the underlying focus of this study to function as a type of control group. This was ideal since the text remains a constant throughout all seven settings, corresponding to each of the seven penitential psalms across the cycle. In demonstrated compositional patterns, both of the above lines of inquiry together form the basis for a more complete understanding of the psalms as well as the musical logic which gives the cycle a remarkable degree of coherence based on the interrelatedness of the phenomena observed.