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The compositions of American composer, Alec Wilder, span multiple, often disparate, genres within the classical and popular music styles. During his lifetime, much of Wilder’s greatest success came from his popular songs. However, his body of work is much more vast, and some of his vocal work should be classified as art song. Wilder’s formal training, aptitude for learning, and experiences with popular music provided him with a diverse artistic palette and a unique musical voice. This resultant style is eclectic and includes modality, rhythmic motives, melodic figures, extended harmonies, and text painting.Wilder scholars, David Demsey and Ronald Prather categorized one hundred and seventeen of Wilder’s compositions as art songs. From this group, nine songs were selected and analyzed according to academically accepted characteristics of Art Song: poetry, harmony and melody, the relationship between the voice and the piano, text setting, phrasing and structure, form, and vocal demands in order to justify the songs’identification as art songs. Furthermore, this document contains brief biographical information on Alec Wilder’s life, career, and varied musical endeavors as well as a concise discussion of scholarly literature concerning the composer and his oeuvre.Alec Wilder composed music within multiple genres and styles. His output is prolific, yet his art songs remain relatively unknown. It is hopeful that this document will bring new attention to Alec Wilder, and, specifically, his art songs.

Paradoja: Concerto for Orchestra consists of three contrasting movements: slow, fast, slow (Paradoja = "paradox," Sp.). These movements are framed by a motif that opens and closes each of them, and connects them all. This framing motif is based on an alternation between a rhythmical pattern in the bass drum, and a melody sung by a boy mezzo-soprano, both over a string pedal. The first movement, Lamentos (Sorrows), is dramatic in character; it goes from simple to complex in its orchestration, harmony, texture, dynamics and tempo changes. The second movement, Algarabía (Tangle), reflects a festive affection; it presents a contrast to the first in character, tempo and spirit. The third movement, Sosiego (Serenity) provides a peaceful ending to the piece; it is lighter than the other two movements in texture and orchestration. The general harmonic language of Paradoja: Concerto for Orchestra is non-tonal yet centric, with surface references to functional harmony. However, the pitch content varies from movement to movement. The first movement is highly chromatic and based in the twelve-tone collection. The melodies are created by a combination of small pitch-class sets and sometimes are broken down and distributed among different instruments. Harmony is the result of the juxtaposition and counterpoint of these melodies, which vertically reiterate the same cells or creates new sets. The second movement is based on smaller collections than the first, and it is less chromatic. Contrast is often created by changing the collections or simply transposing them. The third movement is the most homophonic and the least chromatic of all three. It is based on a combination and juxtaposition of diatonic and non-diatonic collections that interact with each other. Paradoja: Concerto for Orchestra is examined in two broad categories. The first is a structural analysis, which includes details of form and pitch selection such as pitch collections, set classes and motives. The second is a stylistic analysis, which includes aspects of style such as rhythm, orchestration. The conclusion refers to the influence of historical models and aspects of the compositional process. Both the structural and stylistic analyses demonstrate how I have tried to merge diverse stylistic music elements to obtain a new personal idiom. / Music Composition / Accompanied by one .pdf score: Paradoja: Concerto for Orchestra: Full Orchestral Score.

abstract: This research concentrates on the five sonatinas for piano by Walter Saul. It consists of a recording and a document providing musical analyses and performance guides to these sonatinas. The purpose of the research is to introduce Walter Saul’s five sonatinas, composed from 1998 to 2015. Walter Saul is a gifted living American composer and pianist. He has written a quantity of piano music intended for study by young performers. His five sonatinas, in traditional sonata forms, use a variety of compositional techniques, including twelve-tone rows, jazz elements, modulations, modes, scales, and contrapuntal procedures. Performers may find that the analyses in this document are useful in understanding these pieces. The guides are likewise provided to teachers and students studying these pieces. This paper consists of six chapters. It begins with an introduction in Chapter 1; Chapter 2 presents a biography of Walter Saul; Chapter 3 observes characteristics of Walter Saul’s piano music; Chapter 4 deals with background of the five sonatinas; Chapter 5 provides performance guides including simple analyses; Chapter 6 arrives at a conclusion. / Dissertation/Thesis / APPENDIX B: A RECORDING OF FIVE PIANO SONATINAS OF WALTER SAUL BY AHYEON YUN, PIANO / Doctoral Dissertation Music 2017

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