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Beginning with his High Mass written in 1994, popular Swedish composer Sven-David Sandström modeled multiple compositions after famous canonical works using the same texts and/or instrumentation. Sandström wants to be compared to the greatest, specifically in how a twenty-first century composer responds to a text set , in the case of J.S. Bach's , over 250 years ago. His setting of Matthäuspassion (MP), which uses the same libretto as J.S. Bach, is his most extensive non-operatic work, one he considers his most significant, and likely his last work based on a preexisting model. This study 1) examines the influence of J.S. Bach's MP on Sandström's setting in the use of characters and chorales, 2) illustrates Sandström's compositional language in MP based on recent studies on his choral music, 3) describes his use of musical symbolism, and 4) discusses his religious and spiritual motivations behind the work, as well as his preferred uses in performance.

In the Baroque period, the baritone voice was not yet well-defined, but many composers wrote vocal pieces with a range appropriate for the modern baritone voice. Composers used the general categories of soprano, alto, tenor, and bass for solo voice in their compositions. Johann Sebastian Bach (1685-1750) was no different from other Baroque composers in writing solo works to be performed by one of the four main voice types. The various ranges and tessituras of J. S. Bach's vocal works for bass solo voice are not limited to being sung by low basses, but may also be sung by more medium ranged baritones. The purpose of this research is to guide collegiate voice teachers and their baritone students in selecting appropriate repertoire from the works of Bach on the basis of each students' level of development and to categorize four groups of bass solos by Bach for collegiate baritone students: beginning level for freshmen, intermediate level for sophomores, advanced level for juniors and seniors, and pre-professional level for seniors and graduate students. This research was prepared in conjunction with a DMA lecture-recital of eight bass solos for collegiate baritone voice, selected from the study; two vocal works for each proficiency level.

The hypothesis of this study entails the formulation of interpretative solutions for J. S. Bach's Capriccio in B flat major. The "Interpretative Analysis" mentioned in the title, strives to provide a synthesis in which the cognitive understanding of the music can contribute to a more informed aesthetic interpretation of the music. In the ensuing study this objective is realised by examining the origin of the work and the sources from which it was handed down, the style in which the Capriccio was composed and conceived, the performance practices prevalent in the early eighteenth century and the applicability thereof to the music of J. S. Bach, the structure of the Capriccio, and lastly the different instruments on which the Capriccio can be performed and the impact which this choice has on any performance thereof. / Department of Musicology / M.Mus.

The hypothesis of this study entails the formulation of interpretative solutions for J. S. Bach's Capriccio in B flat major. The "Interpretative Analysis" mentioned in the title, strives to provide a synthesis in which the cognitive understanding of the music can contribute to a more informed aesthetic interpretation of the music. In the ensuing study this objective is realised by examining the origin of the work and the sources from which it was handed down, the style in which the Capriccio was composed and conceived, the performance practices prevalent in the early eighteenth century and the applicability thereof to the music of J. S. Bach, the structure of the Capriccio, and lastly the different instruments on which the Capriccio can be performed and the impact which this choice has on any performance thereof. / Department of Musicology / M.Mus.

Continuing the discussion of interpreting J. S. Bach's lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach's music. In particular, the Schenkerian approach provides an important methodology for studying Bach's music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach's music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the lacuna in this field, while promoting music scholarship and enhancing the performance practice of classical guitarists.