This document examines Stravinsky's treatment and use of the bassoon in three of his chamber works: L'Histoire du Soldat, Octet, and Septet. The research contained within will, in part, assess the extent to which Stravinsky has affected the development of the bassoon's role in a chamber ensemble, and will provide a general evaluation of his varied treatment of the bassoon in terms of technique, range, articulation, and ensemble. Another aspect of this study considers the possibility that Stravinsky wrote for the French system bassoon. A comparison of the two types of bassoon systems will demonstrate why Stravinsky's works seem so ungrateful to many modern bassoonists who have been trained on the German system instrument.

The Pulitzer Prize in Music has been associated with excellence in American composition since 1943, when it first honored William Schuman for his Secular Cantata No. 2: A Free Song. In the years that followed, this award has recognized America's most eminent composers, placing many of their works in the standard orchestral, chamber and solo repertoire. Aaron Copland, Samuel Barber, Walter Piston and Elliott Carter are but a few of the composers who have been honored by this most prestigious award. Several of these Pulitzer Prize-winning composers have made significant contributions to the solo and chamber music repertories of the bassoon, an instrument that had a limited repertoire until the beginning of the twentieth century. The purpose of this project is to draw attention to the fact that America's most honored composers have enlarged and enriched the repertoire of the solo bassoon and bassoon quartet. The works that will be discussed in this document include: Quartettino for Four Bassoons (1939) - William Schuman, Three Inventions for Solo Bassoon (1962) - George Perle, Canzonetta (1962) - John Harbison, Metamorphoses for Bassoon Solo (1991) - Leslie Bassett and “How like pellucid statues, Daddy. Or like a . . . an engine” (1994) - John Corigliano. Each chapter will include a brief biography of the composer, a historical perspective of where that composition lies in relation to their other works, background information about the work, a formal analysis and suggestions for performance.

This study has investigated the influence of Central Italian folk music in select compositions of Ottorino Respighi, Peter Tchaikovsky, Felix Mendelssohn, and Jean Sibelius. Through the titles of these pieces, one can infer that they were influenced by the composer living in Italy, or visiting, on holiday. This study also includes a brief history of the serenade, from the traditional Italian folk practice to Antonín Dvořák’s treatment of the more modern 19th-century genre. A review of the evolution of the state of ethnomusicology in Italy, including discussion of art and folk-music instruments, poetry, carnevale, and processions within the region of Italy is included. Further, I provide information on tonal and instrumental characteristics and specific folk dances to aid in the investigation of the treatment of folk melodies within 19th-century pieces. The result of this research not only provides a more accurate interpretation of stylistic issues when 19th-century works containing Italian folk-music attributes are performed, but also the knowledge that the title of a piece does not necessarily indicate a musical significance. Some works exhibit a direct musical influence while others are “Italian” in name only. / School of Music