Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 144-147). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--Eastman School of Music, University of Rochester, 1963. / Typescript. Vita. Includes bibliographical references (leaves 287-288).

Thesis (M.M.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 75-84).

Thesis (D.M.A.)--Louisiana State University, Baton Rouge, 2005. / Includes bibliographical references (p. 92-94).

Four of the composers of the Second New England School, Amy Cheney Beach (1867-1944), Arthur Foote (1853-1937), George Whitefield Chadwick (1854-1931), and Horatio Parker (1863-1919), led the flowering of America's art music in the late nineteenth and early twentieth centuries. This study focused on these composers' partsongs that contain an original piano part and also on one chamber work with piano by each of them. The role of pianism within these works was the primary topic of this study, and the piano's contribution to the partsongs and the chamber works was compared and contrasted.The study centered on the four composers' compositional techniques, and the relationship between the voices or strings to the piano was identified. It also revealed the technical demands placed on the pianist. Each partsong or chamber work movement was first briefly analyzed and then suggestions to the pianist/ensemble were made, which were based on the analysis, and that intended to draw the pianist's attention to the most relevant concerns that he will face while preparing this music. The works that I included in this study are from the first period of American history in which American composers wrote significant pieces of art music. The compositions from this turning point in American history reveal a fascinating mix between German Romantic, Modernist, and "American" elements. I found both the partsongs and chamber pieces to be worthy of study, and the large body of works of these four composers, in my opinion, deserves greater exposure.The piano writing, in both their partsongs and chamber works, is quite accomplished and reveals just how gifted these four composers were as pianists. The varied piano textures and the technical demands for the pianist create challenging, yet enjoyable interesting, piano parts, which serve both the partsongs and chamber pieces very well. The piano writing of these four composers' chamber pieces is more complex than that of their partsongs, but both genres contain effective piano parts. Contemporary audiences of classical music would find the piano writing of these works (not to mention the works in their entirety) to be very worthwhile. / School of Music

Music that is categorized as part of the Indianist movement in American music (ca. 1890-1925) typically evokes Native American culture, ritual, story, or song through compositional gestures. It may also incorporate Native American tunes. Amy Beach (1867-1944) is considered to have composed five Indianist works, but her Theme and Variations for Flute and String Quartet, op. 80 has not been included as one of them. This thesis rethinks categorization of the piece, seeking the "Indian" in it through examination of its gestures, instrumentation, and relationship to contemporary Indianist compositions.