"Variation is one of the oldest and most elemental types of music, beloved and practised by all musicians since the early lute and keyboard composers." The principle of the variation is that of "variety within unity, secured by the reproduction of limited musical material in changing aspects and is fundamental to composition." Typical instances are the use of fugal themes in changing combinations and with changing counter-material; continuous sequential expansion of a single motif in the baroque sonata or suite; the symphonic development in classical sonata form; ornamentation, compression, extension or elaboration of recapitulated sections. Intro., p. 1.

Instead of putting the emphasis on color in his orchestration, Brahms felt that the music was more important; not the orchestration. However, it would be a mistake to feel that he was deaf to orchestral color. When discussing color in regard to Brahms' orchestration it is necessary to realize that his use of color is much different than that of his contemporaries. This thesis discusses the four symphonies of Brahms and his usage of brass instruments within these symphonies, specifically the french horn, trumpet, trombone and tuba. It is apparent that he used considerable care in writing for the brasses as well as the other instruments and had complete command of the use of their individual colors.

This dissertation, which takes the form of a creative project as is sanctioned-by the Doctor of Arts Curricular Program, is a timpani method based on the performance practices of Edward M. Metzenger, the internationally recognized timpanist and teacher.Although Metzenger's entire life has been inextricably tied to the performance and teaching of music, specifically percussion, and his musical experiences run the gamut from dance to symphonic orchestras, including radio, television, and theater, lie will perhaps best be remembered for his thirty-three years of tenure with the Chicago Symphony Orchestra, thirty-one of which were as its solo timpanist.Metzenger's symphonic career is probably best viewed by an examination of the programs of the Chicago Symphony Orchestra beginning with the 1930-31 season and extending through the 1962-63 season. During these years the Chicago Symphony saw a number of permanent conductors at its helm from Frederick Stock to Fritz Reiner. Also, an extraordinary number of illustrious guest conductors and soloists worked with the orchestra during these years. (This information is presented in Appendix A; "Conductors, Associate Conductors, Soloists, and Assisting Artists of the Chicago Symphony Orchestra, 1930-1963.")The repertoire of this orchestra, performed during the years Metzenger was the solo timpanist, is most inclusive. The list of recordings made during this same period is also extensive. A perusal of this list (recordings) can perhaps yield an estimate of the orchestra's total repertoire. (This list of recordings is presented in Appendix B; "Recordings by the Chicago Symphony Orchestra, 1930-1963.")The foregoing, the Chicago Symphony Orchestra's conductors, soloists, and recordings, is noted to substantiate the artistic climate in which Metzenger performed during his tenure with this orchestra and, consequently, the vast fund of knowledge and practical experience which are his to impart.In an effort to capture and perpetuate the essence of the timpani performance practices of Edward M. Metzenger, the author formulated a method which includes a detailed discussion of these respective practices, provided numerous exercises for their development, and applied them to selected symphonic compositions.In "Part One" of this method the various timpani performance practices of Metzenger are discussed in detail and provided with abundant exercises with explicit practice proceduresfor their development. These performance practices include: ear training; the playing position; the mallet grip (fulcrum and use of fingers); the timpani stroke; the playing areas (legato, semistaccato, and staccato); movement between adjacent and nonadjacent drums with single strokes (pushing, cross sticking, and double sticking); the timpani roll (speed, between adjacent and nonadjacent drums, tied, separated, fortissimo, piano, fortepiano, crescendo-decrescendo, metered and unmetered, and symbols); muffling (pad and hands); the glissando; and grace notes (one, two, and three).The etude approach and the use of complex rhythms which in anyway would encumber the calculated aim of each specific set of exercises are avoided and supplanted by short repetitive figures which are devised to facilitate the acquisition of each distinct skill.It is not suggested that all the exercises of each section be completely mastered before progressing to the next, but that a continuing development be noted simultaneously in all the sections. The accumulated expertise gained through growth in these separate skills can then be applied to any performance situation whether it be as a soloist or as a member of an ensemble.It would be ideal indeed to edit each selection which was performed by the Chicago Symphony Orchestra while Metzenger was its timpanist; however, the breadth of this task is beyond the scope of this paper. In lieu of this comprehensive undertaking, in "Part Two" of this method, the timpani performance techniques required in the symphonies of Beethoven and Brahms are noted in detail. These compositions were selected because the techniques required for their execution are readily applicable to the demands of performing on the timpani in general."A Timpani Method Based on the Performance Practices of Edward M. Metzenger" can successfully be used independently as a means of developing the performer, or it can be used as ancillary material in combination with other methods, etudes, and solos to achieve this goal.