Treatise (D.M.A.) Florida State University, 2005. / Advisor: Eric Ohlsson, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-21-07). Document formatted into pages; contains 70 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4035. Adviser: Fred Stoltzfus. Includes bibliographical references (leaves 191-193) Available on microfilm from Pro Quest Information and Learning.

Benjamin Britten was commissioned by the BBC to write music for a radio broadcast on Michaelmas (September 29) in 1937. This was to be Britten's second work in the field of radio incidental music and in contrast to many earlier BBC radio programs he was the only composer for the Michaelmas broadcast. The document concentrates on the musical content of the eleven movements of The Company of Heaven, the source of the spoken and sung texts assembled by Richard Ellis Roberts, the compositional techniques found in select works written by Britten from 1930-1937 that influenced the content of The Company of Heaven, and the influence that The Company of Heaven had on subsequent select composition during the next ten years.

Thesis (Ph.D.)--University of the Witwatersrand, Faculty of Arts (Music), 1985.

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: Caroline Joan Picart, Florida State University, College of Arts and Sciences, Program in the Humanities. Title and description from dissertation home page (viewed Sept. 20, 2006). Document formatted into pages; contains x, 123 pages. Includes bibliographical references.

Thesis (D.M.A.)--Ohio State University, 1984. / Includes bibliographical references (leaves 103-106).

Benjamin Britten is one of the foremost contemporary English composers. He has successfully revived English opera, dead since Purcell, and this is one of his most significant contributions to the contemporary music world. Therefore, the purpose of this document is to give the reader some insight into Britten' s operatic style. The first chapter contains a sketch of Britten's life with particular reference to his operas, along with general characteristics of his writing. The following chapter has been devoted to a closer consideration of four of his2 operas: Peter Grimes, ;Theof. Lueretia, Albert Herring, and Gloriana. Since an analysis of entire operas would exceed the limitations of this paper, the soprano role has been selected as representative of Britten's operatic style. The vocal score of Turn of the Screw was not available for this study, and his other operas do not contain soprano roles. With each analysis a brief synopsis of the plot is included as a background for the musical analysis. Following the plot is a general treatment of the outstanding style features of the role. In order to present another facet of Britten's writing, the specific analysis of each soprano role is handled from a thematic standpoint. That is, the role is scrutinized for important recurring motives, the significance of these motives is noted, and examination made of their relationship to the opera as a. whole. Reti's Thematic Process in Mlusic has proved an invaluable guide to this type of analysis.

Diss.--Comparative literature--Stanford (Calif.)--Univ., 1998. / Bibliogr. p. 190-198.

The purpose of this study was to recognize the unique character of Benjamin Britten's writing for cello and to exhibit his exceptional contribution to the cello repertory. Britten made a significant contribution to the cello repertory with his six cello works: Sonata. for Cello and Piano in C, Op. 65, Cello Symphony, Op. 68, The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher . However, many of these compositions are underperformed and overlooked by today's performers. This disregard by the general public for Britten's cello works may be because of the interest in other extreme compositional styles employed by several other composers in the 20th century. While Britten's contemporaries focused on extremely inventive methods of writing, Britten focused on his own renovation of the traditional elements.This study focused on Benjamin Britten's four solo cello works: The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher'. It began with a biographical overview of Benjamin Britten's life, his writing philosophy, and the way it influenced his compositional process. This study then delved into the depth of the three solo cello suites, Tema `Sacher', and concluded with a summary of the analysis.Each of the works were examined and analyzed according to Britten's use of the concept of duality. The dual elements of rhythm/tempo/meter, motive, key/tonality/modality, form, and texture were analyzed in details. This study analyzed every movement based on its application of those elements. Excerpts of music were also provided to illustrate with the analysis.This study hopes to allow the public to rediscover the ingenious writing Benjamin Britten achieved and to encourage today's cellists to recognize Britten's importance as a composer in the history of cello composition. / School of Music

The purpose of this study was to acknowledge and bring to light the undeniable significance of Benjamin Britten as a composer and his Piano Concerto in D, Op.13. This dissertation delved into the depth of the concerto with structural and harmonic analysis along with suggested pedagogical methods and performance aspects.The first chapter included an introduction of the piano-concerto genre in general, motivation for the study of Britten's Piano Concerto, review of literature on Britten and the piano concerto, and methodology of the dissertation. The second chapter continued with an overview of Britten's life, accomplishments as a pianist, and his contribution to the piano repertoire in general. The third chapter provided a stylistic analysis on each movement of the concerto. It included structural analysis based on the formal, motivic, thematic, rhythmic, melodic and harmonic elements presented throughout the concerto. Additionally, possible technical challenges and suggestions for practice methods were recommended based on the issues of phrasings, articulations, dynamics, musical expressions and styles. Since each movement has its own unique titles such as Toccata, Waltz, Impromptu, and March, the origins of the genre and Britten's association with the terminology was also examined.The dissertation not only underlined the importance of Britten as a composer for the piano, it also revealed his distinct compositional characteristics shown in the piano concerto in relation to his other significant piano repertoire. The dissertation closed with a summary of the detailed analysis of the concerto and recommended further studies on Britten and his piano concerto. / School of Music