Thesis (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 148-149). Available also in a digital version from Dissertation Abstracts.

Thesis (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references (leaves 120-121). Also available in an electronic version.

Thesis (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI Company.

Treatise (D.M.A.)--University of Texas at Austin, 2005. / Supervisors: Adam Holzman and Andrew Dell'Antonio. Vita. Includes bibliographical references. Also available from UMI.

Thesis (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references.

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This paper examined editorial methods used in producing published versions of the music of Mario Castelnuovo-Tedesco (1895-1968). From this examination, I established some editorial principles to create a performance edition of five movements from book two of Castelnuovo-Tedesco’s Appunti op. 210. This paper includes a discussion of the sources and methods used in establishing editorial criteria. at the request of the Milanese guitarist Ruggero Chiesa (1933-1993), Castelnuovo-Tedesco set out to create a collection of didactic pieces for young guitarists. the pieces were to be collaboratively edited and fingered by Chiesa, and then given final approval by the composer. Unfortunately, the composer died before finishing the work. the pieces and sketches that survive exist in four volumes published by the Italian house, Suvini Zerboni, containing the pieces that Chiesa edited with the approval of Castelnuovo-Tedesco. the published edition also includes unedited pieces that did not undergo the collaborative process. with the goal of maintaining an unadulterated portrayal of the composer’s intentions, Chiesa presented these pieces as they appear in the manuscript. Much of the music is unidiomatic and either impossible or highly impractical to play. My study established some editorial principles for use in creating a performance edition of this work. the edition includes my engraving of the original unedited manuscript as well as ossia measures containing solutions to performance problems. the suggested solutions balance the perception of the composer’s intentions, established editorial practices, and idiomatic concerns to creating a playable edition.

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