Thesis (M.A.)--Pennsylvania State University, 2008. / Mode of access: World Wide Web. Thesis advisor: Charles Youmans.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1964. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 219-225).

The Harp Concerto, Op. 25 by Alberto Ginastera holds an important place in the harp repertoire, as it is one of the longest and most virtuosic concerti, and yet even the most prominent Ginastera scholars have not included it in their analyses. This study examines Ginastera's musical styles and how they are combined in the Harp Concerto to create a piece that both portrays Ginastera’s Argentine heritage and appeals to an international music audience through the use of contemporary compositional techniques. The overarching styles used in the Harp Concerto are Argentine Nationalism and Neo-Expressionism. Argentine Nationalism is seen in Ginastera's use of the malambo rhythm, special effects that mimic guitar writing, the guitar chord, and specific melodic figures and orchestral textures. Aspects of Neo-Expressionism include the replacement of traditional harmony with large clusters, the prominence of the (0167) tetrachord, the presence of a twelve-tone row, an overall increase in chromaticism, and the use of extended harp techniques. Argentine traits are present throughout several of Ginastera's Neo-Expressionistic compositions; however, the Harp Concerto stands out because of the clarity with which each style is incorporated, as well as in the unique way in which they are combined.

This dissertation addresses specific theoretical issues within Gotkovsky's Eolienne. She was a student of Messiaen, and his influence is evident in Eolienne, but at the same time, Gotkovsky's compositional voice is both personally distinctive and reflects l'esprit de temps of the twentieth century Parisian musical world. The research provides extensive analytical insight into Gotkovsky's musical language in Eolienne, specifically her use of symmetrical scales, emphasis on timbre, and formal constructs. Because there are limited scholarly resources available on the subject of flute and harp chamber music, and a small amount of biographical information on Gotkovsky, this dissertation is a significant contribution within the area of chamber music for flute, both historically and theoretically. It provides an analysis of Gotkovsky's musical language and the analysis gives performers access to musical-theoretical information previously unavailable.

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