Sections of Haydn's piano sonatas chosen for study have been analyzed to determine the composer's technique in modulation and the key schemes resulting from these modulations, and to discover the consistent patterns and exceptional patterns in these sonata movements as a group. As revealed in this analysis, Haydn is consistent in that the key scheme patterns of several development sections are identical. Also modulations, as categorized according to key relationships, are often accomplished by the same or similar procedures. However, there are important and interesting exceptions to these consistent practices which add variety and seem to contribute to Haydn's growth as a composer

The problem undertaken in this paper is a study of sonata form in regard to the number, types, and key schemes of movements in the pre-Haydn sonatas and a comparison of these with the sonata form as Haydn established it. Finally, a detailed analysis of the Haydn E-Flat Major sonata is presented showing typical formal characteristics. The history of the sonata form does not begin simultaneously with the advent of the sonata itself, for the sonata as we know it today is the result of many stages of experimentation. Its growth and development were a gradual process which lasted the better part of three centuries. Many composers contributed to this growth, but the sonata form itself cannot be ascribed to any particular composer.

This document was created to provide a new English translation to Franz Joseph Haydn's (1732-1809) oratorio<italic>The Creation</italic>that both respects Hadyn's original musical content and employs contemporary English language and idioms. In preparing The Creation for performances with English text it became clear that, at this time, no English libretto is available which completely supports the composer's intended relationship between text and music. This document explores the research on Haydn's oratorio The Creation, most notably the research of A. Peter Brown and Nicholas Temperley. English librettos from Nicholas Temperley, Robert Shaw and Alice Parker, and the original English libretto of Baron Gottfried van Swieten (1733-1803) have all been explored through the course of this document. No English-texted editions of Haydn's oratorio The Creation entirely capture what appears to be the composer's intended relationship between text and music while employing contemporary English language and idioms. I demonstrate that it is possible to create a contemporary English libretto for The Creation that both holds true to Haydn's original musical content and employs contemporary English language and idioms. The methodology I have used during the translation process is provided and examples are discussed. Finally, a complete English translation of The Creation has been included in the form of a piano/vocal score for reference purposes.

Master of Music / Department of Music / Gary C. Mortenson / This Master’s report contains biographical, historical, and theoretical analysis as well as stylistic and technical considerations for the four works performed for the author’s Master’s recital on April 29th, 2009. The works are Handel’s aria “Let the Bright Seraphim” from Samson, Franz Joseph Haydn’s Concerto for Trumpet in E Flat Major, Karl Jenkins’ Salm o Dewi Sant, and Erik Morales’ Concerto for Trumpet in C and Piano.

Master of Music / Department of Music / Julie Yu / Matthew and Mark both conclude their Gospel accounts of the first Mass, the last supper, the same way: “while singing a hymn they went out to the Mount of Olives.” Since the beginning of the Christian tradition the Mass has been accompanied by religious song. The structure of the Roman Mass grew, changed, and took its present form over the course of many years from the Ordo romanus I of ad 700 to the modern rite. The movements of the Mass Ordinary were all present in the Roman Mass as early as the 8th century, while the sections of the Mass Proper took longer to develop. Though early settings of the Ordinary were sung to modal chants, the introduction of organum and polyphony in the 14th century gave rise to inventions in compositions that continue to influence music history. Numerous composers have composed Mass settings for liturgical use. Through their work, these composers shaped compositional techniques and paved the way for additional settings of the Mass. Many other composers’ works have outgrown their liturgical use. Composers have used every form from a cappella missa brevis’, large-scale cori spezatti compositions, to orchestral works rarely intended for liturgical use. Following the Second Vatican Council (1962-1965) the liturgy could be spoken and set musically in the vernacular creating a new collection of compositions in a variety of languages. Movements from five compositions are the subject of this paper. Each piece was selected to for its compositional techniques from its respective time period and region of the world. The composers represent England, Brazil, Germany, France, and the United States.

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Beim Siciliano – dem Forschungsgegenstand dieser Arbeit – handelt es sich um einen musikalischen Typ oder Topos, der sich etwa durch den 6/8-Takt, den punktierten Rhythmus und ein langsames Tempo auszeichnet. In der heutigen musikhistorischen Literatur ist die Annahme verbreitet, der Siciliano habe lediglich in der ersten Hälfte des 18. Jahrhunderts große Popularität genossen, sei aber nach 1750 langsam in Vergessenheit geraten. Der Verfasser ist jedoch durch eine Untersuchung von 184 Siciliano-Kompositionen, die zwischen ca. 1750 und 1820 entstanden sind, zu dem Schluss gekommen, dass die gängige These nicht mehr aufrechtzuerhalten ist: Das kompositorische Repertoire – darunter finden sich nicht nur „große Namen“, sondern auch zahlreiche Komponisten, die nur zu ihren Lebzeiten beliebt waren – macht deutlich, dass der Siciliano auch nach der Jahrhunderthälfte eine bedeutende Rolle gespielt hat. Darüber hinaus wurde festgestellt, dass der Begriff des Siciliano auf der kompositionspraktischen Ebene ziemlich flexibel und keinesfalls einheitlich verstanden wurde. Es scheint gerade seine ausgesprochene Heterogenität zu sein, die diesen Topos wesentlich auszeichnet. Vor diesem Hintergrund widmet sich der zweite Teil der Arbeit den Siciliano-Kompositionen von Joseph Haydn (1732–1809), einem der repräsentativen Komponisten des klassischen Stils. Dabei wurde vor allem ihr Stellenwert sowohl in Haydns Gesamtschaffen als auch in der Geschichte des Siciliano untersucht. Haydn greift während seines gesamten Schaffens und gattungsübergreifend auf diesen Topos zurück und hinterließ 36 instrumentale Siciliani, die zumeist in langsamen Sätzen mehrsätziger Werkzyklen vorkommen. Besonders ab den ausgehenden 1760er Jahren lässt sich in den zentralen Gattungen Haydns künstlerische Absicht erkennen, die Ausdrucksmöglichkeiten des Siciliano-Topos systematisch auszuloten. Auffallend ist unter anderem die Einführung verschiedener Variations- techniken, die Haydn in seinen anderen Werken entwickelt hat. Daraus resultiert dort eine Wechselwirkung zwischen der „Gemeinsprache“ des Topos und Haydns Personalstil. Aus einer stilanalytischen Untersuchung dieser Werke geht hervor, dass Haydns Auseinandersetzung mit dem Siciliano eine Aktualisierung und Weiterentwicklung der seit dem Beginn des 18. Jahrhunderts bestehenden Tradition bedeutet, jedoch keineswegs deren „Ver- steinerung“. Die vorliegende Arbeit darf als die erste umfassende Untersuchung zum Siciliano-Topos nach 1750 gelten. Zugleich setzt sich insbesondere der zweite Dissertationsteil intensiv mit der in der herkömmlichen Haydn-Literatur vernachlässigten Frage nach dem Kompositionsstil in Haydns langsamem Satz auseinander. In diesem Sinne ist es ein zentrales Anliegen dieser Arbeit, zwei wesentliche Forschungslücken zu füllen. / The Siciliano in the Instrumental Music of Joseph Haydn and His Contemporaries : A Study of the Compositional Engagement with a Classical Topos

Thesis (D. Mus. Arts)--University of Washington, 2000. / Vita. Includes bibliographical references (leaves 104-110).

Thesis (doctoral)--University of London King's College, 1996. / BLDSC reference no.: DX197075.