Thesis (Ph. D.)--State University of New York at Buffalo, 1972. / "Catalog of works": leaves 356-374.

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Master of Music / Department of Music, Theatre, and Dance / Major Professor Not Listed / LUCAS CHARLES JOHNSON Trumpet Repertoire: A Report on the Trumpet Solo Literature by Bitsch, Hovhaness, Ketting, and Haydn (Under the direction of JIM JOHNSON) This report provides analysis of Marcel Bitsch’s Quatre Variations sur un Theme de Domenico Scarlatti, Alan Hovhaness’ Prayer of Saint Gregory, Otto Ketting’s Intrada, Joseph Haydn’s Concerto for Trumpet in E-flat Major. This report contains four chapters, one devoted to each piece. Chapters include the composer’s biographical information, historical significance (if applicable), theoretical analysis, and performance considerations.

xi, 135 p. : ill., music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / American composer Alan Hovhaness (1911-2000) published twelve operatic works during his career. Eight of these staged productions were written between the years 1959 and 1969. During these ten years Hovhaness immersed himself in the music and theatre of Japan. The composer traveled to Japan twice, once in 1960 and again in 1962, where he frequently attended Noh plays. As composer-in-residence at the University of Hawaii in 1961, Hovhaness took private lessons on and composed freely for the instruments of Gagaku, the ancient court music of Japan. My study investigates the degree to which Hovhaness was exposed to Gagaku and Noh, and what elements of these Japanese alts the composer manifests in his staged works between 1959 and 1969. I compare Hovhaness' treatment of Japanese elements to that ofother twentieth-century Western composers interested in East Asian music. Through this study we gain greater knowledge of Hovhaness' operatic style. / Committee in Charge: Dr. Marian Smith, Chair; Dr. Anne Dhu McLucas; Dr. Jack Boss

Thesis (D.M.A.)--University of North Texas, 2002. / Accompanied by 4 recitals, recorded Nov. 24, 1997, Oct. 19, 1998, Feb. 28, 2000, and Aug. 26, 2002. Includes bibliographical references (p. 72-79).

The purpose of this study is to determine the general style characteristics of the works for solo trumpet by Alan Hovhaness, viz., Khrimian Hairig, Overture to Avak, Prayer of Saint Gregory, and Haroutiun. The musical elements of form, melody, harmony, tonality, rhythm, texture, and counterpoint are examined objectively in order to determine the essential features of the music. Further consideration is given to the idiomatic use of the solo trumpet in these compositions. Each composition is examined separately, the conclusions and generalizations of the style features being reserved for the final chapter.

This essay, through a thorough examination of primary and secondary sources, presents analyses of three orchestral works from Hovhaness' "fourth-period," a period of time spanning approximately ten years, from 1960 to 1970. This essay focuses on three works from this period: Meditation on Zeami, Floating World, and Ode to the Temple of Sound, written in 1963, 1964 and 1965, respectively. This essay gathers information from various primary and secondary sources in order to provide performers who are preparing works from this period with a single source of information, bringing clarity to theoretical and musicological problems. Analyses of this sort are made all the more necessary by the fact that there are currently no extant recordings of any of the works being studied here, and that two of the works, Meditation on Zeami and Floating World, have never been commercially recorded. Without an aural precedent and guide to follow, analyses of these musics will be a welcome resource for the conductor preparing a performance.

With the exception of the music of Aram Khachaturian, the output of Armenian composers has been largely overlooked. This small Middle-Eastern country with a population of almost four million and an intriguing history indeed has a rich musical heritage. From its roots in sacred music and folksong, Armenian music has evolved into a unique blend of national elements and Western art music. Although it remains largely undiscovered, there is an entire repertoire of works in this aesthetic. The Trio for clarinet, violin, and piano by Khachaturian has long been a standard in the clarinetist's repertoire. This project brings to light lesser-known works of other Armenian composers. After providing a brief history of Armenia and her music (Chapter 2), this document presents an annotated bibliography of works using the clarinet (Chapter 3). Because there are a significant number of Armenians living outside their homeland, composers considered for this bibliography include all those of Armenian descent: those born,schooled, and presently living in Armenia, as well as those born to one or both Armenian parents residing in other countries. The bibliography includes works for unaccompanied clarinet, clarinet and piano, clarinet and orchestra, and chamber music for up to seven players. Each annotation includes the composer's name, dates, title of the work and its movements, date of composition, instrumentation, publisher and date of publication (in the case of published works), source from which the score can be obtained (in the case of unpublished works and works that are no longer published), duration of the work, and any recordings that are commercially available. Specific information about each piece, such as its dedication, first performance, historical background, musical characteristics, and performance practice issues is provided when available.