The purpose of this study was to identify pieces by Twentieth-Century Latin-American composers suitable for performance by Youth Orchestras in the United States. Scores available at the Indiana University Latin-American Music Center were primarily used. This allowed a more comprehensive search while limiting the scope of the study.Orchestral pieces were selected and examined for the study in order to provide insight into particulars of their individual styles and offer them together with pertinent information on the various composers.FindingsThe study identified five Latin-American composers who have written pieces suitable for performance by youth orchestras. The advantages of including Latin-American music in the repertoire of youth orchestras was demonstrated. Social, cultural and political as well as musical reasons for this inclusion were stated.Characteristics of the music of those countries that make it very attractive to young players were taken into consideration in the study, as well as the influence that hispanic traditions have exerted upon the culture of the United States for more than two centuries.It was demonstrated that this cultural interaction, stronger in certain regions of the country, offers added justification for the inclusion of Latin-American repertoire.The analysis of the works selected demonstrated the availability of works of quality that are suitable for performance by youth orchestras, even though they may not have been originally conceived with that in mind.Ancillary identification of information The nature and the author's knowledge of States.Theto the findings listed above was the of substantial omissions in primary sources and reference works consulted for the study. location of these omissions helped to confirm contention that there is very little general art music of Latin-America in the United study also revealed the need for updating current sources of information in order to include more references. The necessary might be to Latin-American composers and their music. project revealed that adjustments in some institutions, both in the United States and the neighboring countries, in order to promote better the music of Latin-American composers in this country. Also, in some cases, the standards of publication and/or copying of materials in the country of origin needs to be upgraded. / School of Music

Thesis (M.A.)--Western Conservative Baptist Seminary, 1990. / Abstract. Bound with program of the concert. Includes bibliographical references (leaf 36).

Thesis (Ph.D.)--University of Melbourne, Faculty of Music, 2009. / Typescript. Includes bibliographical references.

Thesis (Ph. D.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 161-162).

Thesis (Ph. D.)--University of Michigan, 1983. / Includes bibliographical references (leaves 219-225).

Thesis (doctoral)--Universität Köln, 2002. / Includes bibliographical references (p. 219-229).

Inaug.-diss.--Leipzig. / "Literatur": verso of 3d p. l. Lebenslauf. "Beide Teile der Arbeit sind als selbständige Abhandlungen in den Sammelbänden der Internationalen Musikgesellschaft (IV. 2, 3) erschienen."--Pref.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1973. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Thesis (doctoral)--Universität, Köln, 2008. / Includes bibliographical references (p. [281]-283).

This thesis investigates the development of the recorder's microtonal repertoire from 1961 through to 2013. The artistic impulses for the use of microtones are discussed and selected pieces studied and performed. An investigation is also undertaken into the relationship between pitch, dynamic, and tone colour. This leads to the development of a method for objectively identifying the changes in tone colour that result from using various microtonal fingerings. Very little substantial research has been undertaken into the recorder's contemporary repertoire, and even less so with regard to its engagement with microtones. The skills for producing the expressive effects of dynamic and tone colour, and thus microtones, were known in the early 16th century, lost, and then revived during the period of musical experimentation in post-war Europe. The application of this knowledge, however, has remained limited. This thesis addresses these shortcomings. Following consideration of intonation and interpretation in Chapter 2 a survey of writings analyzing changes in tone colour and dynamic, and the relationship between them, is undertaken in Chapter 3. These include a number of foreign language texts, whilst others appear in American journals, or conference papers not generally available to the British reader. They highlight the tendency for writers to discuss tone colour and dynamic in vague and subjective terms, and in relation to the performance of early music but rarely in the context of contemporary music. This strand of my inquiry is brought to fruition in Chapter 5, where research leading to the development of a method for identifying and quantifying changes in tone colour, through the application of different fingerings, is applied for the first time. The results of an investigation into the evolution of microtonal repertoire composed since the 1960s are recorded in Chapter 4. Different compositional approaches to both instrument and microtonality are reflected in my choice of seven pieces, plus my own composition, that are the subject of detailed study in Chapter 6. The analyses of the pieces discussed in this thesis, and the contexts in which they were composed, represent a significant step forward in the understanding of the instrument and the use of microtones in compositions of the period. My thesis concludes with a live performance in which a selection of microtonal pieces is presented. This serves as a demonstration and confirmation of the principles discussed in this thesis, drawing together the threads of my research, and applying the insights gained in the course of this study.