In the year 1916, there appeared an article by G. Jean-Aubry in "La musique française d'aujourdhui" which placed Paul Verlaine in proper historical perspective. Jean-Aubry states: Even if we consider only its musical aspect, the history of the lied in France must include the name and work of Paul Verlaine. Of course, this poet did not, alone, determine the remarkable movement which, in about 1867, transformed the romantic melody into the lied, as we understand the form today; but the publication of Fêtes galantes, La bonne chanson, and Romances sans paroles, offered musicians poems which were excellently, and indeed uniquely suited to this melodic form. In view of his historical significance, the author will examine representative poems of Paul Verlaine which have been given musical settings by various composers of the nineteenth and twentieth centuries. Within this framework a biographical overview will be presented together with a discussion of Verlaine's poetic style, relating wherever possible events of his life to contemporary developments in literature and the fine arts. His contribution to French literature will be evaluated by the examination of his "Art Poétique" and other personal statements, as well as by comments about his poetry by noted critics of French literature during and after his lifetime. Verlaine's relationships to and with other poets such as the Parnassians, Baudelaire, and Rimbaud will be investigated in order to determine their influence upon his style. His own role as leader of and/or contributor to the literature of the contemporary schools of Parnassianism, Symbolism, Impressionism, and Decadence will be examined. These four schools of thought together with the Naturalist and Romantic schools will also be explored in some depth and placed in historical perspective. For purposes of assessing Verlaine's contributions to French music and poetry, it will be necessary to determine the specific nature and structure of French verse in the nineteenth century along with the principles promulgated in the previous centuries. The role of stress, meter, rhythm, rime, imagery, color, subject matter, and other structural parameters will be illustrated through the examination of three poems: "La mer est plus belle," "Le Son du cor s'afflige vers les bois," and "L'Échellonement des haies" taken from Verlaine's book of poems entitled Sagesse. To this end, specific songs based upon Verlaine poems will be analyzed in terms of the presence or absence of musico- poetic synthesis involving harmony, tonality, tone-painting, texture, rhythm, and declamation. Representative poems given musical settings will be chosen for analysis from the major collections of the poet's life, namely, Fêtes galantes, La Bonne Chanson, Romances sans paroles, and Sagesse. The focus will be upon poems which are considered mileposts and which have been set by two or more composers. This will facilitate comparison.

All children have the capacity to express themselves musically and to have music be an important part of their lives. In most states classroom teachers in the primary grades are expected to provide all instruction in music, often without supervision or assistance. The idea of the classroom teacher teaching music is not new. This has been a pattern of musical instruction in the elementary schools throughout the history of our country. Teachers cannot teach material they do not know and in which they are not interested. Most classroom teachers welcome new ideas and attractive materials for use in teaching music to children in their classrooms. This dissertation presents a pattern of musical preparation for prospective primary classroom teachers based on an eclectic approach which focuses on the selected pedagogical principles of Kodály, Orff, and Dalcroze. The main body of the dissertation consists of a two semester sequence of instruction organized in thirty lessons based on a vocal approach and emphasizing movement. It includes resource materials such as lists of books on the teaching of music and dance, recordings, films and filmstrips, and song collections. More than 100 songs are used in a variety of ways as are rhymes and movement activities.

One who undertakes the task of completing an unfinished work must perform it with conviction and with authority. The attempt to achieve a total synthesis between the work of the original composer and that of the secondary composer demands a concentrated study on both conscious and subconscious levels. The obvious characteristics of a given style, such as lengths of phrases, voicing of chords, harmonic progressions, and treatment of sequential material can be understood by analyzing many works of the composer in question. The more elusive and intangible characteristics, such as the emotional content and the manner in which feelings are expressed are absorbed more by osmosis than formal study. To write a parody and to create a work in the style of a given composer are, respectively, the lighter and more serious methods of composition which can be utilized in order to gain familiarity with and control over any given style. This is necessary groundwork for the more serious art of reconstruction, because within the creation of such a work, one gains familiarity with stylistic idioms through blatant exaggeration. Writing a work within the style of another composer while retaining one's identity is an intermediate step between that of the parody and that of the reconstruction. Finally, to create an unquestionably convincing continuation of another person's work carries this highly specialized form of composition beyond mere imitation to a higher level of creativity. Once the reconstruction has been well achieved, the audience may never be aware of the point of transition and may not even know of the scholar's existence.

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The main purpose of this paper is to compare the Opera Goyescas with the Goyescas Piano Suite in order to demonstrate how the composer used the pre-existant materials, and to what extent. The Opera Goyescas will be compared measure-by-measure with the sources from which Granados extracted materials. Scores for the two pieces of the Goyescas Piano Suite which are quoted directly and completely (El fandango de candil and El amor y la muerte) and the respective commensurate sections from the Opera Goyescas are included at the end of this document for study and comparison. A discussion of the operatic treatment of the pianistic materials is provided, demonstrating the techniques with which the composer worked in the recomposition of the Goyescas Piano Suite. Also included is a study of the individual pieces of the Goyescas Piano Suite (Books I and II), with emphasis on the fifth piece, El amor y la muerte. The developmental characteristics of that piece (which makes extensive use of motives and themes from the earlier four Suite pieces), will be discussed

The main purpose of this paper is to discuss Carlos Chávez's use of ancient Aztec instruments in several of his compositions. Several pieces in which he called for the use of these native instruments or their modern equivalents will be discussed in general, with as specific a listing as possible of the instruments required for each work. Musicologists have identified at least thirty different pre-conquest Aztec instruments. The instruments for which Chávez calls in these pieces will be discussed in detail, with illustrations when possible. Chávez is undoubtedly the most outstanding figure in the Mexican musical scene in the twentieth century. His nationalism was a unique combination of a deep entrenchment in the European tradition, an almost congenital exposure to native Indian music and complete immersion in the Hispanic-mestizo musical heritage which surrounded him daily. This study will examine the sources of these influences and how Chávez created his own musical language from them.

The violin works of Igor Stravinsky form an integral and vital part of the contemporary violin repertoire. The violin works fall into two categories: original compositions and transcriptions of previous compositions. Included in these transcriptions are orchestral suites and selections from ballet and opera. Many similarities can be noted among the compositions of this genre. The majority were composed or transcribed during a fifteen year period of Stravinsky's career and they exhibit a particular style of composition utilized by Stravinsky at that time. These violin works also generate from an amiable association between Stravinsky and a young violin virtuoso, Samuel Dushkin. During this time, Stravinsky was changing the focus of his career from that of being primarily a composer, to composer, conductor and performer. This necessitated compositions which Stravinsky could perform on tours with Dushkin. This study will be primarily concerned with Stravinsky's compositions for violin written during the years 1931 to 1935. In order to put these compositions in perspective, it is beneficial to investigate earlier events in Stravinsky's life.

The purpose of this paper is to explore the numerous compositions by Darius Milhaud in which the violin plays an important role. Included here are discussions of the works for violin and piano, violin and orchestra, solo violin, and all chamber music which includes violin for three or fewer players. The eighteen string quartets, for instance, are not dealt with here, as these works alone could be the subject of an entire volume. Also included is a brief biography of the composer and a general discussion of Milhaud's music. The major compositions which include violin are then discussed individually. Resources for this thesis were obtained from materials at the libraries at the University of Arizona, Tucson, and through inter-library loan from the libraries of Mills College, the University of Illinois, the University of Oregon, and the University of Colorado. Other information was gained from Milhaud's autobiography, "Notes Without Music ", and from correspondence with Madeleine Milhaud, the composer's widow.

Felix Mendelssohn was a many-faceted individual. While known now primarily as a composer, in his time he was also important as a virtuoso pianist and conductor. His contribution to the musical life of his time and to posterity is significant. As well as composing for nearly every genre (see Table 1) Mendelssohn was a popular soloist and dominated German conducting from 1830 until his death in 1847. Over the years his popularity has waxed and waned. The works of Mendelssohn were highly regarded during his lifetime and remained popular until about 1900. Around 1900, however, there was a major shift in opinion. At this time, his music was considered to be mediocre. The rise of anti-Semitism in Germany during the twentieth century caused a further underrating of Mendelssohn's music in his homeland. It is hoped that this, and other present-day studies, will offer a more objective view of his music. As is true with most composers, in the body of Mendelssohn's compositions, one can find individual pieces to support either greatness or mediocrity. The music which is most familiar to the public: Italian and Scottish symphonies, the Hebrides and Overture and Incidental Music to A Midsummer Night's Dream orchestral overtures, and the String Octet in E-flat Major are undoubtedly some of Mendelssohn's best. On the other hand, his operas never have been effective. Even at the end of his life, he was still searching for the perfect libretto. But it is inconsistent writing within individual pieces which is the most frustrating aspect of Mendelssohn's music. The first cello sonata is one such example. Here a solid first movement is followed by two weak ones. Included in the total number of pieces of chamber music on Table 1, are the four pieces that Mendelssohn composed for cello and piano. They consist of two short pieces and two sonatas, and were written over a sixteen year span (see Table 3, page 8). This paper aims to familiarize the reader with these cello works, investigate them in terms of the criticisms leveled at Mendelssohn's music, and examine their contribution and place in today's literature for the violoncello.

Paul Schoenfield is currently composer in residence at the University of Toledo. He is a composer of music for virtually all media, but has a special affinity for music of his own instrument, the piano. His works have been performed in concerts throughout the United State and Europe, broadcast on network television, and heard on recordings. As is often the case with today's serious composers, his abilities are channeled into musical areas besides composition. He has had a distinguished performing career, appearing as soloist with orchestras throughout the United States and in solo and chamber recitals throughout the United States and Europe. He has won numerous major competitions including the Leonard Bernstein Competition, National Young Artist's Award, and the Southwest Pianist's Foundation Competition. As a university professor he has taught a variety of courses encompassing the spectrum of music curriculum: composition, piano, music literature, analysis, counterpoint, chamber music, and music education.