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There are fifty-one instrumental pieces by Philips, many of which occur in versions for ensemble, keyboard and lute. The sources have a wide geographical and chronological span. This research is based upon an extensive first-hand examination of the sources of Philips's instrumental music, and a detailed comparative study of the textual variants of each piece. The thesis divides into three parts. In the first, a biographical chapter relates Philips's instrumental music to the changing nature of his employment. Then the main sources of his instrumental music, the manuscripts copied by Francis Tregian, are discussed at length. The remaining keyboard sources are considered, followed by consort and lute sources. In Part 2 the technique of intabulation is shown to be central to Philips's keyboard style. A distinction is made between arrangements made by Philips of his own works, those made by him of other composers' works, and settings of his music made by others. A case study of the 'Dolorosa Pavan' is used to illustrate how widely Philips's music was disseminated, and allows us to establish a stemma of sources which helps us to elucidate - and improve - our understanding of their inter-relationships. A second case study attempts to establish the origins of the pavan dated by Tregian to 1580: the original 'model' on which the keyboard piece is based has not survived. The thesis ends with an attempt to place Philips's instrumental repertory in the context of his contemporaries, using Philips's music as a 'touchstone' to refer to relationships (mostly stylistic) with other composers. Part 3 comprises transcriptions of Philips's instrumental pieces. The texts of each source for a piece are given in parallel with the minimum of editorial adjustment: Part 3 is intended to be a reference tool, not an edition.

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John Cage, (1912-1992) pioneer in new music, innovator, inventor of the happening and philosopher, writer and artist was one of the most creative forces of the twentieth century. His earliest works were 25-tone contrapuntal compositions. He later developed a strong interest in writing for percussion ensembles and collected instruments that were both found and made. He conducted his own percussion orchestras and discovered that they were the answer to his philosophy of the sounds of the future. He considered percussion music the transition from keyboard-influenced music to music which allowed for all sounds and silences. From 1939-1951 John Cage composed several works for prepared piano that used time as a structural device. Many of these works were written for the dance in collaboration with Merce Cunningham. This document addresses the historical significance of these works and relates Time to other areas that influenced Cage--including Zen and the Dance. This document provides descriptive analyses of Bacchanale, Music for Marcel Duchamp and selected Sonatas from the Sonatas and Interludes. To this writer's knowledge there have not yet been any analyses of Bacchanale or Music for Marcel Duchamp. The analyses reveal Cage's primary structural techniques in which he uses duration of spaces of time. Time lengths and the square root method appear to be the most important. These techniques first appeared in Imaginary Landscape #1 and First Construction in Metal--both dating from 1939. A brief description of all his prepared piano works is included to demonstrate Cage's commitment to rhythmic structuring. All of these works have been studied by this writer and several have been performed in concert by this writer. These include: Music for Marcel Duchamp, Primitive, For a Valentine Out of Season, A Room, Prelude for Meditation, Amores (Movements I and IV), and selected Sonatas from Sonatas and Interludes. A section has been included which explains the nature of materials used for preparations and their timbral effects. A Conclusion is provided demonstrating that Cage chose rhythm over harmony to structure his music. This information is drawn from the influences on Cage, his early percussion works, procedures employed in the percussion works and transferred to the prepared piano and the influence of dancers and Oriental philosophy. An Appendix is included with charts of the Sonatas. A Bibliography which shows the references consulted is included.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Photocopy of typescript. / Digitized by Kansas Correctional Industries

Sound tape reel in pocket. / Digitized by Kansas Correctional Industries

Sound tape reel in pocket. / Digitized by Kansas Correctional Industries

Richard Wagner's published writings present various topoi to which he returned repeatedly. Often he adopts a historiographic approach in his arguments, and this feature suggested the present study concerning the composer's concepts of history. Wagner's historiographic approach is reflected in his discussions of the Greek influence on music. The contents of his personal libraries, first in Dresden and then in Zurich/Bayreuth, are also considered as further resources for the composer's study of history. Along with these sources, his autobiography, letters, and the extensive diary of his wife Cosima provide further substance for the present discussion. The shifts in Wagner's theories under the influence of Arthur Schopenhauer are also examined as is the composer's eventual realization that much of what he was attempting to do in his own works had already been foreshadowed in the early Italian humanist experiments that led to the birth of opera. Examples from his works, particularly Die Meistersinger von Nürnberg, reveal his adoption of traits of various historical style periods in music history in his own compositions. Wagner's reverence for Palestrina and Bach are also highlighted. / text