Spanish Priests of the Franciscan order built 21 missions along El Camino Real between 1769 and 1835 before the mission system collapsed. El Camino Real, now generally referred to as “The King’s Highway” or “Mission Road,” runs 600 miles in California between Mission San Diego de Alcalá in modern-day San Diego to Mission San Francisco Solano in modern-day Sonoma. The missions served as communities with Catholicism and music, specifically music for services, at the heart of the culture. The music reflected the culture of these missions by presenting a hybrid of European and Native American styles. The Misa de Cataluña appears in nine of the extant mission manuscripts making it one of the most frequently transcribed surviving works in the California Mission System. Often the work appears in a position of honor within the intentional ordering of the choirbooks. Frs. Durán and Tapís, noted for their musical contributions to the California Mission System, both included this work in their choirbooks. Since the mission period, there have been at least two known arrangements of the work. As such, this work holds a respected place in California’s musical history. In this project, I seek to honor and explore this notable work by creating a critical edition of the Misa de Cataluña from the nine surviving manuscript sources to enable performance by modern choirs. Additionally, I discuss various challenges of performing the work with modern choirs and provide solutions to potential difficulties. / School of Music

The possibility of making music a more secure source of income for the professional musician does not seem to offer much hold for the future of music. However, the possibility of making music more a part of the life of the people through amateur participation offers a possibility for further growth of music which may help to make music a truly worthwhile part of our culture. It is the purpose of this thesis to examine the field of post school instrumental music. Post school instrumental music, for the purposes of this thesis, shall be defined as music, for the purposes of this thesis, shall be defined as music played by groups of people who have left school through graduation or other means nad have continued to play their instruments as amateurs or as semi-professionals. While the study was limited to Central California much of the data obtained is probably not confined to Central California but applies to a certain degree all over the United States. Instrumental and vocal music have many things in common. Much which can be said for vocal music holds true in the field of instrumental music. This thesis will also establish the value of post school music to the individual, the community, and music itself; the opportunities in post school music which exist at the present time; the attitudes of the individuals who could lead and participate in post school music; end the possibilities for the development of a worthwhile program of post school instrumental music in Central California.

The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonc. This study details the introduction of sound tracks, the early studio orchestras, the contact studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonicand the studios, major figures from the subsequent freelance perios such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club.