Thesis (Ph. D.)--Utrecht. / Bibliography: p. 159-164.

Thesis--Princeton University. / Photocopy of typescript. Ann Arbor, Mich. : University Microfilms, c1971. -- 22 cm. Includes bibliographical references (leaves 583-590).

Thesis--Northwestern University, 1966. / Vita. Includes bibliographical references (leaves 192-201).

Thesis (Ph. D.)--University of California, Berkeley, 1964. / Includes bibliographical references.

Thesis (M.M.)--Wisconsin. / Includes bibliographical references (leaf 157).

Thesis (Ph. D.)--University of Wisconsin, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

From the sources published by R. Wornum and Mme. Bérault a performing edition of the Six Sonates pour une Flute et Basse où hautbois et Basse was produced. The music was adopted to twentieth-century notation and supplied with suggestions for articulations and the performance of ornamental figures.

Rather than generalizing about the works as a whole, each piece was studied on its own merits as well as its relation to Merulo's collective style. Included are translations of the poems and comparative studies of other settings where possible. The entire transcription of the two books of music is gathered into a separate volume to make the music easily accessible for performance.

Paul Hindemeith adheres to the traditional concept of using two trumpets in his orchestral brass section. The trumpet parts are notated in concert pitch on the score implying the use of the "c" trumpet, although in actual practice, the parts are often transposed and played on the B-flat trumpet by the performer.

This dissertation explores the habits of thought that inform how music analysts conceptualize the music they study and how this conceptualization affects the kinds of claims they make and the discursive practices adopted to express them. I aim to clarify these issues in music-theoretical conceptualization with an eye toward mediating analytical disagreements by tracing the influence of two types of concepts used in contemporary music analysis. I differentiate what I call theoretical concepts, which refer to abstract, theoretical objects, from phenomenal concepts, which refer to elements of felt, musical experience. Drawing on theories of concepts from philosophy of mind, I argue that these concepts have a complex structure, featuring both a reference and mode of presentation. The musical concept Dominant, for instance, might be used as a phenomenal concept, referring to the conscious experience of hearing a dominant, or it might be used as a theoretical concept, referring to a kind of abstract object, presented as either the triad the leads to the tonic or the triad built on scale degree five. In analysis, the kinds of concepts that analysts use will determine the scope of their analyses as well as define what sorts of critiques are best deployed against them. I explore four different ways that these conceptual types are used. These case studies include conceptually simple theories that attempt to foreground one type of concept or another (from the formalized model proffered by Eugene Narmour, to the drawing-analyses of Elaine Barkin) as well as more common analytical strategies that rely on both kinds of concept in concert, such as Schenkerian analysis and transformational and neo-Riemannian theory. I enrich my study of analytical approaches with insights drawn from my own analytical practice, including a wide range of styles and composers (though foregrounding the complexity of tonal analysis especially) and close readings of various authors in different analytical traditions. In general, I am concerned less with testing the soundness of any given approach than with understanding what ways of conceptualizing music underlie them and how analysts coordinate these concepts in practice. I find that while most approaches rely on both types of concept in some combination, their differences come in the roles these concepts play in analytical methodology and the degree to which each type of engagement is foregrounded in practice.