It is the object of this paper to review Sir Edward Elgar's life as a composer, and to discuss and study the thematic elements of his oratorio, "The Apostles." To understand and evaluate the significance of any person's rise to fame in his own field, it is necessary to reconstruct the surroundings from which he came. If a study of the musical conditions had been made when Elgar's development as a composer was starting to draw attention, it would have been noted that the British public was prepared to listen to music in newer forms only if it was from a country other than England. There was very little done or said to encourage any music in a modern character if it was composed by someone from England.

In this study an attempt was made to measure the effects of verbal discussion on musical expressiveness. Subjects (N =30) were all members of a conservatory symphony orchestra. The subjects were divided into three groups: Group 1 was a listening and discussion group; Group 2 listening only; and Group 3 control group, no treatment. The study used a pre- and post-test design in which all the subjects were requested to play a given melody twice. Analysis of the data, using two-tailed t tests and ANOVAs, revealed no statistically significant differences among the three groups for the effect of verbal discussion on expressiveness. The subjects' self-reports, however, illustrated that they perceived a difference in their expressive playing.

This study examines the history of the French solo, Ravel's influences,and the characteristics and relationships of his own music.

It is the purpose of this study to aide in the understanding of the Horn Trio through a biographical sketch of Brahms, a discussion of his use and characterization of the instruments, and the thematic, harmonic, and structural organization of the trio.

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An examination of the role and musical development of the contrabassoon throughout the different periods. The study is being made through analyzing various common orchestra excerpts, both in themselves and in relation to the scores. Furthermore, the thesis contains my own ideas of and reflections on the excerpts.     In the end I will briefly touch the subject of how the contrabassoon is being used in contemporary pieces and how it is constantly being developed. / <p>Francois Devienne (1759-1803): Quartet in G minor op. 73 No. 3</p><p>1. Allegro con espressione</p><p>2. Adagio, non troppo</p><p>3. Rondo. Allegretto poco moderato</p><p>Medverkande:Adam Høier, violin. Therese Magnusson, viola. Samuel Lazar, cello.</p><p>Camille Saint-Saens (1835-1921): Sonata pour bassoon et piano in G major, op. 168</p><p>1. Allegro moderato</p><p>2. Allegro scherzando</p><p>3. Molto adagio–allegro moderato</p><p>Medverkande: Johan Ullén, piano</p><p>Francis Poulenc (1899-1963): Trio pour hautbois, bassoon et piano, FP 43</p><p>1. Presto 2. Andante 3. Rondo</p><p>Medverkande:Anna Randelin, oboe. Johan Ullén, piano.</p><p>In addition to</p><p>a recording of the excerpt Salome</p><p>The recordings have been archived.</p><p>CD-recording: Mulberry Street Symphony by Anders Koppel, Benjamin Koppel, Scott Colley, Brian Blade, Martin Yates &amp; Odense Symphony Orchestra. Unit Records. UTR5028</p><p></p>

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