The lecture recital was given on March 25, 1984. Commotio by Carl Nielsen was performed following a lecture on that particular organ composition. The lecture included a discussion of Carl Nielsen, characteristics of his six symphonies, a detailed analysis of Commotio, and the symphonic characteristics found in Commotio. Some examples from the symphonies as well as other works were performed during the lecture to illustrate the similarities between Commotio and his orchestral works. In addition to the lecture recital, three other public recitals were performed, all of which consisted of solo compositions for the organ. The first solo recital, including works of Couperin, Bach, Hindemith, and Duruflé, was performed on October 30, 1980. On May 6, 1981, the second solo recital was performed. Compositions by Raison, Buxtehude, Bach, Reger, and Martin were included in the program. The third solo recital which included works by Weckmann, Tunder, Lübeck, C. P. E. Bach, and Vierne, was performed on April 25, 1983. The four programs were recorded on magnetic tape and are filed with the written version of the lecture material as a part of the dissertation.

The purpose of this dissertation is to prepare and present a critical edition of Carl Nielsen's Quintet for Winds, Op. 43, a major work in the woodwind quintet repertoire. Written for the Copenhagen Wind Quintet in 1922, it is also considered a pivotal composition in Nielsen's artistic output. This treatise offers a brief biography of Carl Nielsen, documents the history and significance of the Quintet for Winds, Op. 43, and presents a critical edition that will enable more accurate performances of this important composition.

This study outlines the life of Carl Nielsen, and explores the symphonic elements of his work The Commotio.

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Widely regarded as one of the most significant composers of the late nineteenth and early twentieth centuries, Carl Nielsen and his music have come to define the early twentieth-century musical traditions of Denmark. His original songs for voice and piano are often revered as popular folk tunes and contributed to his status as a national icon. My dissertation explores Nielsen's vocal repertoire through a multipart project that includes transcribing and editing eleven of Nielsen's early songs from Op. 4 (1891) and Op. 10 (1894), originally for voice and piano, for flute and piano. I discuss the reception history and context of Nielsen's Songs, the important role of transcription in flute literature, and provide full score transcription of the original works for flute and piano. Many vocal works have been transcribed for flute from the original vocal score, providing variety in programming and attracting diverse audiences to performances. Transcription offers scholars a new view into a work, by determining what elements of the piece are integral to maintain the composer's intentions.

The lecture recital, "Thema med Variationer, Opus 40, By Carl Nielsen" presented a discussion of the composer's general background and the characteristics of his style. Specific points made were related to the Thema med Variationer; the discussion was followed by a performance of the work in its entirety. In addition to the lecture recital, three other recital programs were organized and public concerts presented to provide the platform for the works studied. Two of these programs were of solo piano music and one was of chamber music with the clarinet and viola in partnership with the piano. All programs were recorded on magnetic recording tape. The spoken portion of the lecture recital in written form is filed with the recordings as a part of this dissertation.