Irish born British composer, teacher, conductor, and organist Sir Charles Villiers Stanford (1852-1924), is today best known for his choral works and as teacher to some of Britain's most successful composers of the twentieth century. Stanford was a prolific composer of numerous genres of music, and his chamber works for strings comprise a significant portion of his total compositional output. A great many of Stanford's chamber compositions were never published and are absent among today's standard chamber music repertoire. Until now, Stanford's String Quartet No. 4 in G minor, Op. 99 has never been published. This project comprises the first published edition of the String Quartet No. 4, making the work more readily available to performers and scholars. The String Quartet No. 4 is the last of Stanford's string quartets to be published, and this project makes the publication of his works in this genre complete. The author hopes that this project will help generate interest in Stanford as an important figure in British music history and bring his works to a greater public awareness through performance and study.

George Walker, pianist, composer and pedagogue, composed piano sonatas in 1953, 1957, 1975, and 1984. The Sonata No. 4 demonstrates the composer's continued fascination with a relaxation of traditional forms, coloristic effects of persistent interval combinations, incorporation of folk elements into his thematic material, and harmonic and rhythmic underpinnings as structural bases to his work.

Various approaches to rhythmic analysis have been produced by recent research. Many of these are most suitable for tonal musical compositions; when other methods of tonal organization are present, these theories are less useful. This study uses accent based criteria in order to establish a set of analytical procedures which are applicable to a wide range of musical compositions. Four accent types (contour, agogic, dynamic, and motivic) are identified in two string quartet movements. These are Beethoven's Op. 18, No. 1, movement four, and Bartok's String Quartet No. 4, movement five. The study finds great differences in accent placement between the two works. In both works accents affect phrase grouping and meter. Accent patterns and composite accent profiles, which represent all the accent types in a particular passage, are compiled for important themes. Large fluctuations in accent use are evident between the formal sections of each work.

The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed in preparing the present edition of orchestral parts and piano reduction. Contemporaneous sources which provided pertinent performance practice information in the areas of articulation and ornamentation are also discussed. A copy of the piano reduction and orchestral performing parts are included in the appendices.

Selecionamos para análise nesta dissertação os Choros nº4 (1926) e Choros nº7 (1924), obras de câmara compostas por Heitor Villa-Lobos (1887-1959) no período em que o compositor demonstrou grande interesse pela estética modernista que hoje chamamos \"pós-tonal\". Villa-Lobos mesclou em seus Choros - bem como em grande parte de sua obra - elementos do modernismo europeu com outros oriundos da cultura popular brasileira, neste caso em particular o choro urbano carioca das primeiras décadas do século XX. Em síntese, a linguagem utilizada por Villa-Lobos nos dois Choros se aproxima muito da técnica de composição \"em camadas\" recorrente em obras de Stravinsky como A Sagração da Primavera (1913), Petrushka (1911) e O pássaro de fogo (1910). Villa-Lobos utiliza a interação entre materiais harmônicos independentes (estruturas simples geradas individualmente e calcadas em escalas tradicionais não gerenciadas pela tonalidade herdada do classicismo). Em muitos momentos esses materiais escalares estão empilhados formando grandes conjuntos (supercoleções) com oito, nove, dez, onze classes de altura e até o conjunto cromático completo, relacionados por invariâncias entre essas estruturas. Em outras ocasiões esses complexos harmônicos aparecem justapostos, relacionados por transformação intervalar gradativa, operados em torno de classes de altura invariantes e movimentos discretos entre as remanescentes não comuns (prioritariamente por movimentos de tons e semitons), procedimento chamado pelos teóricos da vertente \"neo-Riemanniana\" (como Richard Cohn, Jack Douthett e Peter Steinbach, entre outros) como \"parcimônia\". Notamos também que Villa-Lobos com frequência relaciona essas camadas estratificadas por disposições intervalares simétricas, gerenciando os conjuntos de classes de altura que compõem as partes ou a totalidade harmônica em torno de eixos de simetrias invariantes (reflexão). Notamos ainda invariâncias frequentemente reiteradas em ostinato (simetria por translação), enquanto que variantes remanescentes surgem e desaparecem como segmentos de coleções em outras camadas ao longo do trecho conduzido pelo ostinato, completando a totalidade harmônica por justaposição. A partir desse diagnóstico preliminar, elegemos nesta pesquisa duas correntes analíticas distintas e concomitantes: a simetria intervalar (reflexão e translação) a partir de estudos sobre Teoria dos Conjuntos desenvolvidos essencialmente nos textos de Joseph Straus e João Pedro Oliveira; e a transformação intervalar atuando como regente na relação entre coleções dispostas em rede e na construção de grandes complexos harmônicos (supercoleções), aproximando nossa pesquisa de estudos neo-Riemannianos sobre redes de coleções e parcimônia, em especial os trabalhos desenvolvidos por Dmitri Tymoczko, Richard Cohn, Jack Douthett e Peter Steinbach. / Selected for analysis in this dissertation the Choros No.4 (1926) and Choros No.7 (1924), chamber works for the period of the 1920s, at which time the composer has shown great interest in a tilted to a high content of post- tonal modernist aesthetic harmonic complexity concatenated surface exposure of arguments coming from the Brazilian popular culture, in this particular case referencing the urban carioca choro from the first decades of the twentieth century. In summary, the language used by Villa-Lobos in the two Choros is closely to the composition technique in \'layers\' applied in works such as Stravinsky\'s Rite of Spring (1913), Petrushka (1911) and The Firebird (1910). Villa-Lobos uses the interaction between independent harmonic materials (simple structures generated individually with traditional scales not managed by the tonality inherited of classicism). In many instances these scales are stacked forming large sets (supersets) with eight, nine, ten, eleven pitch-classes or the complete chromatic; structures related by invariances. At other times these harmonic complexes appear juxtaposed, related by gradual intervallic transformations, operated around invariants pitch-class sets and discrete movements between remaining pitch-classes not common (primarily by movements of tones and semitones), a procedure called by the theorists of the \'neo-Riemannian\' (as Richard Cohn, Jack Douthett & Peter Steinbach and others) as \'parsimony\'. We also noticed that Villa-Lobos often relates these stratified layers by symmetrical intervallic arrangements, managing pitch-class sets that make up the parts or whole harmonic around axes of symmetry invariants (reflection). We also noted invariances often repeated on ostinato (translational symmetry), while remnants variants arise and disappear as segments of scales into different layers along the stretch led by ostinato, completing the entirety harmonious by juxtaposition. From this preliminary diagnosis, we choose in this research two distinct and concurrent analytical currents: the intervallic symmetry (invertional and translational) from studies on Pitch-Class Set Theory developed mainly in the writings of Joseph Straus and João Pedro Oliveira; and the intervallic transformation working as conductor in the relationship between scales arranged in network and in building of large harmonics sets (supersets), approaching our research to neo-Riemannian studies about scale networks and parsimony, in particular the texts by Dmitri Tymoczko, Richard Cohn, Jack Douthett & Peter Steinbach.

Selecionamos para análise nesta dissertação os Choros nº4 (1926) e Choros nº7 (1924), obras de câmara compostas por Heitor Villa-Lobos (1887-1959) no período em que o compositor demonstrou grande interesse pela estética modernista que hoje chamamos \"pós-tonal\". Villa-Lobos mesclou em seus Choros - bem como em grande parte de sua obra - elementos do modernismo europeu com outros oriundos da cultura popular brasileira, neste caso em particular o choro urbano carioca das primeiras décadas do século XX. Em síntese, a linguagem utilizada por Villa-Lobos nos dois Choros se aproxima muito da técnica de composição \"em camadas\" recorrente em obras de Stravinsky como A Sagração da Primavera (1913), Petrushka (1911) e O pássaro de fogo (1910). Villa-Lobos utiliza a interação entre materiais harmônicos independentes (estruturas simples geradas individualmente e calcadas em escalas tradicionais não gerenciadas pela tonalidade herdada do classicismo). Em muitos momentos esses materiais escalares estão empilhados formando grandes conjuntos (supercoleções) com oito, nove, dez, onze classes de altura e até o conjunto cromático completo, relacionados por invariâncias entre essas estruturas. Em outras ocasiões esses complexos harmônicos aparecem justapostos, relacionados por transformação intervalar gradativa, operados em torno de classes de altura invariantes e movimentos discretos entre as remanescentes não comuns (prioritariamente por movimentos de tons e semitons), procedimento chamado pelos teóricos da vertente \"neo-Riemanniana\" (como Richard Cohn, Jack Douthett e Peter Steinbach, entre outros) como \"parcimônia\". Notamos também que Villa-Lobos com frequência relaciona essas camadas estratificadas por disposições intervalares simétricas, gerenciando os conjuntos de classes de altura que compõem as partes ou a totalidade harmônica em torno de eixos de simetrias invariantes (reflexão). Notamos ainda invariâncias frequentemente reiteradas em ostinato (simetria por translação), enquanto que variantes remanescentes surgem e desaparecem como segmentos de coleções em outras camadas ao longo do trecho conduzido pelo ostinato, completando a totalidade harmônica por justaposição. A partir desse diagnóstico preliminar, elegemos nesta pesquisa duas correntes analíticas distintas e concomitantes: a simetria intervalar (reflexão e translação) a partir de estudos sobre Teoria dos Conjuntos desenvolvidos essencialmente nos textos de Joseph Straus e João Pedro Oliveira; e a transformação intervalar atuando como regente na relação entre coleções dispostas em rede e na construção de grandes complexos harmônicos (supercoleções), aproximando nossa pesquisa de estudos neo-Riemannianos sobre redes de coleções e parcimônia, em especial os trabalhos desenvolvidos por Dmitri Tymoczko, Richard Cohn, Jack Douthett e Peter Steinbach. / Selected for analysis in this dissertation the Choros No.4 (1926) and Choros No.7 (1924), chamber works for the period of the 1920s, at which time the composer has shown great interest in a tilted to a high content of post- tonal modernist aesthetic harmonic complexity concatenated surface exposure of arguments coming from the Brazilian popular culture, in this particular case referencing the urban carioca choro from the first decades of the twentieth century. In summary, the language used by Villa-Lobos in the two Choros is closely to the composition technique in \'layers\' applied in works such as Stravinsky\'s Rite of Spring (1913), Petrushka (1911) and The Firebird (1910). Villa-Lobos uses the interaction between independent harmonic materials (simple structures generated individually with traditional scales not managed by the tonality inherited of classicism). In many instances these scales are stacked forming large sets (supersets) with eight, nine, ten, eleven pitch-classes or the complete chromatic; structures related by invariances. At other times these harmonic complexes appear juxtaposed, related by gradual intervallic transformations, operated around invariants pitch-class sets and discrete movements between remaining pitch-classes not common (primarily by movements of tones and semitones), a procedure called by the theorists of the \'neo-Riemannian\' (as Richard Cohn, Jack Douthett & Peter Steinbach and others) as \'parsimony\'. We also noticed that Villa-Lobos often relates these stratified layers by symmetrical intervallic arrangements, managing pitch-class sets that make up the parts or whole harmonic around axes of symmetry invariants (reflection). We also noted invariances often repeated on ostinato (translational symmetry), while remnants variants arise and disappear as segments of scales into different layers along the stretch led by ostinato, completing the entirety harmonious by juxtaposition. From this preliminary diagnosis, we choose in this research two distinct and concurrent analytical currents: the intervallic symmetry (invertional and translational) from studies on Pitch-Class Set Theory developed mainly in the writings of Joseph Straus and João Pedro Oliveira; and the intervallic transformation working as conductor in the relationship between scales arranged in network and in building of large harmonics sets (supersets), approaching our research to neo-Riemannian studies about scale networks and parsimony, in particular the texts by Dmitri Tymoczko, Richard Cohn, Jack Douthett & Peter Steinbach.

Carl Nielsen, labelled as Denmark's national composer, has long been relegated to a secondary status in English-language musicology as a composer of great national significance but negligible importance outside of Scandinavia. This thesis explores the links between Danish nationalism and Nielsen's music, as well as the effects of Nielsen's status as a national composer on the reception of his symphonic music outside of Denmark. The first section of this paper is a study of Nielsen's music in the context of Danish cultural nationalism at the turn of the twentieth century, focusing on the folk influences or "Danish" aspects of his symphonic music. It also examines the extent to which the national or Nordic qualities of his music are constructions and later attributions. The following section looks at the development of Nielsen's status as a national composer in Denmark, as well as how this label has engendered the stereotyping of his music as regional in English-language musicology. Nielsen has been neglected by the Anglo-Germanic canon which privileges central European compositional styles and methods while viewing nationally inflected music negatively. Although Nielsen's Danish background cannot be ignored, his symphonic music needs to be studied in a wider European context for his universal message to be appreciated

Robert Schumann's D-minor Symphony endured harsh criticism during the second half of the nineteenth century because of misunderstandings regarding his compositional approach to the genre of the symphony; changes in performance practices amplified the problems, leading to charges that Schumann was an inept orchestrator. Editions published by Clara Schumann and Alfred Dörffel as well as performing editions prepared by Woldemar Bargiel and Gustav Mahler reflect ideals of the late nineteenth century that differ markedly from those Schumann advanced in his 1851 autograph and in the Symphony's first publication in 1853. An examination of the manuscript sources and the editions authorized by Schumann reveals that he imbued the Symphony with what he called a "special meaning" in the form of an implied narrative. Although Schumann provided no written account of this narrative, it is revealed in orchestrational devices, particularly orchestration, dynamics, and articulation, many of which have been either altered or suppressed by later editors. A reconsideration of these devices as they are transmitted through the authorized sources permits a rediscovery of the work's special meaning and rectifies long-standing misperceptions that have become entrenched in the general literature concerning Schumann in general and the D-minor Symphony in particular.

Watershed I/IV, for Solo Percussion and Real-time Computer Spatialization was composed in 1995 by Pulitzer prize-winning composer Roger Reynolds. This work is a 25-minute choreographed music drama for one multiple-percussionist, in which Reynolds incorporates the musical transformation of percussion instrument families, the physical gestures of the performer, and the spatialization of processed sounds around the audience. This dissertation addresses several aspects of Watershed, which include: the expressive intent and extra-musical concepts; the formal organization, and several non-musical tools that Reynolds utilized in designing the piece (e.g. logarithmically derived sequences); the primary musical motives; the instrument setup and how the resulting physical gestures contribute to the musical intent; and the real-time computer spatialization. Throughout the document, specific musical passages are demonstrated with notated musical examples and embedded video/audio clips. In addition, transcripts of my interviews with composer Roger Reynolds, percussionist Steven Schick (premiere performer of Watershed) and engineer/technician Greg Dixon (engineer for my performances of Watershed IV) are also included.

xxii, 169 leaves : ill.