Alexander Nikolayevich Scriabin is a Russian composer in the late nineteenth century. His compositions can be divided into three periods. Influenced by the romantic music and Frederic Chopin, the early period is from 1888 to 1902 in which his works are tonal music. In the second period, 1903-1908, Scriabin started to use more dissonances and chromaticism resulting in lacking tonality. In the late period, 1909-1915, Scriabin was impacted by mysticism, and his music style became more atonal. Scriabin¡¦s Mazurkas composed between 1889 to 1903, are in three sets, op.3, op.25 and op.40. The music style of these three sets is quite different and varied. This thesis focuses on the analysis of Scriabin¡¦s Mazurkas. Excluding the introduction and conclusion, there are three main parts. The first part stresses on the origin and history of the music genre ¡§Mazurka.¡¨ According to the historical document, the styles of three types of Mazurka and Frederic Chopin¡¦s Mazurka will be presented in this part. In the second part, the compositional background of Scriabin¡¦s Mazurkas, musical background of late nineteenth century in Russia, and Scriabin¡¦s music style in the three periods are fully discussed. The third part will give a detailed analysis of Scriabin¡¦s three Mazurkas (op.3, op.25 and op,40 ) showing the specific changes in style and different characters between his early and middle period of works.

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This dissertation presents a performance guide of two solos for early valved trumpet, as well as an appraisal of their historical significance. The first of these solos is F. G. A. Dauverné's Variations pour trompette à pistons avec accompagnement de Piano-forte, op. 3 (1833). The second solo examined is Amilcare Ponchielli's Concerto per Tromba e Banda, op. 123 (1866). Although Ponchielli's work dates from only the middle of the century, by time of its composition the valved trumpet had already been developed enough to have attained true artistic value. This dissertation provides evidence concerning the evolution of nineteenth solo literature for the Romantic trumpet by means of formal analysis in regard to form, harmony, and historical performance practice.