The lecture was presented April 7, 1987. This presentation centered on the flute music literature used for the Concours of the Conservatoire de Paris from 1828 through 1893. The historical parameter began with Jean-Louis Tulou's tenure as flute professor at the Conservatoire and ended with Joseph-Henri Altes'tenure in the same capacity. The Concours is an annual performance competition to determine which students on each instrument will graduate from the Conservatoire. The majority of Concours pieces for flute during the tenures of professors from Tulou through Altes were composed by those two men. Short biographies of Tulou and Altes were presented. Discussion of interim professors Victor Coche and Vincent-Joseph Dorus was included, with focus on the role of these two men in bringing acceptance of the Boehm system flute to the Conservatoire. Tulou's fifteen Grands Solos were compared in form, key center and tonal progression. His themes and passagework are constructed to best display the conical-bore, old system-flute with small toneholes. His Solos continued to be used for the Concours, in alternation with Altes', throughout the tenures of both Vincent-Joseph Dorus and Altes. Tulou's Cinquieme Grand Solo was used for more detailed analysis and performance. Altes wrote his Solos de Concours for the Boehm system flute. Idiomatic treatment in composition of themes and passagework, as well as tonal progression in his Solos, was considered. Altes' Methode de flute reveals his views on variety in articulation, use of alternate fingerings, and musical interpretation. Those ideas are reflected in the construction of his Cinquieme Solo de ronrnwr. the example used for more detailed analysis and performance. The discussion was concluded by a comparison of the Solos of Tulou and Altes with regard to form, tonal progression, and idiomatic construction of themes and passagework.

It is interesting to note that several of Ravel's compositions for the piano were successful only after he had orchestrated them. Ravel, a pianist, had a natural gift for orchestration, and when writing for the piano he seems to have projected his thoughts to the orchestra; thus some of his works are more successful' for the orchestra than for the piano. Since he orchestrated several of his own piano compositions, these present an excellent opportunity for a study of his orchestrations.

The purpose of this study is to analyze and codify the basic principles and techniques of composition and arranging as used in ten selected published dance band stock orchestrations of popular ballads.

The succeeding pages contain scores of my music—Passage to Kublb, Dalamhati ni Osang, Pintig, and Talibun-ag. "Passage to kublb" , for large orchestra, is a travelogue. Using a certain number of intervals, the instruments go through a journey, signifying life's constant changes and ceaseless motion. Melodic and rhythmic motives are used, fragmentation, and variation of timbral colors. "Kublb" is a fictional place; in essence, a destination of one's life journey. "Dalamhati ni Osang" (Lament of Osang) for a soprano, bass clarinet and marimba, is a composition revolving around a hextatonic scale which goes through a process of change as the music progresses. The text, written in the Filipino language, conveys the lament of a woman wanting to escape from her sorrows as she pleads her beloved to "lull" her; thus the repeated phrase "iduyan mo, o hirang" which means lull me or cradle me, my beloved. The woman's concept of "sleep" is an end-goal from which she frees herself of bitter memories of the past. The nuances of the vocal lines point to some native materials common to the Filipino "kundiman"(ballad). Use of expressive lines in legato phrasing, repeated sections (ABA form), and in some instances, use of embellishments like the repeated grace notes. The hextatonic scale is the composer's own material injected to some pre-formed structure already existing as in the mentioned ballad. "Pintig" (Pulses of Mother Earth) which was originally written for the "Elektra Women's Choir" during a pre-Christmas choral reading is a study of tribal vocables and different vocal effects. Stomping of foot, tapping, and other ritual sounds are employed to concoct an amalgam of primitive or earthy vista. (Note that the recording provided with this thesis is simply a reading session of the piece). "Talibun-ag " is a coined title from the Filipino words "tali" and "bun-ag" (bondage and birth) which if combined literally can mean "birth of freedom". This is a music drama for a chamber ensemble (piano, alto flute and percussions), a mono-dramatist and a choral quartet.

The succeeding pages contain scores of my music—Passage to Kublb, Dalamhati ni Osang, Pintig, and Talibun-ag. "Passage to kublb" , for large orchestra, is a travelogue. Using a certain number of intervals, the instruments go through a journey, signifying life's constant changes and ceaseless motion. Melodic and rhythmic motives are used, fragmentation, and variation of timbral colors. "Kublb" is a fictional place; in essence, a destination of one's life journey. "Dalamhati ni Osang" (Lament of Osang) for a soprano, bass clarinet and marimba, is a composition revolving around a hextatonic scale which goes through a process of change as the music progresses. The text, written in the Filipino language, conveys the lament of a woman wanting to escape from her sorrows as she pleads her beloved to "lull" her; thus the repeated phrase "iduyan mo, o hirang" which means lull me or cradle me, my beloved. The woman's concept of "sleep" is an end-goal from which she frees herself of bitter memories of the past. The nuances of the vocal lines point to some native materials common to the Filipino "kundiman"(ballad). Use of expressive lines in legato phrasing, repeated sections (ABA form), and in some instances, use of embellishments like the repeated grace notes. The hextatonic scale is the composer's own material injected to some pre-formed structure already existing as in the mentioned ballad. "Pintig" (Pulses of Mother Earth) which was originally written for the "Elektra Women's Choir" during a pre-Christmas choral reading is a study of tribal vocables and different vocal effects. Stomping of foot, tapping, and other ritual sounds are employed to concoct an amalgam of primitive or earthy vista. (Note that the recording provided with this thesis is simply a reading session of the piece). "Talibun-ag " is a coined title from the Filipino words "tali" and "bun-ag" (bondage and birth) which if combined literally can mean "birth of freedom". This is a music drama for a chamber ensemble (piano, alto flute and percussions), a mono-dramatist and a choral quartet. / Arts, Faculty of / Music, School of / Graduate

This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.

This subject has been chosen by the writer for the purpose of discussing these problems of performance, arising with the composition, the St. Matthew Passion, by J. S. Bach. Since Bach was a German and wrote in that language, the edition used is called the American edition. The performances in America are, with few exceptions, based upon translations which must be accurately edited so as not to obscure Bach's intentions.

The purpose of this study was to develop a guide to help teach commercial music style imitation, Styles selected were ragtime, dixieland, Whiteman, Goodman, Miller, bop, Berry, Presley, Motown, hard rock, horn band, soft rock, straight ahead big band, Ellington, Basie, country rock, bluegrass, Country-Western, Mantovani, Boston Pops, and Love Unlimited Orchestra. Melody, harmony, rhythm, voicing, instrumentation, form, special effects, performance techniques, electronic alteration, and articulation were discussed for each style. A table summarizing each discussion, and an arrangement and recording of the same melody in each style were included, The guide appears successful, judging from commercial writers' estimations, The work will probably aid writers, performers, researchers, and publishers. Similar works could be done on other commercial and ethnic styles.

The primary purpose of this thesis will be to examine the orchestration of the trombone section in the Viennese symphonies of the early Romantic period. In order to fully understand the function of the trombone section in these syphonies, a review of the trombones usage in previous centuries is in order.

published_or_final_version / Music / Doctoral / Doctor of Philosophy