Thesis (M.A.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 155-159).

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 24, 2000, Oct. 27, 2003, and Mar. 27, 2006. Includes bibliographical references (p. 41-44).

Treatise (D.M.A.) Florida State University, 2005. / Advisor: Charles Brewer, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 83 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D.M.A.)--University of Oklahoma, 1997. / Includes bibliographical references and discography (leaves 158- 159).

This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chapter III gives a survey of harmonic materials in this work, while Chapter IV reveals aspects of its structural coherence.

Composed in 1927 and dedicated to Segovia, Ponce's Sonata III, one of the staples of the classical guitar repertoire, is the focus of this paper. To put this piece into proper perspective among Ponce's other works, biographical information leading up to the composition of the piece is presented first. Each of the three movements is then analyzed with regard to formal construction as well as harmonic and melodic language. Analysis is an important precursor to actually playing the piece, as Sonata III is a work that departs from Ponce's previous compositional style. The main portion of this paper addresses the preparation and interpretation of Sonata III. The insight gained through initial analysis of the piece is used to arrive at a musically satisfying interpretation of the work. Specific performance suggestions are included. Technical issues are addressed and possible solutions are presented. Alternate fingerings are provided to alleviate some of the common technical challenges the guitarist will encounter. A transcription and discussion of the Segovia revisions are also present. The paper concludes with general suggestions for improving performance that would be applicable to other works for guitar as well. This synthesis of biographical information, analysis, editorial options and performance suggestions, has hitherto never been never been done for this great work.

The Concierto Romántico for Piano and Orchestra is one of Manuel M. Ponce's outstanding compositional accomplishments from his Romantic period, reflecting both the state of Mexican music at the turn of the 20th century, and his early nationalist tendencies. However, it remains the only concerto in Ponce's output in need of a more comprehensive analysis. This treatise focuses on a global investigative that examines descriptive and analytic references to the work, as well as a comparison and clarification of the existing score sources. An analytical and stylistic musical study using conventional theoretical techniques leads to a musicological interpretation of the work's extra-musical meaning, based on close assessments of Ponce's compositional practice and social principles.

The underrepresentation of Mexican art song has left classical singers with few Spanish-language repertoire options. Currently, the music of Spain dominates this scene and Mexican art song has yet to earn a place in academic curricula and concert halls. Manuel María Ponce (1882-1948) retains an important position in Mexican music. However, Ponce's vocal repertoire—consisting of over 150 songs—remained dormant for many decades after his death due to its misclassification by music aristocrats in Mexico that greatly affected their diffusion. Consequently, few copies were published during Ponce's life, making them difficult to find. The need in the singing community for repertoire of this kind has raised many questions not only about its existence and availability, but also about its origins and relationship to the established Art Song canon. To promote the diffusion of this underrepresented repertoire, a style analysis of Ponce's Romantic Mexican Art Song is offered through the lens of his writings about Mexican Song. The analysis includes vital information about the origins, form, style, and subjects of these songs. Tangible examples of these traits are provided from Ponce's Doce Canciones Mexicanas along with historically-informed suggestions for singers and translations of the text with IPA transcriptions.