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ix, 82 p. : music / While musical styles from various parts of the world intermingled in the early twentieth century, Heitor Villa-Lobos sought to promote Brazilian music throughout the classical music world. Instead of presenting only Brazilian styles, Villa-Lobos, in an attempt to showcase the international adaptability of Brazil's musical culture, developed a style all his own, which was a combination of his classical training in the western tradition and his first-hand experience with both Brazilian popular and Native Brazilian music. Much of his music manifests these influences, but his music for solo guitar, Brazil's national instrument, also features new techniques and timbres. This thesis examines the interaction of the various styles and techniques used in his <italic>Cinq Preludes</italic> for solo guitar. / Committee in charge: Jack Boss, Chairperson; Steven Rodgers, Member; David Case, Member

Frank Martin's (1890-1974) 8 Préludes pour le piano has been studied and analyzed by many researchers, yet the influence of one of Martin's most important educational experiences, Dalcroze Eurhythmics, has not been discussed in connection to this work. The purpose of this research is to investigate the influences of Émile Jaques-Dalcroze's (1865-1950) educational method, eurhythmics, on Martin’s compositional writing, specifically the 8 Préludes pour le piano. This research demonstrates the connection between Martin and Dalcroze through several key observations: 1) their close collegial relationship; 2) the influences of Dalcroze Eurhythmics in Martin's approach to rhythm; and 3) Martin's writings on rhythm as connected to Dalcroze Eurhythmics. The examination of Frank Martin’s major piano work, 8 Préludes pour le piano, reveals a strong connection between these composers and their fascination with the expressive power of rhythm. In this paper, I examine the eurhythmics elements evident in Martin’s 8 Préludes pour le piano: irregular measures, unequal beats, polyrhythm, rhythmic counterpoint and canon. Additionally, Dalcroze Eurhythmics-based activities for learning Martin's 8 Préludes pour le piano are offered with the intent of enriching the pianist's experiences in learning and performing this piece and demonstrating the practical application of the method.

In this study the liturgical usage of the organ is investigated within a post-modern society. It focuses specifically on the church services of the Dutch Reformed Congregations of Port Elizabeth with regards to the functionality of the organ during morning and evening services. The objectives of the study are to demonstrate the current situation of musical worship in the Dutch Reformed Congregations of Port Elizabeth. Furthermore it serves as a way to indicate any deficiency in the field, which would need to be addressed. In order to achieve these objectives, both a qualitative and quantitative study is undertaken. The qualitative study investigates existing literature regarding the church service and its music. The quantitative study comprises an analysis of self-administered questionnaires that was handed over for completion by the Dutch Reformed Congregations of Port Elizabeth. The results obtained were electronically processed to percentages and graphic illustrations. In this mini-treatise it is argued that the usage of other music instruments (in the form of music worship groups) during church services could possibly lead to a change in the liturgical function of the organ. It was found that the usage of the organ in the Dutch Reformed Congregations of Port Elizabeth was mainly retained during morning services. During evening services however, the usage of other music instruments was in the majority, which resulted in a decrease of organ usage. It was further discovered that a large group of organists are not involved with music worship groups. Training of organists in a contemporary style of music worship will therefore serve as a significant purpose to fulfil this deficiency.

This study represents an effort to analyze the forms used by Flor Peeters in his Thirty Chorale Preludes on Well-Known Hymn Tunes, op. 68, 69, and 70. Through this analysis it has been found that Flor Peeters has systematically used certain devices in the treatment of the cantus firmus. Furthermore, these devices can be used as a criterion in developing a classification system for the chorale preludes, which logically divide into six groups or types. The first type includes the chorale preludes in which the composition begins immediately with the first phrase of the chorale melody and continues without interruption to the end of the melody. The chorale melody is used in its entirety, the last note occasionally being sustained as an inverted organ point or organ point to form a coda. The chorale melody appears without ornamentation, but the rhythm may be subject to augmentation or diminution. The second type resembles the first type, with the exception that the chorale melody has been treated with ornamentation. Included in the third type are the chorale preludes in which the chorale melody appears in detached phrases, each phrase being separated from the next by an interlude or transition, the first phrase usually being preceded by an introduction. The chorale melody appears without ornamentation, but the rhythm may be subject to augmentation or diminution. The final note of the chorale melody may be sustained as an organ point or inverted organ point. Ornamentation constitutes the major difference between the third and fourth types. In the fourth type the chorale melody has been ornamented. The fantasia-type chorale preludes included in the fifth type make free use of the chorale melody. Entire phrases of the original chorale melody are omitted. The phrases used in the composition may appear in fragments or complete phrases with rhythmic and notational changes. The sixth type contains the chorale preludes wherein the chorale melody forms the basis of a series of variations, which constitute a partita. Each of the partitas in this type consists of an opening movement, three or five variations, and a finale. The variations are usually developed according to the specifications of types I, II, and IV. A minor consideration of this study is the harmonic devices used by Flor Peeters. Secondary chords and their sevenths, as well as parallel open fifths, are characteristic of the harmonic treatment. Like the composers of the Baroque period, Flor Peeters has composed the ornamented, figured, and the partita types of chorale preludes. In the thirty compositions considered in this study there is not an example of the canonic or the motet types. Even though Flor Peeters has not adhered to these latter types, he has made use of such devices as fugal expositions and imitation.

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The purpose of this thesis is to discuss and give a descriptive analysis of twelve of the twenty-four preludes written by Claude Debussy. This paper also includes a brief history of preludes as well as possible influences upon Debussy and his compositions.

This study is an investigation of tonal structures in selected preludes of Shostakovich's Op.34. Explanations and analytic perspectives provide support of tonality oriented interpretation for the compositions which often appear to be "atonal." Chapter One is divided into (1) historical perspectives of the prelude as form, and (2) Summary of Shostakovich's life and work. Chapter Two contains a historical background of (1) the development of Shostakovich's compositional styles, emphasizing his early style of piano composition, and (2) the impact of his "Lady Macbeth," the crisis and its influence on later works. Chapter Three deals with the problems of and analytical approaches in the study of the selected preludes.

The lecture recital was given November 6, 1989. Five Preludes by Claude Debussy were preformed following a lecture on some important considerations of approaching the pedaling complexities in his solo piano works. In addition to the lecture recital, three other solo piano recitals were performed. The first solo recital consisted of works by Franz Schubert and Robert Schumann, and was performed on November 17, 1980. On March 1, 1982, the second solo recital was presented. This performance consisted of works by J. Brahms, W.A. Mozart, S. Prokofieff, and A. Schoenberg. The third solo recital was performed on November 21, 1988 and included the works of L. van Beethoven. A. Berg, F. Chopin, and C. Debussy. The four programs were recorded on tape and filed with the written version of the lecture as part of the dissertation.