Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 127-128). Available also in a digital version from Dissertation Abstracts.

Inaug.-Diss.--Cologne. / Vita. Bibliography: p. 185-188.

Thesis (D.M.A.)--Ohio State University, 1985. / Includes vita. Includes bibliographical references (leaves 190-193). Available online via OhioLINK's ETD Center.

abstract: An integral part of the avant-garde movement in 1920s Paris, the American composer George Antheil collaborated with writers Ezra Pound and James Joyce, violinist Olga Rudge, and befriended the likes of Pablo Picasso, Man Ray, and many others. In Paris, Antheil found great success as the provocateur of riots and scandal at his concerts, with a purposefully controversial compositional style. This document explores, in detail, his three violin sonatas composed between 1923 and 1924 at the behest of Ezra Pound for his violinist friend Rudge. The violin sonatas provide a fascinating perspective on Antheil's musical and personal life during his first years in Paris. The historical and personal contexts of the sonatas are examined, in addition to their musical repercussions for Antheil's compositional style. This document relies primarily on unpublished letters, writings and other memorabilia from collections held at The Library of Congress, New York Public Library, Columbia University, Princeton University, Yale University, and Indiana University. Antheil's published scores and autobiography, Linda Whitesitt's biography of Antheil and other literature pertaining to the period and person are also consulted. While a fair amount has been written on Antheil's more famous work Ballet Mécanique, which stylistically followed the violin sonatas, the lesser-known sonatas have received minimal attention or exploration. This document places these three works into their rightful context, as cornerstones of Antheil's musical style during his most avant-garde years in Paris. / Dissertation/Thesis / Doctoral Dissertation Music 2015

This analytical study of Elliott Carter's Piano Sonata focuses on middleground structural aspects found in the work such as phrases, phrase groupings, cadences and note collections. These are examined under four main headings: The Articulation of Phrases looks at the division of large passages into phrases, showing the various ways in which new phrases are marked. These include sudden changes in texture and register, restatements of thematic material, and recurring characteristics that appear at important cadential points. The Unification of Extended Passages by Middleground Stepwise Motion focuses on the rising linear motion that connects the individual phrases of many of these larger passages. Correlations between thematic material and phrase contours are also explored. The Relationship of Vertical Intervals and Note Collections to the Character and Phrase Rhythm of Particular Passages further examines phrase articulation by means of changes in note collections, with distinctions among phrases arising from the correlation of consonant vertical intervals with passages of linear motion and dissonant vertical intervals with passages that are more static. Anticipation and Overlapping of Materials describes an important aspect of the Sonata's overall structure in which themes and motives, as well as characteristic intervals of these materials are used to link the two movements of the work by a network of anticipations and flashbacks. An examination of the final climactic Maestoso section of the first movement (mm. 252-264) provides a summary of the various compositional aspects described in this study. / Arts, Faculty of / Music, School of / Graduate

From the sources published by R. Wornum and Mme. Bérault a performing edition of the Six Sonates pour une Flute et Basse où hautbois et Basse was produced. The music was adopted to twentieth-century notation and supplied with suggestions for articulations and the performance of ornamental figures.

The lecture recital, presented on November 27, 1978, explored the method of "gracing" employed in the performance of solo violin sonatas in the first quarter of the eighteenth century as exemplified by an unpublished manuscript of the embellished version of Corelli's Sonata in E Major, Op. V, No. 11, by the English violinist Matthew Dubourg. A general comparison was made with other contemporary examples, including in particular Geminiani's "graced" version of Corelli's Sonata in A Major, Op. V, No. 9. Dubourg's manuscript was performed after the lecture.

This quartet is comprised of two wind instruments, flute and clarinet, and two stringed instruments, violin and violoncello. This unusual combination affords a wide variety of colors in both melody and chord-voicing that are impossible with an "unmixed" quartet.

No description available.

No description available.