The earlier symphonies of the 1950s embody a gradual realization of Pettersson’s own unique symphonic style, containing large-scale development, repetition, and reiteration. Symphony no. 5 takes these ideas to the extreme and represents the codification of techniques that are further developed in later symphonies. The present study examines the structure of the symphony from a voice-leading perspective. Included in this study is an analysis of the construction of the piece focusing on the development and expansion of motives that operate as structural determinants and the use of chromatic saturation to create intensity and direction. The use of linear analysis in a post-tonal context makes necessary a section devoted to explicating the graphic notation shown in the analysis and the analytical process of determining linear progressions.

Symphony No. 1 is an orchestral composition for twenty-four instrumental groups without percussion instruments. It was composed with Algorithmic Composition System software, which gives driving forces for composition to the composer through the diverse compositional methods largely based on physical phenomena. The symphony consists of three movements. It lasts about sixteen minutes and twenty-six seconds--five minutes and twenty-two seconds for the first movement, five minutes and forty seconds for the second movement, five minutes and twenty-four seconds for the third movement. Most musical components in the first movement of the symphony are considered embryos, which gradually begin developing through the second and third movements.

No description available.

No description available.

This dissertation, which takes the form of a creative project as is sanctioned-by the Doctor of Arts Curricular Program, is a timpani method based on the performance practices of Edward M. Metzenger, the internationally recognized timpanist and teacher.Although Metzenger's entire life has been inextricably tied to the performance and teaching of music, specifically percussion, and his musical experiences run the gamut from dance to symphonic orchestras, including radio, television, and theater, lie will perhaps best be remembered for his thirty-three years of tenure with the Chicago Symphony Orchestra, thirty-one of which were as its solo timpanist.Metzenger's symphonic career is probably best viewed by an examination of the programs of the Chicago Symphony Orchestra beginning with the 1930-31 season and extending through the 1962-63 season. During these years the Chicago Symphony saw a number of permanent conductors at its helm from Frederick Stock to Fritz Reiner. Also, an extraordinary number of illustrious guest conductors and soloists worked with the orchestra during these years. (This information is presented in Appendix A; "Conductors, Associate Conductors, Soloists, and Assisting Artists of the Chicago Symphony Orchestra, 1930-1963.")The repertoire of this orchestra, performed during the years Metzenger was the solo timpanist, is most inclusive. The list of recordings made during this same period is also extensive. A perusal of this list (recordings) can perhaps yield an estimate of the orchestra's total repertoire. (This list of recordings is presented in Appendix B; "Recordings by the Chicago Symphony Orchestra, 1930-1963.")The foregoing, the Chicago Symphony Orchestra's conductors, soloists, and recordings, is noted to substantiate the artistic climate in which Metzenger performed during his tenure with this orchestra and, consequently, the vast fund of knowledge and practical experience which are his to impart.In an effort to capture and perpetuate the essence of the timpani performance practices of Edward M. Metzenger, the author formulated a method which includes a detailed discussion of these respective practices, provided numerous exercises for their development, and applied them to selected symphonic compositions.In "Part One" of this method the various timpani performance practices of Metzenger are discussed in detail and provided with abundant exercises with explicit practice proceduresfor their development. These performance practices include: ear training; the playing position; the mallet grip (fulcrum and use of fingers); the timpani stroke; the playing areas (legato, semistaccato, and staccato); movement between adjacent and nonadjacent drums with single strokes (pushing, cross sticking, and double sticking); the timpani roll (speed, between adjacent and nonadjacent drums, tied, separated, fortissimo, piano, fortepiano, crescendo-decrescendo, metered and unmetered, and symbols); muffling (pad and hands); the glissando; and grace notes (one, two, and three).The etude approach and the use of complex rhythms which in anyway would encumber the calculated aim of each specific set of exercises are avoided and supplanted by short repetitive figures which are devised to facilitate the acquisition of each distinct skill.It is not suggested that all the exercises of each section be completely mastered before progressing to the next, but that a continuing development be noted simultaneously in all the sections. The accumulated expertise gained through growth in these separate skills can then be applied to any performance situation whether it be as a soloist or as a member of an ensemble.It would be ideal indeed to edit each selection which was performed by the Chicago Symphony Orchestra while Metzenger was its timpanist; however, the breadth of this task is beyond the scope of this paper. In lieu of this comprehensive undertaking, in "Part Two" of this method, the timpani performance techniques required in the symphonies of Beethoven and Brahms are noted in detail. These compositions were selected because the techniques required for their execution are readily applicable to the demands of performing on the timpani in general."A Timpani Method Based on the Performance Practices of Edward M. Metzenger" can successfully be used independently as a means of developing the performer, or it can be used as ancillary material in combination with other methods, etudes, and solos to achieve this goal.

William Grant Still's musical achievements are legion. Because he was the first African American to break the color line in America's concert halls, Still earned the sobriquet "Dean of Negro Composers." Paradoxically, Still's reception suffers from this list of "firsts." The unintended consequence of cataloging his achievements venerates his position as an iconoclast while detracting critical attention from his music. Conversely, if we ignore the social context in which Still produced his music, we risk misinterpreting his compositional choices or trivializing the significance of his accomplishments prior to the Civil Rights Movement in America. Still's so-called symphonic trilogy-Africa, Symphony No. 1 ("Afro-American"), and Symphony No. 2 ("Song of a New Race")-is the subject of an intertextual analysis that demonstrates how extra-musical concerns, such as race, and musical elements can be brought into alignment. Chapter one discusses black music scholarship in general and Still scholarship in particular by tracing the development of black music historiography. The second chapter explores one of the various modes of inquiry used to study black music-intertextuality. The context for Still's self-titled racial and universal periods is the subject of chapter three. For the first time, arguments from both sides of the racial divide are reconsidered in the debate about what constitutes American music. The fourth chapter is devoted to an intertextual interpretation of Still's symphonic trilogy. Each work is subjected to an anterior, interior, and posterior intertextual reading. An anterior reading takes into account how context determines perception. The interior reading examines the inter-play of topics and texts that are created as the work is experienced. The posterior reading is concerned with the relationship between the work and its audiences and any new texts that are generated from this interaction. The final chapter challenges the notion that the three works discussed form a trilogy. In the process, the differences between criticism and interpretation are reconsidered.

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.

Carl Nielsen, labelled as Denmark's national composer, has long been relegated to a secondary status in English-language musicology as a composer of great national significance but negligible importance outside of Scandinavia. This thesis explores the links between Danish nationalism and Nielsen's music, as well as the effects of Nielsen's status as a national composer on the reception of his symphonic music outside of Denmark. The first section of this paper is a study of Nielsen's music in the context of Danish cultural nationalism at the turn of the twentieth century, focusing on the folk influences or "Danish" aspects of his symphonic music. It also examines the extent to which the national or Nordic qualities of his music are constructions and later attributions. The following section looks at the development of Nielsen's status as a national composer in Denmark, as well as how this label has engendered the stereotyping of his music as regional in English-language musicology. Nielsen has been neglected by the Anglo-Germanic canon which privileges central European compositional styles and methods while viewing nationally inflected music negatively. Although Nielsen's Danish background cannot be ignored, his symphonic music needs to be studied in a wider European context for his universal message to be appreciated

Robert Schumann's D-minor Symphony endured harsh criticism during the second half of the nineteenth century because of misunderstandings regarding his compositional approach to the genre of the symphony; changes in performance practices amplified the problems, leading to charges that Schumann was an inept orchestrator. Editions published by Clara Schumann and Alfred Dörffel as well as performing editions prepared by Woldemar Bargiel and Gustav Mahler reflect ideals of the late nineteenth century that differ markedly from those Schumann advanced in his 1851 autograph and in the Symphony's first publication in 1853. An examination of the manuscript sources and the editions authorized by Schumann reveals that he imbued the Symphony with what he called a "special meaning" in the form of an implied narrative. Although Schumann provided no written account of this narrative, it is revealed in orchestrational devices, particularly orchestration, dynamics, and articulation, many of which have been either altered or suppressed by later editors. A reconsideration of these devices as they are transmitted through the authorized sources permits a rediscovery of the work's special meaning and rectifies long-standing misperceptions that have become entrenched in the general literature concerning Schumann in general and the D-minor Symphony in particular.

Paul Robert Fauchet's Symphonie pour Musique d'Harmonie, known in the United States as Symphony in B-flat, is a four-movement composition spanning nearly thirty minutes in length and written in the style of the late romantic composers. Despite its place as one of the first symphonies for wind band, a performance of the piece that represents the composer's 1926 orchestration is difficult due to the inclusion of instruments that are no longer in common practice, including bugles, alto horns, and saxhorns. Later American editions of the work by James Robert Gillette (1933) and Frank Campbell-Watson (1948/1949) replaced these instruments, but also took several other liberties with orchestration and voicing. The primary purpose of this study was the creation of a performance edition of the Symphony for modern wind band that is accessible to a larger audience of performers and listeners. The method involved in creating the modern edition eliminates errors of extant editions and clarifies a number of the discrepancies surrounding the symphony's multiple publications. This edition attempts to retain the composer's voicing and orchestration choices. To accomplish this, the present project considered where modern instrumentation differed from the original sources and attempted to balance timbral similarities between those instruments, while also considering ease of comprehension for a modern ensemble to perform the work. Sources used to create this edition included all published editions of scores and parts, as well as a newly created full score of the 1926 printed parts. The study concludes with the inclusion of the full score of the new performance edition.