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Wayne Barrington was a tenured member of the Chicago Symphony Orchestra for ten years and held positions with the LA Philharmonic, Pittsburgh Symphony, and San Antonio Symphony. He was an early member of the Chicago Brass Ensemble and a founding member of the LA Brass. While performing in these major orchestras and brass quintets, Barrington played alongside many notable musicians including Philip Farkas, Forrest Standley, Arnold Jacobs, Bud Herseth, Frank Crisafulli, Miles Anderson, Roger Bobo, David Krebhiel, and Christopher Leuba. Many of these musicians mentioned have received recognition in books and dissertations for their achievements as performers and pedagogues. Barrington, however, has not. Barrington was also a founding member and secretary of ICSOM, the International Conference of Symphony and Orchestra musicians. This organization helped improve the working conditions for musicians by creating transparency of orchestra salaries and giving musicians throughout the United States and Canada a say in ratifying their contracts. After Barrington's years as a symphonic musician, he transitioned from a full-time performer to a full-time pedagogue and taught for over three decades at the University of Texas at Austin, and several of his students went on to have successful careers of their own. His impressive career and influence are noteworthy. This lecture and the accompanying dissertation serve to pay tribute to the life and career of Wayne Barrington by offering a biography of his professional playing positions, union activism, teaching philosophy, and impact on several of his colleagues and students.

Symphony: Tambora is a piece for chamber orchestra that is inspired by the 1815 eruption of Mount Tambora in the Lesser Sunda Islands of the Phillipines. Its three movements deal with the genesis of Mount Tambora, the magma chambers filling up and spilling over, and the series of eruptions that resulted in some of the worst climate crises in recorded history. The thesis includes a score of the work, and an accompanying analysis.

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Joseph Joachim Raff, a nineteenth-century composer of Swiss-German descent, emerged during the 1870's as one of the leading composers of the symphony and was heralded by his peers as the successor to the symphonic tradition of Schumann. Of the eleven symphonies published between 186U and 1883, nine are program symphonies. Hired as an amanuensis by Liszt during the latter part of 181+9, Raff became involved in the New Weimar School surrounding Liszt, but disenchantment with their dogmas and a need to preserve his own identity caused Raff to resign his position with Liszt in 1856. Although his symphonies reflect the programmatic philosophy of the Weimar school, they also maintain a strong affinity to the classicism of Beethoven, a quality inherent in Raff's more conservative outlook. In order to become familiar with this large body of orchestral literature which is virtually unknown today, both a programmatic and formal analysis for each symphony has been presented, although in some instances the two could not be separated. The symphonies have been grouped according to related programmatic content. Because of the wider acceptance of symphonies 1, 3 and 5 during Raff's lifetime and the programmatic relationship of nos. 6 and 7 to these, form and thematic charts have been correlated with their more detailed, analyses. The other symphonies discussed are nos. 8-11 which comprise the Seasons cycle. These were Raff's last symphonic works which he composed between 1876-79

For this study, the forms of the movements of forty-four symphonies of Mozart-those appearing in the Breitkopf and Hartel "complete" edition of his works- were analyzed. For convenience of reference, the symphonies are discussed in this thesis in their conventional numbering-that of the Breitkopf and Hartel edition- except for six symphonies that appeared in a supplementary volume and are inserted in this study into their approximately correct chronological positions.

A symphony in three movements with parts for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns(?), 3 trumpets, 3 trombones, 1 tuba, 1 timpanist, 1 cymbal, 1 triangle, 1 xylophone, 1 piano, 1 harp, violins one and two, viola, cello, and standing bass(?)