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Girolamo Frescobaldi levde i brytningstiden mellan renässansen och barocken. Han var en av de betydelsefulla tonsättarna som med sin musik förde in musiken i nästa epok, den tidiga barocken. Han tog intryck av tidens uttrycksfulla vokala musik, och förde in det vokala uttrycket i sin instrumentalmusik, affetto vocale. Detta vokala uttryck var något för den tiden helt nytt, varför Frescobaldi skrev ett förord till den samling med Toccator och Partitor han gav ut först 1615 vari han gav detaljerad information om hur han ville att hans musik skulle framföras. Detta förord gav nycklar till den tidens interpreter vad gäller framförandet, liksom det ger nycklar till oss idag. På en av dessa Toccator ur första bandet har jag gjort en fallstudie och applicerat de råd Frescobaldi gav på den. För mig har detta gett en djupare förståelse för den här tiden, och framför allt för Frescobaldis cembalomusik. Den har givit mig förståelse för vad som var nytt och i förlängningen givit mig verktyg för att göra en tydligare interpretation

Louis Vierne (1870–1937) var under början av 1900-talet verksam som en av världens mest framstående organister och kompositörer. Trots att han från födseln var nästintill blind innehade han under nästan 40 år den mycket prestigefulla tjänsten Organiste titulaire vid Frankrikes mest berömda katedral Notre Dame de Paris. Viernes verksamling 24 Pièces du Fantaisie räknas idag till standardrepertoaren för orgel och i detta arbete analyseras hur tonsättarens bakgrund påverkade och inspirerade hans komponerande av verket. I studien utreds också hur man interpreterar stycket så stiltroget som möjligt och således gör tonsättaren rättvisa i största möjliga mån. Undersökningens resultat påvisar att Vierne fick inspiration till verken från sin omvärld och att hans dåliga syn hade stor inverkan på hans komponerande. Den informationen, i kombination med en redovisning av interpretationsmässiga val från framföranden av Requiem aeternam och Toccata ur 24 Pièces du Fantaisie, hjälper organisten vid sitt gestaltande av verksamlingen. / Louis Vierne (1870–1937) was active during the early 20th century as one of the world's most prominent organists and composers. Despite being almost blind from birth, he held for almost 40 years the very prestigious position of Organiste titulaire at France's most famous cathedral, Notre Dame de Paris. Vierne's collection of pieces 24 Pièces du Fantaisie is today considered as standard repertoire for the organ and this study analyzes how the composer's background influenced and inspired the music. In the study, it is also investigated how to interpret the pieces as faithfully as possible and thus do the composer justice to the greatest extent possible. The results of the study indicate that Vierne got inspiration for his work from his surroundings and that his poor eyesight had a major impact on his composing. This information, in combination with a report of interpretational choices from performances of Requiem aeternam and Toccata from 24 Pièces du Fantaisie, helps the organist when playing the collection.

Master of Music / School of Music, Theatre, and Dance / Slawomir Dobrzanski / This Master’s Report is a study of four piano compositions performed on April 10, 2016 at the author’s Master’s Piano Recital. These discussed pieces are including Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E-flat major, Op. 31, No. 3; Claude Debussy’s Images Book One; Fryderyk Chopin’s Scherzo No. 2, Op. 31. This study focus on historical, theoretical and stylistic implications of each composition.

Master of Music / Music, Theatre, and Dance / Slawomir Dobrzanski / This Master’s report analyzes four piano compositions performed on April 9, 2015 at the author’s Master’s recital. The works under consideration are Johann Sebastian Bach’s Partita in B flat major, BWV 825; Wolfgang Amadeus Mozart’s Piano Sonata in D major, K.576; Fryderyk Chopin’s Four Mazurkas, Opus 17; and Aram Khachaturian’s Toccata. This analysis includes the discussion of the theoretical, stylistic, and historical background of each composition.

The Czechoslovakian composer Jindrich Feld (b.1925) composed Introduzione, Toccata e Fuga per Flauto Solo, for the Italian flutist Roberto Frabbriciani. Feld's Introduzione is from his third style period. This work may be labeled as a synthesis of the experiments and experiences that have enabled him to create his own mature style of expression.

Robert Muczynski (1929-2010), composer, pianist, and educator, is a noteworthy American musician from our time. His prowess as a pianist undoubtedly accounts for the striking number of pieces he wrote for the piano, namely, one concerto, preludes, sonatas, suites, a toccata, and variations. Out of a total of forty-eight pieces with opus numbers, seventeen are for solo piano. This document contains an overview of Muczynski's life as a composer and musician, with an emphasis on his solo piano compositions. The body of the document traces sources of Muczynski's compositional style, especially the influence of Alexander Tcherepnin, his composition teacher and mentor, and Sergei Prokofiev. An analysis of some of Muczynski's shorter piano solo pieces follows: Six Preludes, op. 6, Suite for Piano, op. 13, and Toccata, op. 15. This analysis demonstrates that Muczynski's short piano pieces often exhibit a persistent focus on one generative musical idea within each piece, usually consisting of unifying etude-like material. For variety and color, he relies on frequent changes of metric pulse, sudden accents, highly chromatic harmony and melody, and an extreme range of sound. These stylistic traits are consistent with those previously identified by other scholars in his larger piano compositions.

The compositional peculiarities of the Grave of Johann Sebastian Bach’s Toccata in C, BWV 564 make authoritative performance practice of the same quite difficult. Often, disparate solutions concerning the performance practice thereof, primarily those that concern registration and interpretation of the work, result. Upon discussing the resemblance of BWV 564 in its entirety with that of the genre of the Italian concerto, I assess the precise nature of Italian concerto influence upon the work, assigning primary compositional influence to Tomaso Albinoni, specifically via Johann Gottfried Walther’s transcription of Concerto IV of Albinoni’s Concerto a cinque, Op. 2 of 1700, effectively placing such influence prior to Bach’s c. 1713-1714 encounter with the concerted works of Antonio Vivaldi and thus assigning Bach’s composition of the work to his initial years as court organist and chamber musician at the Weimar ducal chapel. I also assess the resemblance of the sectional character of BWV 564 with that of the early Baroque multisectional Praeludium, exemplified in Dieterich Buxtehude’s Praeludium in A, BuxWV 151, ultimately to assert the rhetorical orientation of BWV 564 and to raise the registration implications thereof. Given the numerous renovations to the Compenius organ in the Weimar ducal chapel that occurred before, during, and after Bach’s tenure as court organist and chamber musician, I set forth a likely specification set for the Compenius organ of the Weimar ducal chapel during the initial years of Bach’s first appointment at Weimar. With the compositional timeframe and physical conditions reasonably established, and on account of both the accompanimental textures and musical idiomatic allusions present in the movement, I advance not only a one-manual performance practice of the Adagio of BWV 564 in its entirety but also a single general registration scheme resonant with continuo performance practices that were contemporaneous with the composition of the work. / text