George Walker, pianist, composer and pedagogue, composed piano sonatas in 1953, 1957, 1975, and 1984. The Sonata No. 4 demonstrates the composer's continued fascination with a relaxation of traditional forms, coloristic effects of persistent interval combinations, incorporation of folk elements into his thematic material, and harmonic and rhythmic underpinnings as structural bases to his work.

The purpose of this study is to give some insight into the solo songs of John Alden Carpenter and show their position in the history of song composition in general.

Roy Harris is an American composer who has contributed and is still contributing to the field of modern music. This study is concerned with his choral music and the substantiation of the fact that his contributions in this field are outstanding and are expressive of a living Americanism. It is also the purpose of the study to examine and analyze the choral works of this notable Oklahoma composer and teacher in an effort to determine what Harris has to say musically and his method of expressing himself.

Leo Sowerby is an American composer who has, in the writer's opinion, made a fine contribution to the field of modern music. This fact will be substantiated in the following study, the purpose of which will be to examine and to analyze to some extent the works of this eminent Chicago composer, teacher, organist, and choir-master. This study will-be of particular interest to students of the organ, for it concerns itself chiefly with the organ works of Sowerby, and to students of composition and modern harmonic trends, for the study high lights the composer's characteristic procedures in these two directions.

Este trabalho foi dividido em duas partes, por se tratar de uma pesquisa em que assuntos se complementam sem abrir mão de sua importância individual. Estes assuntos são a figura da pianista Beatriz Balzi e a música erudita latino-americana para piano. Seus caminhos se cruzam em 1984, ano em que Beatriz Balzi iniciou uma série de gravações deste repertório, registrando peças compostas entre 1898 e 1997 em uma coleção de CDs intitulada Compositores Latino-americanos. Uma vasta gama de técnicas, estilos e procedimentos composicionais foram exemplificados por Beatriz Balzi nas 54 peças de sua série de CDs. Oriundas de 13 países, tais composições testemunham a formação do patrimônio cultural deste continente, no período em que o mesmo lutava para ser reconhecido por suas características próprias. Esta conclusão emerge da análise realizada sobre as partituras utilizadas pela pianista em suas gravações, unida ao estudo dos encartes que acompanham os CDs, à audição dos mesmos e às entrevistas com compositores gravados. Um panorama histórico resumido da música erudita do século XX foi formulado para contextualizar este repertório. Por sua vez, a biografia de Beatriz Balzi e a dissertação sobre sua trajetória na confecção da série Compositores Latino-americanos, material inédito e peculiar na década em que foi criado, levantam a seguinte questão: por que teria a pianista se empenhado em tal tarefa, em vez de abraçar um repertório mais acessível a si mesma e ao público? A resposta que ecoa é a militância pela valorização da música destes autores e deles próprios, além da luta pela aproximação dos povos deste continente através do conhecimento mútuo. Embora este tipo de pesquisa tenha atraído a atenção de músicos e estudiosos do século XXI, a música erudita latino-americana foi sempre relegada ao segundo plano no universo da música de concerto ocidental. A série de Beatriz Balzi e o presente trabalho contribuem para preencher esta lacuna. / This paper was divided into two parts, as it deals with research where topics complement each other, without giving up their individual importance. These topics are the figure of the pianist Beatriz Balzi and the Latin American piano art music. Their paths crossed in 1984, the year when Beatriz Balzi started a series of recordings of this repertoire, registering pieces composed from 1898 to 1997 in a CD collection under the title of Latin American Composers. A wide range of techniques, styles and compositional procedures were exemplified by Beatriz Balzi in the 54 pieces of her CD series. Originated from 13 countries, such compositions testify the formation of this continent\'s cultural heritage, in the period when it struggled to be recognized for its own characteristics. This conclusion emerges from the analysis carried out on the scores used by the above-mentioned pianist in her recordings, together with the study of the inserts attached to the CDs, the listening to them, and the interviews with recorded composers. A summarized historical panorama of the XX Century\'s classical music was formulated in order to contextualize this repertoire. On its turn, Beatriz Balzi\'s biography and the dissertation on her trajectory in the completion of the Latin American Composers series, unpublished material which was distinctive in the decade in which it was created, give rise to the following question: why would the pianist devote herself to such a task, instead of embracing a repertoire which would be more accessible to herself and to the audience? The answer that echoes is the militancy for the valuing of these authors\' music as well as their own valuing, in addition to bringing together the peoples of this continent by means of mutual knowledge. Although this type of research has attracted the attention of the XXI Century musicians and scholars, the Latin American art music has always been relegated to a less important place in the universe of the Western concert music. Beatriz Balzi\'s series and the present paper contribute to fill this gap.

Este trabalho foi dividido em duas partes, por se tratar de uma pesquisa em que assuntos se complementam sem abrir mão de sua importância individual. Estes assuntos são a figura da pianista Beatriz Balzi e a música erudita latino-americana para piano. Seus caminhos se cruzam em 1984, ano em que Beatriz Balzi iniciou uma série de gravações deste repertório, registrando peças compostas entre 1898 e 1997 em uma coleção de CDs intitulada Compositores Latino-americanos. Uma vasta gama de técnicas, estilos e procedimentos composicionais foram exemplificados por Beatriz Balzi nas 54 peças de sua série de CDs. Oriundas de 13 países, tais composições testemunham a formação do patrimônio cultural deste continente, no período em que o mesmo lutava para ser reconhecido por suas características próprias. Esta conclusão emerge da análise realizada sobre as partituras utilizadas pela pianista em suas gravações, unida ao estudo dos encartes que acompanham os CDs, à audição dos mesmos e às entrevistas com compositores gravados. Um panorama histórico resumido da música erudita do século XX foi formulado para contextualizar este repertório. Por sua vez, a biografia de Beatriz Balzi e a dissertação sobre sua trajetória na confecção da série Compositores Latino-americanos, material inédito e peculiar na década em que foi criado, levantam a seguinte questão: por que teria a pianista se empenhado em tal tarefa, em vez de abraçar um repertório mais acessível a si mesma e ao público? A resposta que ecoa é a militância pela valorização da música destes autores e deles próprios, além da luta pela aproximação dos povos deste continente através do conhecimento mútuo. Embora este tipo de pesquisa tenha atraído a atenção de músicos e estudiosos do século XXI, a música erudita latino-americana foi sempre relegada ao segundo plano no universo da música de concerto ocidental. A série de Beatriz Balzi e o presente trabalho contribuem para preencher esta lacuna. / This paper was divided into two parts, as it deals with research where topics complement each other, without giving up their individual importance. These topics are the figure of the pianist Beatriz Balzi and the Latin American piano art music. Their paths crossed in 1984, the year when Beatriz Balzi started a series of recordings of this repertoire, registering pieces composed from 1898 to 1997 in a CD collection under the title of Latin American Composers. A wide range of techniques, styles and compositional procedures were exemplified by Beatriz Balzi in the 54 pieces of her CD series. Originated from 13 countries, such compositions testify the formation of this continent\'s cultural heritage, in the period when it struggled to be recognized for its own characteristics. This conclusion emerges from the analysis carried out on the scores used by the above-mentioned pianist in her recordings, together with the study of the inserts attached to the CDs, the listening to them, and the interviews with recorded composers. A summarized historical panorama of the XX Century\'s classical music was formulated in order to contextualize this repertoire. On its turn, Beatriz Balzi\'s biography and the dissertation on her trajectory in the completion of the Latin American Composers series, unpublished material which was distinctive in the decade in which it was created, give rise to the following question: why would the pianist devote herself to such a task, instead of embracing a repertoire which would be more accessible to herself and to the audience? The answer that echoes is the militancy for the valuing of these authors\' music as well as their own valuing, in addition to bringing together the peoples of this continent by means of mutual knowledge. Although this type of research has attracted the attention of the XXI Century musicians and scholars, the Latin American art music has always been relegated to a less important place in the universe of the Western concert music. Beatriz Balzi\'s series and the present paper contribute to fill this gap.

This study broadens awareness of two accomplished American composers’ contributions to various media in general, and wind band in particular by examining specific wind band works that illustrate their compositional style for the medium. The opening chapters include biographical information of each composer, including musical training, professional background, appointments held, awards, compositional style, and education. Carolyn Bremer has written thirteen works for wind band. An orchestral bassist by training, Bremer focused her musical talents on composition at the age of twenty-four. Among Bremer’s works for wind band, Early Light maintains a consistent performance record. An accomplished pianist, organist, and composer, Nancy Galbraith’s compositional career spans three decades. Although she has contributed significantly to chamber and small ensembles, her catalog contains approximately 120 works for various media. Febris ver is one of Galbraith’s recent contributions to the wind band. Commissioned for the 2012 College Band Directors National Association, the work received its premier performance in February of that year. This project fills a major gap in the literature regarding the work of Bremer and Galbraith; to date, it is the first study of its kind and brings to light information not previously published.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2008. / Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1598. Adviser: Ian Hobson. Includes bibliographical references (leaves 176-181), discography (leaves 181-182), and webliography (leaves 182-183). Available on microfilm from Pro Quest Information and Learning.

Dissertation (PhD) Florida State University, 2007. / Advisor: Jane Piper Clendinning, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-21-2007). Document formatted into pages; contains 170 pages. Includes biographical sketch. Includes bibliographical references.

In the past fifteen years, Thomas Pasatieri has become one of America's leading composers. His major output has been dramatic works for voice: opera and song literature. The two dramatic cantatas, Heloise and Abelard and Rites de Passage, are exemplary of his style. Pasatieri draws his formal structures from traditional solo and duo cantatas and combines this with the ability to dramatize the texts of Louis Phillips. Pasatieri s style is conservative and represents a neo-romantic idiom which he models after Bellini, Puccini, and Richard Strauss. This paper presents a brief biographical sketch of Pasatieri and an analysis of the two cantatas. A chronological list of Pasatieri's published vocal works appears in the Appendix.