The Sacrilege of Alan Kent is a monodrama in nine scenes for baritone soloist, orchestra, and tape. This composition may be presented as a dramatic or concert work. From the standpoint of a dramatic form, it may be considered an opera for one performer in nine brief scenes or vignettes. As a concert work, it resembles a song cycle.

Thesis (Ed.D.)--Teachers College, Columbia University, 1968. / Typscript; issued also on microfilm. Dissertation Committee: Frederick D. Mayer, Lawrence Taylor, Craig Timberlake, . Includes bibliographical references (leaves 178-187).

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Master of Music / Department of Music / Steven Maxwell / This report is intended for teachers to use when preparing euphonium solo literature with their students. The solos selected for this report encompass a wide variety of styles and technical abilities, with each solo studied in four sections: Historical Background, Theoretical and Technical Considerations, Suggested Practice, and Educational Gains and Values. The solos studied in this report include Conqueror by Leonard B. Smith, In the Hall of the Mountain King by Edvard Grieg, Allerseelen by Richard Strauss, Pearl by H.A. Vandercook, Andante et Allegro by J. Ed. Barat, Andante et Allegro by J. Guy Ropartz, and Morceau Symphonique by Alexandre Guilmant.

John Musto (b. 1954) is a composer of many genres for voice including song, opera and chamber music. Influences of jazz, ragtime, blues, and popular music have strongly influenced Musto's unique compositional style, which often incorporates contemporary genres with formal classical techniques. Held in high esteem by his colleagues of fellow composers and performers, Musto is often commissioned to compose new works for specific artists and events. This document focuses on two of these compositions, River Songs (2002) and The Brief Light (2010). Examination of these two chamber cycles displays the composer's unique compositional style and lends insight into the choices made by Musto during the composing process. Performers can use this document to better understand Musto's use of harmony, poetry, and instrumentation to inform performances of these songs.

abstract: Martin Ellerby (b. 1951) is a prominent composer for wind and brass bands, and his Euphonium Concerto and Baritone Concerto are among the best and most challenging works in the euphonium and baritone repertoire. This project aims to assist the performer in learning these important works by utilizing specific practice strategies. Each work has been performed and thoroughly examined by the author in order to develop and offer specific strategies for learning each piece. This project utilizes identification of themes and motives, existing methods, suggested exercises, and suggestions from the premiere performers in order to develop a strategic practice regimen for learning these important works. The discussion of each movement begins with a brief thematic overview to identify the motives and ideas used to construct each movement. The musical content discovered through thematic and motivic identification is used to recommend modified exercises from Arban Complete Method for Trombone and Euphonium edited by Joseph Alessi and Dr. Brian Bowman, Clarke’s Technical Studies for The Cornet by Herbert L. Clarke, The Brass Gym: A Comprehensive Daily Workout for Brass Players by Sam Pilafian and Patrick Sheridan, Scale and Arpeggio Routines for Undergraduate & Graduate College & University Students by Milt Stevens and Brian Bowman, and “The Carmine Caruso Method” as taught by Julie Landsman. Each exercise presented is aimed to target a specific challenge of the movement being discussed and will facilitate effective and efficient practice of each work. / Dissertation/Thesis / Doctoral Dissertation Music 2018

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Songs of Dusk and Renewal sets two poems from Alfred Edward Housman’s A Shropshire Lad (1896) for baritone voice and orchestra, with the intent to demonstrate the timeless significance of the text. Housman’s collection, largely explored by English composers in the first half of the twentieth century, remains a valid source for composers, yet the writings are seldom observed in recent music. In the present work, poems IV (“Reveille”) and XLVI (“Bring, in this timeless grave to throw”) are reconciled musically through deep constructs and surface attraction, while being informed by critical and historical perspectives. / text

The leading baritone roles in the operas of Giuseppe Verdi, known as Verdi baritone roles, presented new challenges for the singers who first interpreted these roles. Their demanding tessitura and complex characterizations tested the skill of a generation of singers who began their careers singing the roles of Gioacchino Rossini, Gaetano Donizetti, Saverio Mercadante, Vincenzo Bellini and Giovanni Pacini in the lighter, bel canto style. The purpose of this study is to examine the careers of singers active in Italy between 1830 and 1845 and to provide insight as to which roles written before the premiere of Verdi's Nabucco contained similar vocal and characterization demands. Through examination of available Italian opera house annals, ten singers were identified by the author as precursors to the Verdi baritone, and are categorized into three groups: the pre-Verdi baritones, the transitional baritones and the established Verdi baritones. A brief biography of each singer is included, as well as an appendix for each singer that includes roles performed, dates and locations of the performances. The title role in Donizetti's Torquato Tasso and the role of Manfredo in Mercadante's Il giuramento were determined to be the roles most similar to Verdi's Nabucco. Each role is analyzed in terms of characterization and tessitura demands, and is compared using tessitura charts that account for the frequency and duration of individual pitches. The roles are divided into sections, and each section is designated by its overall range, primary tessitura, secondary tessitura, and weighted pitches. These designations provide quantifiable evidence that each role presents similar challenges for the baritone.