This research demonstrates the importance of the African influence as a decisive element in the quest of Brazilian composer Heitor Villa-Lobos (1887-1959) for a unique musical style. A concise biography is provided in chapter two, revealing, among other topics, Villa-Lobos' childhood and early influences, his years in Paris, and the time he spent as an educator in Brazil under the government of President Getulio Vargas. Chapter three deals with the arrival of modernism in Brazil. New tendencies brought from Europe helped to consolidate a trend of renewal in the arts commonly referred to as "futurism." Futuristic currents culminated with the Week of Modern Art, where Villa-Lobos' music was the most preponderant. In this same chapter, the influence of Mario de Andrade (1893-1945), one of the leaders of the modernist movement, is also discussed. He devotes special attention to the Brazilian rhythmics, its origins, and foundation. The African rhythmics is studied in chapter four. Special attention is given to those African regions that influenced the Brazilian folklore. An ethnography containing original African rhythms found in Angola and Nigeria, as well as Afro-Brazilian rhythms, is provided. Finally, detailed analyses of selected works for solo piano by Villa-Lobos are presented in chapter five. The criteria for the selection were the use of eclectic compositional techniques, and the presence of Afro-Brazilian influence. The following pieces are analyzed in this document: Dancas Caracteristicas Africanas (Farrapos, Kankikis, and Kankukus), Ciclo Brasileiro (Plantio do Caboclo, Impressoes Seresteiras, Festa no Sertao, and Danca do Indio Branco), Choros No.5---Alma Brasileira, and two movements from Prole do Bebe No. 2 (A Baratinha de Papel and O Boizinho de Chumbo). Villa-Lobos' manipulation of the African rhythms resulted in their direct and indirect quotations in these works. Sometimes they are clearly stated and, sometimes, modified.

This paper traces the musical development of pianist and composer Clara Schumann (1819-1896) leading to the composition of the Piano Trio, Op. 17, one of her most significant works. Like her to contemporaries, the virtuosi Anton Rubinstein and Sigismond Thalberg, Clara Schumann was a gifted pianist and one of the leading musicians of her day. Until recently, little was known about her role as a composer, and her works were consistently relegated to the domain of the "salon." The musical collaboration between Clara and Robert Schumann was productive due both to the close nature of their relationship and their mutual respect for each other's musicianship. Throughout their lives, they developed a lively artistic exchange which included borrowing musical materials from each other. Not coincidentally, the first Piano Trio of Robert Schumann, a work of substantial craftsmanship, bears a strong musical resemblance to Clara's Piano Trio, Op. 17, written one year earlier. In addition, to aid the performer unfamiliar with the Piano Trio, a discussion of performance considerations is included

The main objective of this document is to investigate the suitability and aptness of performing the solo piano music of Franz Liszt (1811-1886) on the harp. This has been accomplished by dividing Liszt's career into four periods and examining the various connections he retained with harpists with during each of these periods. For each of these harpists the author shows how they became associated with Liszt, the scope of their work together, and demonstrates their influence on his life and compositional style, including musical examples where appropriate. As part of this research project the author also offers four of her own transcriptions of Liszt's solo piano compositions, corresponding from each of the four life stages, explaining why these are idiomatic for performance on the harp. This document also examines and explains any changes made from the original to the transcription with the inclusion of musical examples. These transcriptions, included in the document as appendices, are ready for publication and will hopefully become valuable additions to the harp repertoire.

Georg Wenzel Ritter (1748-1808) was one of the greatest bassoon players from the past. He was an indispensable part of the Mannheim orchestra, arguably the finest musical ensemble in Europe at that time. He was known all over Europe as a bassoonist with tremendous ability and frequently traveled abroad as a soloist. He also taught many students throughout his lifetime, including Etienne Ozi and Georg Brandt. The bassoon on which Ritter performed was a six-keyed bassoon. This instrument precedes the earliest known documented evidence of the six-keyed bassoon's existence by nearly fifteen years. Ritter also left us a fingering chart which lists an extreme range, going all the way up to eb2 Ritter composed several works which have been out of print for over 200 years or are only available in manuscript. These works include a set of quartets for bassoon, violin, viola, and bass instrument and a duet for two bassoons. These compositions give us an excellent indication of the high level of Ritter's playing ability through the many technically demanding passages. Moreover, other composers, including W. A. Mozart, knew Ritter's playing well and composed some of their own works with Ritter in mind for the bassoon parts. Some of Mozart's works for Ritter include the bassoon parts to the opera Idomeneo K366 and the Sinfonia Concertante for Winds K297b. Ritter is certainly an important figure in the history and development of bassoon playing and deserves more recognition as a prominent bassoon performer, teacher, and composer from the 18th century.

The purpose of this study is to examine Monologue (Impressions on The True Story of Ah Q and Feng, two works by the composer Chen Yi (b. 1953) with regard to four important elements in her music. These elements are eclecticism in pitch materials, numerically-based rhythmic and formal constructions, original approach to timbre, and original approach to texture. Chapter one consists of a brief biography of the composer, including a description of the compositional movement known as the New Wave. Chapter two summarizes several analytical approaches to Chen's music, with special attention to the method developed by Xin Guo, and her analysis of Chen's Woodwind Quintet. The analytical method of this study, which is similar to Guo's method, is then explained. Chapter three consists of an analysis of Monologue (Impressions on The True Story of Ah Q (1993) for solo clarinet. Chapter four consists of an analysis of Feng (1998) for wind quintet. In chapter five, these two works are compared to each other and to Woodwind Quintet (1987).

<p> This project report gives a biography of Louis Moyse's history as well as an interpretation on three of his compositions with Japanese influence: <i> Introduction, Theme, and Variations, Variations on Three Japanese Folk Songs, and Hommage a Krishan.</i> An informed performance of these works can be achieved by studying Louis' influences, compositional style, and a history of his childhood and background. These three pieces all have characteristics of "folk like" melodies along with elements of Japanese influence. This influence came from his travels throughout Japan with his father and wife Janet. Since the Japanese flute, the shakuhachi, is an important part of Japanese culture and music, it is important to understand the basic concept of sound production on the instrument and to incorporate the sounds and tone of the shakuhachi into these compositions.</p>

This thesis examines the question: "What does it mean to have a New Zealand voice?" as exemplified in the life and music of Jenny McLeod. The study has focused on McLeod's struggle to find a balance between three needs: the needs of the composer, and the needs of those who perform and listen to a composer's music. To balance these ideals McLeod has drawn on many sources of inspiration over the years. As a result, her career as a composer appears at first glance to be rather sporadic and incomplete. I maintain, however, that throughout her career McLeod was working constantly towards satisfying the needs outlined above. When examining the development of New Zealand music during the second half of the twentieth-century, I believe that these issues are the same as those confronting all New Zealand artists. The life and music of Jenny McLeod is, therefore, a representative example of the emergence of a distinctive "voice" in New Zealand music.

This study is a critical reevaluation of the conceptual basis of Mies van der Rohe's use of tectonics. It concludes that Mies's tectonic concepts developed in four phases, and that each phase emphasized specific aspects of his Transcendental thought. It determines that each phase specifically embodied the dialectical arguments of his writings during that phase. The sequence of these tectonic concepts reflects Mies's development from a representational to an ontological understanding of tectonics, and reveals his return to representational tectonics at the end of his life.

Vlado Perlemuter is the last direct link to Maurice Ravel and is considered to be the most authentic interpreter of his music. Not only is he the last living student of Ravel, but he is the only pianist to have studied Ravel's complete solo piano works with the composer. As a pianist, Perlemuter was influenced by his teachers, Moritz Mozskowski and Alfred Cortot, and is a product of the Paris Conservatoire--the institution that was to define the French School of piano playing. Ravel influenced Perlemuter's playing as well by exposing him to new styles of piano writing and by opening his imagination to innovative sounds, mainly orchestral in nature. Perlemuter's approach to Miroirs reflects these many influences and offers an interesting study of how he achieves such diverse sonorities out of the piano. Examples of some of these ideas include passages where he uses the thumb to bring out melodies, redistribution of voices for both technical and interpretive purposes, and pedallings that create orchestral effects. Perlemuter remembers many specific interpretive ideas that Ravel had shared with him in his lessons. These ideas are of special importance because, since Ravel rarely spoke about his compositions, they serve as a valuable source of information that may have otherwise remained unknown. Vlado Perlemuter has shared his music with three generations of students and audiences. He will be remembered for many years by his admirers for his enlightening lessons and concerts. In addition, Vlado Perlemuter has made a valuable contribution to the musical world through his recordings and through the book that he co-authored with Helene Jourdan-Morhange, Ravel d'apr es Ravel.

This dissertation examines the life and music of the Croatian composer Boris Papandopulo. The socio-political climate in which he lived is taken into account, and special attention is devoted to the duality in his compositional style. This duality is characterized by his use of both neoclassic and folk components, and derives from his studies of traditional Western European music as well as from his Croatian heritage. He is thus seen to have been a synthesizer in the best sense of the word. Croatia, a small country positioned on the outskirts of Europe, has its own distinctive identity; and its singular position gave Papandopulo's music the special quality of being both national and international at the same time. His music was heavily influenced by formal techniques, such as the twelve-tone method, yet remained highly individual. Special emphasis will be given to the piano works of this unique and relatively unknown composer.