Issued also as Inaugural-Dissertatin (Rostock, 1932). / Vita. "Verzeichnis der Kalvierwerke Vanhals": p. 122-137. Includes bibliographical references (p. xii-xvi).

Thesis (M.M.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 126-130).

Thesis (D. Mus. Arts)--University of Washington, 2007. / Vita. Includes the scores to six unpuplished pieces. Includes bibliographical references (leaves 263-279). Also available electronically.

During a long and distinguished career, the Canadian composer Jean Coulthard (b. 1908) has become widely recognized for her many works for voice, keyboard, choir and chamber ensembles. Until recently, however, her large and diverse catalogue of works for orchestra has been overshadowed. The present study presents a critical assessment of her orchestral catalogue of music composed from the late 1930s until the present. In a biographical introduction, Coulthard's initial training with Vaughan Williams in London is discussed, as is her life-long identification with the early French modern figures Debussy and Ravel. As her career progressed, her earliest orchestral scores were championed by the Australian-born composer/conductor Arthur Benjamin (who resided in Coulthard's native Vancouver, Canada, during the formative years of her development as an orchestral composer). Further training brought her into contact with figures such as Copland, Milhaud, Bartok, and Schoenberg, as well as studies with Bernard Wagenaar in New York. Following her protracted apprenticeship, Coulthard began to teach at the University of British Columbia and to commit to the major genres of orchestral writing. In this later respect she was somewhat atypical of Canadian composers of her generation, and has been viewed by earlier scholars as an exponent of the "conservative tradition" in Canadian music of the 20th century. More recent perspectives stress the quality of her work, her regional significance, and the uniqueness of her achievement in a field of music not traditionally associated with women. Paralleling Coulthard's personal and artistic development, a consideration of Canadian orchestras and the emergence of a Canadian orchestral repertoire is presented. Coulthard's orchestral repertoire includes orchestral suites, small scale orchestra compositions, works for strings, works for soloist(s) and orchestra, concerti, and symphonies. A comprehensive overview of Coulthard's extant orchestral works is presented, with a number of particularly important compositions singled out for detailed analysis. As well major style elements, aspects of Coulthard's role in Canadian music and a brief assessment of her creative personality are included. / Graduate

Master of Music / School of Music, Theatre and Dance / Augustin Muriago / This lecture-recital presents five pieces from the first two books of Elisenda Fabregas’ Album for the Young. These intermediate-level pieces are written in styles ranging from Renaissance to Modern periods. The goal in presenting these works is to analyze what technical and musical skills they develop, suggest ways to teach these pieces, and to explore their interaction with more traditional teaching repertoire. The lecture-recital presents—pedagogical exercises developed to target specific skills needed to play these pieces; performance practice for each genre represented; and finally, pairs each piece with pieces by Bartok, Bach, Czerny, Kahlua, Clementi, Tchaikovsky, Chopin, and Debussy. The works of Fabregas were chosen to promote the work of women composers and to expand the teaching repertoire that students and teachers are exposed to.

The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.

The purpose of this study is to investigate the choral works of Colin Brumby, with a special focus on the musical-textual relationships of selected works from his body of choral compositions, which number more than one hundred and twenty. This investigation includes information gathered in Australia at the University of Sydney, the University of Queensland, and the Australian Music Centre, as well as information furnished in a personal interview with the composer in Brisbane, Australia, in June 1994, in addition to an August 1994 telephone interview cnducted with Thomas Shapcott, the Australian poet with whom Brumby collaberated on over twenty choral compositions.

This study concentrates on the piano music of Hubert du Plessis, a South African composer who, apart from some years spent studying in England, has lived and worked in this country. He was born in 1922 on a farm in the Malmesbury district. After completing his schooling, he studied at the University of Stellenbosch , gaining a B A degree. Later, he continued his studies at Rhodes University, obtaining a B Mus degree. The Performing Right Society's scholarship gave him the opportunity of studying in London for three years (1951-1953). After his return, he became involved in the academic sphere, and lectured simultaneously at U C T and Stellenbosch, and then later just at Stellenbosch until his retirement in 1982. A number of his compositions for piano are as yet unpublished. This thesis has been limited to the published works for solo piano . The works studied are: Four Piano Pieces (Op. 1 ), Six Miniatures (Op. 3 ), Sonata No . 1 (Op. 8 ), Seven Preludes (Op. 18), Toe ek 'n kind was (Op. 33). Some biographical details have been given - in most cases to provide the background for the writing of each work - but the main thrust of this study has been towards a detailed structural analysis of each work. In my analysis, I have favoured the type of "Formal analysis" defined by Groves¹ in the article on analysis. In other words, I have used the traditional structural patterns i.e. Binary and Ternary form , Sonata form etc. insofar as it applied to the music under discussion. However, I felt that this was not sufficient for a study in depth of the music, as I had envisaged. Like Beethoven, du Plessis is a meticulous craftsman, who constructs and re- constructs , revises and rethinks. This means that the fullest attention is given to every detail of composition. Hence, like Tovey in his analysis of Beethoven sonatas, I have tended towards a bar-by-bar approach which, I hope, will reveal not only the structural detail, but also the relationships between phrases and motifs, where this is relevant. I felt that it was imperative to take this down to the real fundamentals, for without that basic approach, certain compositional techniques might be overlooked. Hence, I then hoped to draw some general conclusions about du Plessis' work. Groves¹ says of Tovey's method that it " represents the tradition of analysis and descriptive criticism in Britain as a whole . " However , despite this rather dry and academic approach there are times when, like Tovey, my analysis contains metaphor, or personification of the music. I have chosen what may be criticised as a rather old-fashioned approach to the analysis because of the basic intention behind this piece of research. As a school teacher I am aware of the pitiful paucity of source material on the music of the South African composers, which are set for study by Matriculation candidates. By this work, I had hoped to shed some light on at least one corner of this section of the syllabus, for both teacher and pupils. Hence, I did not attempt a distributional analysis or a category analysis , coded by computer and shown in graphical form. I chose a straightforward linear and logical progression through the pieces which, even with the limited musical vocabulary of the average school pupil, should be easily comprehensible. ] have also attempted to draw attention to interrelationships between movements or sets of pieces, and to see each work as a unit. In a study limited, by necessity, in its subject matter, as this is, it would be presumptuous to draw conclusions about du Plessis' work in general. This would necessitate an indepth survey of his other genres, especially his vocal works, which are so important an area of his creativity. However, it is possible, even in so limited a study, to gain an appreciation of Hubert du Plessis' meticulous craftsmanship and attention to detail that must gain him his rightful place among the South African musical "greats " of this century.

Still Lives and Set Pieces is a collection of stories that explore concepts of identity under pressure, using meta-fictional approaches and various formal strategies, such as borrowing structural traits from other styles of composition, to fracture POV and add dimensionality. One tale explodes the few moments immediately following an assisted suicide as the surviving partner starts the slow process of self-redefinition. Another wonders if a composer's search for the right five notes to complete his project has more to it than pitch and rhythm. A third sees two would-be criminals, stuck in time, playing darts in the back room of a nameless pub, while they await word of why they are there and what's to happen to them.

Among the techniques associated with the theory of musical transformations, network analysis stands out because of its broad applicability, demonstrated by the diverse examples presented in David Lewin’s seminal work Musical Form and Transformation and related articles by Lewin, Klumpenhouwer, Gollin, and others. While transformational theory can encompass a wide variety of analytical structures, objects, and transformations, two particular types of network postulated by Lewin are often featured: the product network and the network-of-networks. These structures both incorporate repetition, but in different ways. This document will propose one possible definition for product networks and networks-of-networks that is consistent with Lewin’s theories as presented in Generalized Musical Intervals and Transformations. This definition will clarify how each of these two network formats may be generated from the same sub-graphs, which in turn will clarify the advantages and disadvantages of each structure for musical analysis, specifically demonstrating how analytical goals shape the choice of network representation. The analyses of Chapters 3 and 4 examine works by contemporary Canadian composers that have not been the subject of any published analyses. Chapter 3 presents short examples from the works of contemporary Québécois composers, demonstrating the utility of these networks for depicting connections within brief passages that feature short, repeated motives. Chapter 4 presents an analysis of R. Murray Schafer’s Seventh String Quartet, demonstrating how these structures can be used to link small-scale events with longer prolongations and motivic development throughout a movement. Chapter 5 demonstrates through a wider repertoire how analytical goals shape the choice of network representation, touching on such factors as continuity, motivic return, and implied collections. / Arts, Faculty of / Music, School of / Graduate