Young Ja Lee (b. 1931) is regarded as one of the most important living female composers in Korea. She leads and contributes to the Korean classical music society as a gifted composer and a dedicated educator. This study focuses on how she has combined Western compositional techniques with elements of Eastern traditional music in some of her compositions, in particular, her Variations pour piano "Umma ya, Nuna ya." An interpretation of her Variations pour piano "Umma ya, Nuna ya" reveals that the composition features many of the particular and sublime aspects of Western compositional techniques in conjunction with traditional Korean music style. This study is an investigation of the interaction and assimilation of these disparate elements. The results of this study may inspire further research into traditional Korean music and bring recognition to important Korean composers, as well as encourage music educators to teach Korean composers' compositions.

The purpose of the present work is to shed fresh light not only upon the life and work of Maurice Greene , but also upon the whole state of music in England during the first half of the eighteenth century. Thus, while the basic framework is that of a full-scale historical biography, whole sections are devoted to a detailed discussion of various aspects of the contemporary scene. Chapter one traces the composer's family background end early career up to about 1710. His work at St. Paul's, and the general conditions which there obtained, are separately considered, as is also the musical history of the important Sons of the Clergy festival which Greene conducted from 1718 until 1750. The biographical narrative continues with an account of Greene's marriage and family affairs, and also deals with his influence as a teacher. In chapter four, the composer's career as a secular musician is surveyed against the background of London musical life, end special attention is given to the history of the Academy of Ancient Music with which he was for a time intimately connected. Throughout the 1720s, Greene's reputation grew. In 1727, he was appointed Organist and Composer of the Chapel Royal. Three years later, he took his doctorate at Cambridge, and was honoured with the title of Professor of Music in the University. In 1735, he succeeded Eccles as Master of the King's Band of Musick. Not yet thirty-nine, he now held every major musical appointment in the land. A detailed summary of this triumphal progress, and of those institutions in which Greens worked, forms the central core of the dissertation. A thorough examination of Greene's relationship with Handel is contained in chapter six. The two final chapters deal with the period during which Greene's fame stood at its height, his gradual decline, death, and posthumous reputation. An extended postscript surveys Greene's contribution to Boyce'e Cathedral Music. Two short appendices and a bibliography complete the volume. Volume two consists entirely of a Descriptive Catalogue of all Greene's knovn works, including those which are no longer extant. Both printed and MSS. sources are listed, end copyists identified wherever possible. Ten pages of plates provide examples of the composer's autograph, and those of his four chief pupil-copyists. There are also extensive notes containing any historical or bibliographical information which might possibly be of use to future researchers.

Thesis (MMus) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The topic of this thesis is the life and music of Hendrik Hofmeyr, from his birth in 1957 until July 1999. The discussion on his life focusses on the events that influenced the establishment of his works and also those that had an effect on the style in which Hofmeyr composes. Although he experienced a steady development and growth as a composer, Hofmeyr's ten year stay in Italy and the event of the 1997 Queen Elisabeth of Belgium Composition Competition can be mentioned as major influences on his life and thus on his work. Hofmeyr's ideas on music are discussed in Chapter 2. To understand the intention of his music, it is important to know something of Hofmeyr's approach to music. The chapter concludes that Hofmeyr can be described as a 'romantic' composer which provides the reason why he has always been outspoken against the avant-garde which characterises much of the artmusic of the zo" century. The style analysis of the following chapter looks at three important parameters of any composer's style: harmony, melody and form. It further also discusses Hofmeyr's use of counterpoint and the specific playing techniques he requires of instruments. These two aspects stand out as particular to the composer's style. Due to the scope of the thesis, these aspects are dealt with in a limited way. A more detailed discussion of two compositions follow, the song cycle Alleenstryd and the String Quartet. Besides an analysis of both works, attention is also given to how the composer's ideas on music are manifested in these works. The thesis concludes with a detailed list of works including all works composed up to July 1999. 50 compositions are listed. To allow for maximum exposure of each work, the duration as well as a description of each work are added to the otherwise standard information. / AFRIKAANSE OPSOMMING: Hierdie tesis behandel Hendrik Hofmeyr se lewe en werk as komponis vanaf sy geboorte (1957) tot en met Julie 1999. Die beskrywing van sy lewe is daarop gerig om aan te dui hoe die gebeure in sy lewe die totstandkoming van sy komposisies en die styl van sy musiek beïnvloed het. Hoewel daar 'n geleidelike ontwikkeling in sy groei as komponis bestaan, kan sy tienjarige verblyf in Italië en die Koningin Elisabeth van België Komposisiekompetisie in 1997 as belangrike invloede uitgelig word. In hoofstuk 2 word Hofmeyr se idees oor musiek bespreek. Om die intensie en gedaante van Hofmeyr se musiek te verstaan, is dit belangrik om hierdie uitgangspunte van die komponis te begryp. In die hoofstuk word die gevolgtrekking gemaak dat Hofmeyr in wese 'n 'romantikus' is en dat hy daarom reeds sedert sy studentejare sterk uitgesproke is teen die avant-garde wat 20ste eeuse kunsmusiek kenmerk. Die stylanalise wat daarna gemaak word, behandel drie belangrike parameters van enige komponis se styl: harmonie, melodie en vorm. Verder sluit dit ook Hofmeyr se gebruik van kontrapunt in en die spesifieke speeltegnieke wat hy van instrumente verlang. Hierdie twee aspekte staan uit as besondere eienskappe van die komponis se musiek. Vanweë die omvang van die tesis, is die bespreking van hierdie aspekte redelik beperk. In Meer gedetaileerde bespreking van twee werke volg, naamlik die sangsiklus Alleenstryd en die Strykkwartet. Buiten 'n analise word ook na ander aspekte van hierdie werke gekyk, soos byvoorbeeld die wyse waarop die komponis se uitgangspunte oor musiek in hierdie werke tot uiting kom. Die tesis sluit af met 'n volledige werklys wat alle werke tot en met Julie 1999 insluit. Daar is altesaam 50 werke. Om soveel as moontlik inligting te verskaf, word buiten die standaard-inligting, ook die tydsduur en 'n beskrywende paragraaf oor elke komposisie ingesluit.

Thesis (PhD) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The secular songs of John Blow (1649-1708): An Edition The aim of this thesis is to assemble the 109 secular songs of John Blow in one anthology, to transcribe them into modem notation and in doing so to make them accessible for modem use and further research. A significant feature of this collection is a group of 13 songs which have not been printed previously and which are available only in manuscript form in special collections in Great Britain. Other songs published during Blow's lifetime are likewise found in special collections which are not accessible to the public. Many of these songs are hard to decipher because of ageing. In some cases the paper is so thin that the notes show through from the back to the detriment of readibility. Where the manuscripts as well as contemporary publications exist, significant comparisons could be made, e.g. with In vain, brisk God of Love (vol. 2: 147) where the MUMS 118 manuscript could be compared with the published version in Choice Ayres and Songs printed by Godbid and Playford (jnr) in 1683. An important 'discovery' was finding that an autograph manuscript, Ah me, undone! (Lhl Add. 31457), does not comprise an individual song as listed by Watkins Shaw (1980), but an excerpt from the song Happy the Man who languishing (1700). This made it possible to compare an original manuscript by Blow with a publication of the same song by Playford. The 20th century has seen renewed interest in Blow's work: Frederick George Edwards (1902) and William Cummings (1908), in particular, started this revival in interest. Harold Watkins Shaw took the lead from 1936 and Leland Clarke (1947) was responsible for the next phase. Since 1975, Bruce Wood has been the main researcher of Blow's anthems. Anthony Rooley, director of the Consort of Musicke in London and Peter Holman, director of the Parley of Instrument, have contributed greatly to the recent (1987-1999) revival of interest in Blow's music with their performances and recordings making use of original instruments. This thesis, as well as my Master's thesis (Grobler 1993), forms part of the most recent stage of research into Blow's works. Volume 1: In the first chapter of the thesis the secular song of the English Restoration (1660- 1714) is presented in perspective. Blow's stylistic characteristics as they manifest themselves in his secular songs are discussed. The criticism that this style evoked from music critics through the years, especially Charles Burney (1726-1814), is put into historical perspective. Stylistic characteristics of the song, the influence of French and Italian vocal music, as well as the strong influence of Charles II's preferences on . court composers' music, are highlighted. The function of the song in Restoration society is discussed. In the second chapter Blow's contribution to the different song types are discussed in detail: the solo songs, songs for two voices and dialogues, songs for more than two voices and songs for incidental theatre music. The editorial process followed in transcribing the songs is explained. This is based on the methods suggested in Caldwell (1985) and described in the Musica Britannica. A discussion of the performing practice of the song contributes towards understanding the Restoration song. The textual commentary deals with aspects, such as notation and provides more information about the manuscripts and publications which form the basis of this investigation. A systematic index of sources and songs is provided. Volume 2: In this volume the 109 songs are presented chronologically in modem edited form. The songs reflect the original manuscript or publication as clearly as possible; old English spelling has been retained but archaic English letter forms have been modernised. Clef signs, time signatures, and key signatures, as well as accidentals, have been used according to modem practice. The figured bass is given as featured in the sources and is not realised or expanded. / AFRIKAANSE OPSOMMING: Die sekulêre liedere van John Blow (1649-1708): 'n edisie Die hoofdoel van die proefskrif is om John Blow se 109 sekulêre liedere toeganklik te maak vir uitvoerings- en navorsingsdoeleindes deur hulle vir die eerste keer as een versameling bymekaar te bring, getranskribeer in moderne musieknotasie. Van besondere belang is die insluiting van dertien van Blow se liedere wat nog nie voorheen gepubliseer is nie en slegs in manuskripvorm in spesiale versamelings in Engeland beskikbaar is, en liedere wat wel tydens Blow se lewe gepubliseer is, maar eweneens nie toeganklik is vir die algemene publiek nie. Die leesbaarheid van sommige liedere word bemoeilik as gevolg van die ouderdom en toestand van die papier. In 'n paar gevalle is die papier so dun dat die agterste notebeeld deurslaan en die leesbaarheid erg belemmer. Waar 'n manuskrip en kontemporêre weergawe van 'n lied bestaan, kon betekenisvolle vergelykings getref word. 'n Belangrike 'ontdekking' wat gemaak is, is dat die outograaf-manuskrip vanAh me, Undone (Lbl Add. 31457) nie 'n afsonderlike lied is soos wat Watkins Shaw (1980) dit gelys het nie, maar 'n gedeelte is van die lied Happy the man, who languishing (1700). Dit maak dit moontlik om in dié een geval Blow se oorspronklike komposisie te vergelyk met Playford se gepubliseerde weergawe daarvan. Dit is eers gedurende die twintigste eeu dat belangstelling in Blow se musiekgeleidelik begin posvat het. Frederick George Edwards (1902) en veral William Cummings (1909) het 'n belangrike rol in die Blow-herlewing gespeel. Harold Watkins Shaw neem vanaf 1936 die leiding met Leland Clarke (1949), 'n Amerikaner, wat die die volgende fase verteenwoordig. Bruce Wood staan vanaf 1975 aan die voorpunt met sy navorsing oor Blow se Anthems. Anthony Rooley, direkteur van die Consort of Musicke in Londen asook Peter Holman, direkteur van die Parley of Instruments het vanaf 1987 met hulle uitvoerings en opnames 'n groot rol gespeel om Blow se musiek weer aan die publiek bekend te stel. Hierdie tesis, asook my Magister-verhandeling (Grobler 1993) vorm ook deel van hierdie nuwe belangstelling in Blowen Engelse Restourasie-musiek. Volume 1: In die eerste hoofstuk word die sekulêre lied van die Engelse Restourasie-era (1660- 1714) in perspektief geplaas. Saam met 'n bespreking oor bydraes van John Blow, Henry Purcell en hulle tydgenote tot die genre, word die ontwikkeling van die lied en uitvoeringspraktyke daarvan krities ondersoek. Terselfdertyd word insae verkry in die' tydgenootlike liedpublikasies in Engeland gedurende die laat 17de en vroeg 18de eeu. Daarna volg 'n bespreking van Blow se styleienskappe soos dit veral in die sekulêre lied manifesteer. Kritiek wat Blow se werkswyse deur die eeue van musiek-kritici soos bv. Charles Burney (1726-1814) uitgelok het, word in historiese perspektief geplaas. Blow se bydrae tot die verskillende liedtipes word breedvoerig bespreek: die sololied, die twee-stemmige lied en dialogue, die lied vir meer as twee stemme en die lied as bykomstige teatermusiek. Die styleienskappe van hierdie liedere, die invloed van die Franse en Italiaanse vokale komposisies en die sterk invloed wat Charles II se voorkeure op die hofkomponiste se musiek gehad het, word uitgewys. Die funksie van die lied in die destydse samelewing kom ook onder die loep. Die redaksionele werkswyse wat gevolg is met die transkribering van die liedere is gebaseer op moderne benaderings tot dié veld soos Caldwell (1985) dit voorstaan en toegepas word in die Musica Britannica (1953, 1993, 1996). 'n Bespreking oor die uitvoeringspraktyk van die lied wil 'n bydrae lewer tot die begrip van die term 'Song' soos dit in die Restourasie-tydperk verstaan is. Die tekstuele kommentaar lig aspekte soos notasie in die liedere uit en gee toeligting oor manuskripte en publikasies wat die ondersoek ten grondslag lê. Ten slotte word al 109liedere, asook liedmusiek, en -publikasies in 'n sistematiese indeks saamgevat. Volume 2: In dié volume verskyn die 109 sekulêre liedere chronologies in moderne geredigeerde vorm. Die liedere word sover moontlik weergegee soos dit in die oorspronklike manuskripte en publikasies voorkom: die ouer Engelse spelling word behou maar argaïese lettervorme is gemoderniseer. Sleuteltekens, tydmaattekens, toonsoorttekens en skuiftekens is in ooreenstemming met huidige praktyke. Die besyferde bas IS weergegee soos dit in die bronne voorkom, en is nie aangevul of gerealiseer nie.

This study provides commentary on Mizler's Dissertatio and Anfangs-Gründe des General Basses. Chapter V is an annotated guide to his Neu eröffnete musikalische Bibliothek, one of the earliest German music periodicals. Translations of Mizler's biography in Mattheson's Grundlage einer Ehrenpforte and selected passages of Mizler's Der musikalischer Staarstecher contribute a sampling of the critical polemics among Mizler, Mattheson, and Scheibe. As a proponent of the Aufklärung, Mizler was influenced by Leibnitz, Thomasius, and Wolff. Though his attempts to apply mechanistic principles to music were rejected during his time, his founding of a society of musical sciences, which included J. S. Bach, Telemann, Handel, and C. H. Graun as members, and his efforts to establish music as a scholarly discipline deserve recognition.

The purpose of this thesis is to discuss the piano style of Maurice Ravel, including his musical style and influences of other composers on his piano works.

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.

This thesis analyzes the organ concertos of George Frideric Handel

Paul Hindemith's compositions are, for the most part, contrapuntal; and since the construction of such a traditionally contrapuntal medium as the fugue was brought to such a high degree of musical expression in the fugal writing of J. S. Bach, it is the purpose of this thesis to compare Hindemith's fugal style with the standard set by J. S. Bach.

This thesis discusses the lieder of Richard Strauss including a comparison between Richard Strauss and Johannes Brahms.