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The focus of this study is to provide a clear understanding of Vaughan Williams' Violin Concerto in D Minor. In terms of form and compositional technique, this concerto is particularly challenging, because of Vaughan Williams' use of rhythmic motives and modes. This study is undertaken through an analysis. For a better understanding, a historical background, including overall form of each movement and key relationships, is explored and discussed. Then, Vaughan Williams' use of a ritornello-like motive, melody and modality as unifying elements is also identified and examined. In identifying the major features of Vaughan Williams' compositional style of this violin concerto, musicians will be able to understand better his unique musical expression. This study may serve as an introduction to the music of Vaughan Williams for musicians and society worldwide. It is hoped that it will motivate all violinists to perform this concerto more frequently.

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In recent years, Brahms’s music has begun to occupy a larger role in the consciousness of musicologists, and with this surge of interest came a refreshingly original approach to his music. Although the First Piano Concerto op. 15 of Johannes Brahms is a beloved part of the standard piano repertoire, there is a curious under-representation of the work through the lens of historical performance practice. This monograph addresses the various aspects that comprise a thorough performance practice analysis of the concerto. These include pedaling, articulation, phrasing, and questions of tempo, an element that takes on greater importance beyond just complicating matters technically. These elements are then put into the context of Brahms’s own pianism, conducting, teaching, and musicological endeavors based on first and second-hand accounts of the composer’s work. It is the combining of these concepts that serves to illuminate the concerto in a far more detailed fashion, and ultimately enabling us to re-evaluate whether the time honored modern interpretations of the work fall within the boundaries that Brahms himself would have considered effective and accurate. / Music Performance

I detta arbete har jag fördjupat mig i Jukka Linkolas Euphonium Concerto, där jag har försökt att förklara svårigheterna med att spela Linkolas musik som brassmusiker. Har även gjort en motivkatalog där jag fördjupar mig i hur Linkolas jobbar med kontraster. / <p>Bilaga:</p><p>Jukka Linkola - Euphonium Concerto</p><p>Medverkande: Emil Andersson - Eufonium Katarina Ström-Harg - Piano</p>

The purpose of this lecture-recital document is to provide an overview of the musical form and stylized rhythms present in Gonzalo Castellanos-Yumar's Concerto for Viola and Orchestra, his last symphonic composition to date. Castellanos-Yumar has repeatedly stated that he creates in his music a link between "the Venezuelan" and "the Universal" through traditional musical forms. The core of this document is my analysis of the Concerto for Viola and Orchestra through the composer's phenomenological approach to music, which successfully integrates a traditional musical form, such as the Concerto, with stylized Venezuelan folk rhythms in order to bring "the Venezuelan" into "the Universal". Also, it includes an overview of nationalism in Venezuelan music, an updated biography, a list of works of the composer, and an introduction to phenomenology, its application to music and its relation to the work of Gonzalo Castellanos-Yumar, specifically his viola concerto.

The purpose of the present document is to offer a critical study of the elements that played a defining role in the composition of Benjamín Gutiérrez concerto for viola. It offers an analysis of the structure of the piece and also a description of the technical elements required to perform the piece. In order to contextualize this task, the researcher examined the historical elements that changed the course of symphonic music tradition in Costa Rica, and also the governmental policies that played a role in the establishment and institution of Costa Rica's national symphony. It also provides a description of the economic turmoil that affected the country during the gestation of the concerto and the repercussions of this turmoil in regards to cultural advocacy. Finally, the document includes discussion regarding the structure and technique of the concerto. The intention is to offer guidance to both teachers and performers regarding the most significant technical elements encountered in the concerto.

Vox Organalis is a concerto for organ and orchestra. It employs an ensemble comprising the compliment of wind, percussion, and string instruments normally available within a contemporary symphony orchestra with augmented brass and woodwind sections. It is intended to be performed with a large organ such as might be found in a symphony hall or large church. The work is in two movements, and its intended performance time is twenty-five minutes. Use of the concerto format within Vox organalis results in a new approach to organizing the interaction between the solo part and the orchestral accompaniment. The organ part is notated in traditional metered notation, but the orchestral notation is organized in units of clock time (seconds). The horizontal spatial arrangement of the orchestral notation corresponds to the timing of the metered organ part. Pitch organization in Vox Oraanalis is derived from a twelve-tone row based upon the natural harmonic series. Several techniques of serial composition were used to organize and select elements of the tone row for use in the construction of the work. Use of the tone row for horizontal and vertical pitch structures provides unity to the pitch organization of the work. Vox Organalis is constructed in 12 sections which help define the formal shape of the work. Four of these sections comprise Movement I, and eight are contained by Movement II. The length of the formal sections are based upon the series of natural harmonic numbers from which the tone row was derived.

The term symphonie concertante refers to a multi-movement orchestral work of symphonic genre for two or more solo instruments and an orchestra. The symphonie concertante emerged in Paris around 1770, and during first two decade of its existence the genre was primarily a French one. This genre flourished during the second half of the eighteenth century and satisfied the public demand for solo instruments in the symphonies as well as the growing taste for virtuosity that audiences favored. The earliest composers were Mannheimers and Parisians, and the first symphonies concertantes published were mostly by French composers. The principal Parisian symphonie concertante composers were Giovanni Guiseppe Cambini, Jean-Baptiste Davaux, François Devienne, François-Joseph Gossec, Ignace Pleyel and Chevalier Joseph de Saint-Georges. Jean-Baptiste Davaux (1742~1822), a native of La Cote-St André, was first in popularity during the 1770s and 1780s. His earliest work dates from about 1772 and his reputation grew immeasurably during the years followed. Davaux's fame persisted well into the nineteenth-century because of his symphonies concertantes. Despite its great popularity during the last quarter of the eighteenth century, however, the symphonie concertante has not received much attention in the scholarship, and very limited research has been done on Davaux and his symphonies concertantes. My dissertation examines the symphonies concertantes of Jean-Baptiste Davaux, who is considered by the French scholars to be one of the originators of the genre. The dissertation comprises the first in-depth study of the formal structure and social function of the symphonies concertantes. Because the formal structure of symphonie concertante has been largely ignored heretofore, detailed formal analyses of these symphonies concertantes clarifies the formal definitions of the genre found in theoretical treatises and music criticism of the era. The purpose of the study is to clarify the genre's relation to the classical concerto form, formulate its theoretical and formal definition, and help readers to understand its musical and sociological significance in eighteenth-century concert life. Moreover, an edition of the extant symphonies concertantes by Davaux, transcribed for the first time from the eighteenth-century printed source, is included as an appendix.