This dissertation addresses specific theoretical issues within Gotkovsky's Eolienne. She was a student of Messiaen, and his influence is evident in Eolienne, but at the same time, Gotkovsky's compositional voice is both personally distinctive and reflects l'esprit de temps of the twentieth century Parisian musical world. The research provides extensive analytical insight into Gotkovsky's musical language in Eolienne, specifically her use of symmetrical scales, emphasis on timbre, and formal constructs. Because there are limited scholarly resources available on the subject of flute and harp chamber music, and a small amount of biographical information on Gotkovsky, this dissertation is a significant contribution within the area of chamber music for flute, both historically and theoretically. It provides an analysis of Gotkovsky's musical language and the analysis gives performers access to musical-theoretical information previously unavailable.

Ida Gotkovsky, a student of Olivier Messiaen and Nadia Boulanger, composed for nearly every instrument, voice, and ensemble. Although Gotkovsky's Concerto for Trombone is a monumental work for the trombone it is rarely performed and recordings are scarce. There is a general lack of scholarly attention to the music of Ida Gotkovsky, however, the technical and aesthetic quality of her music merits further examination. Previous studies of Gotkovsky's music focused on the analysis of individual compositions. However, much more can be learned by examining a work within the context of her general compositional output. Gotkovsky's compositional style includes extensive musical self-borrowing. The goal of this project is to demonstrate melodic and textural similarities and differences within her music to inform performance practice and to establish interest in her music. The context in which Gotkovsky reuses her music is significant and can provide additional musical insight. An informed awareness of her extensive use of self-quotation familiarizes the performer with her compositional language in a variety of musical settings. Such familiarity with her musical style leads to an improved and artistically educated performance.

Master of Music / Department of Music / Anna Marie Wytko / In 1838, Belgian instrument maker Adolphe Sax created the saxophone. The saxophone was officially patented on June 24, 1846. Sax became the first Professor of Saxophone at the Conservatoire de Paris. This conservatoire has been and continues to be a historically important school of music in Europe. There have been four saxophone professors at the Conservatoire National Supèrieur de Musique et de Danse de Paris since the instrument’s creation. These professors include: Adolphe Sax (1814-1894), Marcel Mule (1901-2001), Daniel Deffayet (1922-2002), and Claude Delangle (born 1957). Each instructor has championed the saxophone to new heights by refining pedagogical approaches and by advocating for the creation of new saxophone compositions. The music examined in this document represents pieces composed for each of the four saxophone professors who have taught at the Conservatoire de Paris. Paul-Agricole Génin’s composition Variations sur un thème espagnol: pour saxophone alto et piano was inspired by Adolphe Sax, Fernande Decruck composed Sonata in C-Sharp for Alto Saxophone and Piano (1943) for Marcel Mule, Ida Gotkovsky wrote Variations pathétiques: pour Saxophone Alto et Piano (1980) for Daniel Deffayet, and Sequenza IX for Alto Saxophone (1980) by Luciano Berio was dedicated to Claude Delangle. All of these pieces demonstrate how composers continually strive to expand the boundaries of the skilled saxophonists’ musical style, technical facility, and overall flexibility on the saxophone. This master’s report, presented as extended program notes, includes biographical information about the composers, a historical and stylistic overview of the selected compositions, and a harmonic and formal analysis of the music with respect to performance considerations.