abstract: ABSTRACT Edouard Vuillermoz (1869-1939) was a horn player and teacher who studied and later taught at the Paris Conservatory during the early twentieth century. As did many of the professors from the Conservatory, Vuillermoz published works for the horn. Unfortunately, his name has largely faded into obscurity and most of his works are no longer in print, yet one has remained in the repertoire and is still available for purchase today—Dix Pièces Mélodiques. Published in 1927 by Alphonse-Leduc, Vuillermoz desired for his students a set of etudes that would teach mastery of transposition, but he was not a composer. The ten transposition exercises he created were selected and transcribed from a compilation of vocalises commissioned by a vocal professor at the Conservatory, Amédée-Louis Hettich (1856-1937). Hettich desired vocalise-etudes that would able aid and inspire his students, so he commissioned over one-hundred-fifty vocalises by modern composers during the first half of the twentieth century. Composers including Bozza, Copland, Dukas, Fauré, Messiaen, Nielsen, Ravel, and Tomasi answered his call for works between 1906 and 1938. These modern vocalise-etudes have since disappeared from the vocal repertoire. Now, a century later, many of these studies have entered the public domain and are resurfacing as instrumental transcriptions and concert etudes. This study promotes awareness of Edouard Vuillermoz’s Dix Pièces Mélodiques and advocates for their inclusion in a modern revival. / Dissertation/Thesis / Doctoral Dissertation Music 2018

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While the word “pedagogue” may evoke a vision of an instructor who is dogmatic and set in his own ways, the word descends from Greek origins: ped “child” + agogos “leader.” A pedagogue is, by definition, literally the servant who escorts the child to and from school – the “pedagogue” accompanies the student on the journey for knowledge. True to this definition, Douglas Campbell is model pedagogue – one who gently guided his countless students throughout their musical journeys. As Professor of Music (Horn) at Michigan State University for 45 years, and Horn Instructor at Interlochen Arts Camp for 25 years, Campbell was a significant influence on many developing hornists. Following their study with him, Campbell's students eventually won orchestral and college teaching positions across the United States and throughout the world. Having influenced an extraordinary number of horn students during his tenures at Michigan State University and Interlochen Arts Camp, Douglas Campbell's life and career serve as an excellent example of contemporary horn pedagogy in the United States. This dissertation provides a detailed biography of Douglas Campbell and provides evidence of his contributions to American horn pedagogy, while documenting Campbell’s performing career with the Richards Quintet, which toured the United States, Canada, and China. Additionally, compositions written for or commissioned by Campbell (Harmonielehre: Variations for Solo Horn [1996] and Epitaph [2012]) are discussed, to illustrate Campbell's influence on solo literature for the horn.

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Chan, Ka Kwan Kevin. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 84-86). / Abstracts in English and Chinese. / Chapter 1 --- Introduction --- p.1 / Chapter 2 --- Preliminaries --- p.6 / Chapter 2.1 --- Eigenvalues of Sums of Hermitian Matrices --- p.6 / Chapter 2.2 --- Highest Weights --- p.12 / Chapter 2.3 --- Schubert Calculus --- p.15 / Chapter 2.4 --- Invariant Factors --- p.18 / Chapter 2.5 --- Singular Values of Sums and Products --- p.19 / Chapter 2.6 --- Relations Among the Problems --- p.25 / Chapter 3 --- Klyachko's Results --- p.27 / Chapter 3.1 --- Klyacho's Proof --- p.27 / Chapter 3.1.1 --- Rayleigh Trace --- p.28 / Chapter 3.1.2 --- Facts from Vector Bundles and Geometric Invariant Theory --- p.31 / Chapter 3.1.3 --- Proof of Klyachko's Results --- p.33 / Chapter 3.2 --- Proof by Symplectic Geometry --- p.42 / Chapter 4 --- Saturation Conjecture --- p.47 / Chapter 4.1 --- Definitions --- p.48 / Chapter 4.2 --- Proof of the Conjecture --- p.52 / Chapter 4.3 --- Remarks --- p.58 / Chapter 5 --- Proof of the Theorems --- p.60 / Chapter 5.1 --- Main Results --- p.60 / Chapter 5.2 --- "Real Symmetric and Quaternionic Hermitian Matrices, Compact Operators" --- p.70 / Chapter 5.3 --- Highest Weights --- p.71 / Chapter 5.4 --- Schubert Calculus --- p.71 / Chapter 5.5 --- Invariant Factors --- p.72 / Chapter 5.6 --- Singular Values of Sums and Products --- p.75 / Chapter 6 --- Further Problems --- p.79 / Bibliography --- p.84

Collegiate students of horn routinely prepare works for horn and piano from many diverse styles and periods. Many of these pieces are written with materials that extend beyond common practice tonality. Unfortunately most study materials are written in a highly tonal language and date to the Romantic or late Romantic periods. Further, almost all studies written in a modern style are advanced and not progressive in difficulty. As a result of the lack of progressive post-tonal study materials, students are rarely prepared for post-tonal solo works. The traits that mark these pieces as modern pose particular difficulties for tonally-trained students. This thesis, intended for the collegiate instructor of horn, illustrates a method for addressing this disparity, using The Sonata for E-flat Alto Horn and Piano by Paul Hindemith as an example. Hindemith's musical theories are examined and applied to the analysis of harmony, melody, rhythm, form, and performance aspects of the piece. Challenges to the tonally-trained student are identified and pedagogical strategies are given to overcome these challenges. This demonstrates how the collegiate instructor can construct patterns and exercises of varying degrees of difficulty to prepare a student for a work such Hindemith's Sonata for E-flat Alto Horn and Piano. Thirty original and progressive etudes in the style of Hindemith's music for horn and piano are included.

Traditional instrumental pedagogy depends to a large extent on printed method books. This notation-based approach of current horn pedagogy can benefit from a supplementary and complementary method of aural and creative pedagogy, which enhances learning of aural skills, creativity, musicality, and technique on the horn. This document provides a step-by-step guide for applied horn teachers that will provide them with the necessary tools to teach students using aural and improvisatory techniques without musical notation as well as to become more comfortable with improvisation.

The purpose of this study was to formulate a theory of the propagation of sound waves within the horn and to discover the sound spectrum and directional characteristics of the instrument. The dissertation also includes a brief discussion of the history and development of the horn. / Thesis (M.Mus.)-University of Natal, Durban, 1987.