The lecture, given on August 3, 1981, consisted of a discussion of the circumstances surrounding the composition of K. 413, 414, and 415; of specific compositional characteristics pertaining to each; and of their relationship to Mozart's later piano concertos. Additionally, their orchestration, effect with string quartet, idiomatic piano writing, considerations for amateurs, and passages for connoisseurs were explored.

A solo-quartet by Hoffmeister previously unpublished was discovered by the author in the archives of the Gesellschaft der Musikfreunde in Vienna. This work contributes to the modern solo repertoire for double bass, and has considerable musical merit. It is a well written work using cleverly overlapped phrases, counterpoint and imitative writing, and effective juxtaposition of contrasting instrumentation. It lies well on the bass and provides an excellent solo vehicle for advanced bassists.

The lecture recital was given on August 12, 1981. The discussion of Glick's i never saw another butterfly consisted of an analysis of the four songs followed by their performance. In addition to the lecture recital, four other public recitals were given; three of solo literature for voice and piano and one of vocal chamber literature.

The lecture recital was given on August 8, 1978. The discussion of constructive features in Gabrielli's In ecclesiis (1615) and Canzon VIII à 8 (1615) and Stravinsky's In Memoriam Dylan Thomas established that the architecture of St. Mark's Cathedral and the selected works by the composers bear a simple number relation.

This dissertation deals with Respighi's output for the organ which consists of the Three Preludes for organ solo, a Suite in G for strings and organ, two transcriptions (the Vitali Ciaccona, and a Suit by Bach), both for violin and organ, and various organ parts in the symphonic poems, operas, and orchestral works. If Respighi was not an innovator, he was at least creative in his use of the organ in his orchestral works. The organ was used primarily for color by adding depth, body, and novelty to the ever-growing orchestra. Respighi paid great attention to the smallest detail in his orchestrations, which were varied, delicate, and precise. Why did this interest in color and sonority not result in similar treatment of the organ in his music? The answer is suggested already in the description of the late romantic/orchestral organ. Its stops had lost their individuality, and they blended together in such a way that no particular color was distinguished. The though is not that Respighi's music, or the music of any other composer, caused the decline, but rather that the direction of organ-building in its search for modernity, machinery, and the industrial age, lost its identity, its characteristics personality and color, and lost in fact the very thing it was trying to achieve-- its autonomy.