Thesis (M.M.)--University of Rochester, 1951. / Typewritten. Bibliography: l. 133-138. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7410

Thesis (M.M.)--University of Michigan, 1955.

Thesis (D. Mus. Arts)--University of Washington, 2006. / Vita. Includes bibliographical references (leaves 263-276).

Thesis (M.M.)--University of Michigan, 1955.

Thesis--Tübingen. / Vita. Includes music. Bibliography: p. 237-242.

Inaug.-Diss.--Marburg. / Vita. Description based on print version record. "Literaturverzeichnis": p. 339-343.

Thesis (M.M.)--University of Wisconsin--Madison. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 163-165).

Diss.--Frankfurt am Main, 1997. / Bibliogr. p. 348-356.

abstract: The purpose of this project is twofold: to contribute to the literature of chamber ensembles comprising mixed wind, string, and percussion instruments by producing arrangements of three piano rags by William Bolcom; and to highlight Bolcom's pivotal role in the ragtime revival of the 1960's and 1970's. Through his influence as a scholar, composer, and performer, Bolcom (b. 1938), one of the most prominent American composers of his generation, helped garner respect for ragtime as art music and as one of America's great popular music genres. Bolcom's 3 Ghost Rags were written in the tradition of classic piano rags, but with a compositional sensibility that is influenced by the fifty years that separate them from the close of the original ragtime era. The basis for the present orchestrations of 3 Ghost Rags is the collection of instrumental arrangements of piano rags published by Stark Publishing Co., entitled Standard High-Class Rags. More familiarly known as the "Red Back Book," this publication was representative of the exchange of repertoire between piano and ensembles and served as a repertory for the various ragtime revivals that occurred later in the twentieth century. In creating these orchestrations of Bolcom's piano rags, the author strove to provide another medium in which Bolcom's music could be performed, while orchestrating the music for an historically appropriate ensemble. / Dissertation/Thesis / D.M.A. Music 2013

This dissertation discusses the role of the piccolo in Beethoven’s orchestration in his symphonic works. These include the Fifth Symphony, the Sixth Symphony, the Egmont Overture and the Ninth Symphony. The document includes the history of piccolo’s development since the ninth century B.C. until the modern Boehm piccolo. The author provides comparative observation through Beethoven’s orchestration techniques such as the range covered, instrumental pairing, balance, and melodic organization of each symphony works. In addition to discussing development of the piccolo in orchestration, this study compares the piccolo’s usage through motives (e.g. the “Ode to Joy” theme), harmonic analysis; range; balance; and melodic organization. Appendix A provides of tables that summarize piccolo’s harmonic function of works discussed to help the reader comprehend the piccolo function at a glance. This dissertation includes observations of performers, theorists and musicians; and these guides provide the reader with better understanding of the piccolo’s place in Beethoven’s orchestration. By following the observations, piccolo players will bring a deeper musical and technical understanding to individual performances.