Thesis (D.M.A.)--University of Texas at Austin, 2003. / Supervisors: John Grubbs and Darlene Wiley. Vita. Includes bibliographical references. Also available from UMI.

Thesis (M.A.)--University of Rochester, 1968. / Typewritten. Bibliography: l. 240-241. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/3321

Thesis (M.A.)--Eastern Illinois University, 1971. / Includes bibliographical references (leaf [42]).

Not available / text

The purpose of this study is to provide a detailed analysis of Vincent Persichetti's Masquerade for Band, which will include a conductor's guide focusing upon both technical and interpretive aspects, a brief biography of Vincent Persichetti, and background information pertaining to the creation of the composition. This document will provide the first significant and complete study of the composition since its creation in 1965. Specifically, the analysis will examine the means by which Persichetti achieves motivic and harmonic unity within the Masquerade. The formal structure is considered a theme and variations, however, it is atypical in that each variation incorporates borrowed material from Perischetti's textbook Twentieth-Century Harmony. Although each of the borrowed excerpts seem drastically different from one another on the surface, Persichetti acknowledged that each shared a unifying kernel. In Twentieth-Century Harmony, he explains that unifying kernels are short musical fragments of at least two notes that can form the nucleus of a work and from which motivic ideas and harmonic structure is derived. Previously, the kernel in the Masquerade had been unidentified. However, significant evidence suggests that the kernel which provides motivic unity among the borrowed material and which informs the octatonic harmonies is the intervallic relationship of a minor third first revealed in the theme as pitch-classes E and G.

This dissertation presents the ten sonatas for harpsichord written by American composer Vincent Persichetti (1915-1987). The research aims to define the specific approach to musical style that Persichetti embraced in these works. The methodology employs an analytical approach to define that style. The introductory chapter places the harpsichord sonatas in the context of Persichetti’s keyboard repertoire and his general musical output and outlines the limited scholarly research available on the topic. The second chapter contains a short biography of the composer and a review of existing literature pertinent to this study. In the third chapter, the ten sonatas are individually analyzed. The concluding chapter summarizes common stylistic traits found in the analyses. It emphasizes the importance of these works for contemporary harpsichordists, denoting Persichetti’s passion for the rediscovered instrument in the last several years of his life. The stylistic elements found in Persichetti’s harpsichord sonatas include the use of classical forms, the preference for contrapuntal craft as exemplified accompanied melody, mirror technique, and complementary rhythms, the amalgamated harmonic language, the frequent use of polychords, the use of dynamic markings as indicators of the registration as well as for musical expression and the use of the full range of the harpsichord. This research references for the first time the composer’s Tenth Harpsichord Sonata, published posthumously in 1994. / School of Music

Master of Music / Department of Music / Frank C. Tracz / This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master’s in Music Degree. This document includes the historical, theoretical, performance, and rehearsal consideration of the works performed in the corresponding graduate recital. These works are Antonin Dvořák’s Serenade in D Minor, Op. 44 and Vincent Persichetti’s Symphony Number Six for Band. The analysis format for this report is based on the Blocker/Miles Unit Study technique found in the Teaching Music through Performance in Band series, as well as the Tracz concept of macro-micro score analysis. The performances of the Kansas State University Symphony Band and a chamber ensemble which consisted of faculty and Symphony Band members served as the basis for the technical, musical, and stylistic evaluations and analysis.

Master of Music / Department of Music / Gary Mortenson / This report is an in-depth analysis of selected music written for the trumpet during the 20th century, including composer biographies and theoretical analysis for each piece. The pieces included in this report are Joseph Turrin’s Caprice, Vincent Persichetti’s The Hollow Men, Alexander Goedicke’s Concert Etude, and Eric Ewazen’s Sonata for Trumpet and Piano as well as his Concert Fanfare for Six Trumpets.

Treatise (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references (leaves 150-152). Also available also in an electronic version.

Treatise (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.