The name of Arthur Honegger is immediately recognized as that of the most distinguished twentieth century Swiss composer. Another Swiss composer, however, whose depth of creative musical thought is consistently being acclaimed in ever-widening circles of influence is that of Frank Martin. Part of the reason for Martin's delayed recognition can be attributed to the slow evolution of what can be termed his mature style. Among choral musicians Frank Martin's music is unexplored for several other reasons. First, except for Mass for double chorus written in 1926, his works are of such a large compass that they require the forces of soloists, large choruses, frequently double choruses, and an orchestra of no small means. This automatically relegates the performances of his works to a symphony orchestra and chorus or to the combined efforts of musical organizations on a college campus. A second reason for Martin's low profile in the choral world is the relative inaccessibility of scores. Attempts to familiarize oneself with the choral works of Martin and thus to ascertain their musical worth is met with continual delays in the request for examination copies, the necessity of returning them soon once they finally do arrive or of paying a substantial monthly rental for examination privileges. Such time-consuming activities and expenses definitely serve as a deterrent to research. The choral director is also led to conclude that if the obtaining of examination copies requires such an effort and time-lapse, the decision to schedule a performance would carry with it the unpredictability of obtaining multiple scores. It is unfortunate that the business procedures within the American company that is distributing the scores for the European-based publishing company create such barriers to the promulgation of Martin's choral music. A third factor contributing to Martin's relative obscurity in the United States is the realization by choral directors, even before they begin their hopeless flirtation with the publishing and distributing companies, that the works are in French. The performance of large-scale works in a foreign language by a relatively unknown composer and the necessity of imported scores creates a risk and expense that leads to the shelving of works of genuine musical worth. A final reason for the indifference to Martin's choral works could be the review given various area-premiere performances, causing conductors attempting to keep abreast with the inundation of new works to dismiss any tendency to examine them. Requiem (1972) represents a period of eight years since Pilaté (1964) and one of thirteen years since the last major oratorio, Le Mystère de la Nativité (1959). Regardless of the fact that it became Martin's last choral work, it deserves an extended analysis because of its proximity to the culmination of the career of a significant twentieth century Swiss composer. This document represents an attempt to fulfill the need for a careful consideration of the compositional traits revealed in Requiem as well as an examination of the earlier major choral works. It will also examine the feasibility of presenting the French works in English by demonstrating that choruses, recitatives and arioso solos do translate well within the rhythmic framework of each phrase. Whenever a translation is used within the document, it can be compared with the original version that is in the Appendices. The bibliography of the document will include entries of the scant literature in which Martin's works are discussed. Except for one dissertation in which selected works are analyzed (Tupper, 1960), no significant scholarly attempt has been made to analyze Martin's choral works, and Tupper's paper concentrated on the instrumental compositions except for Le vin herbe which is an early secular choral work. Most of the literature is of a superficial nature and represents the music critics' reviews of premiere performances. Since this is a document rather than a dissertation, it does not fulfill the need either for a major consideration of Martin's choral music, but it does begin to scratch the surface of his stylistic traits and perhaps open up vistas for some later in -depth study of this composer.

The main purpose of this study is to assemble in one source as much of the historical data pertinent to the D Major Cello Concerto of Joseph Haydn as is possible in such a work. Many articles have been written over the years concerning this concerto. The major concern of these articles has been whether or not Haydn actually composed the D Major Cello Concerto. All of the known arguments will be approached and discussed and some conclusions will be drawn. It is interesting to note that all such arguments were published before the whereabouts of the autograph manuscript was widely known. The present author was able to obtain a microfilm copy of the autograph from the Austrian National Library in Vienna to whom he is deeply indebted. This microfilm has proven itself invaluable in this study. Many references to the autograph will be made throughout this work, especially in Chapters Three and Four, dealing with the Gevaert changes and the current editions of the concerto. This leads to a second purpose of this paper. That purpose is to determine which of the current editions of the D Major Cello Concerto follows the manuscript most accurately. There have been many published editions of this concerto and presently there are more than eight to choose from. The decision of which edition to use when studying this piece is largely a matter of personal taste, but one should take into consideration whether or not the edition used is authentic. At this time there is an appalling lack of critical editions in the cello repertiore, with only the Bach Suites and the Beethoven and Brahms Sonatas available in such editions. Critical editions do not always contain the most effective bowing and fingering indications, but a well-schooled player can reach his own conclusions concerning correct notes, dynamics, phrases and articulations. Authentic scores eliminate the questionable indications of ill-informed and misguided editions; the serious music student will try to determine what the composer really wanted. It is the real concern of this author that in the forthcoming years there will be more critical editions of the cello repertoire made available to both students and teachers. Just a note concerning translations. Translations on page 10 and 14 are by Josef Marx. All others, unless otherwise noted in the footnotes, are mine.

In the year 1916, there appeared an article by G. Jean-Aubry in "La musique française d'aujourdhui" which placed Paul Verlaine in proper historical perspective. Jean-Aubry states: Even if we consider only its musical aspect, the history of the lied in France must include the name and work of Paul Verlaine. Of course, this poet did not, alone, determine the remarkable movement which, in about 1867, transformed the romantic melody into the lied, as we understand the form today; but the publication of Fêtes galantes, La bonne chanson, and Romances sans paroles, offered musicians poems which were excellently, and indeed uniquely suited to this melodic form. In view of his historical significance, the author will examine representative poems of Paul Verlaine which have been given musical settings by various composers of the nineteenth and twentieth centuries. Within this framework a biographical overview will be presented together with a discussion of Verlaine's poetic style, relating wherever possible events of his life to contemporary developments in literature and the fine arts. His contribution to French literature will be evaluated by the examination of his "Art Poétique" and other personal statements, as well as by comments about his poetry by noted critics of French literature during and after his lifetime. Verlaine's relationships to and with other poets such as the Parnassians, Baudelaire, and Rimbaud will be investigated in order to determine their influence upon his style. His own role as leader of and/or contributor to the literature of the contemporary schools of Parnassianism, Symbolism, Impressionism, and Decadence will be examined. These four schools of thought together with the Naturalist and Romantic schools will also be explored in some depth and placed in historical perspective. For purposes of assessing Verlaine's contributions to French music and poetry, it will be necessary to determine the specific nature and structure of French verse in the nineteenth century along with the principles promulgated in the previous centuries. The role of stress, meter, rhythm, rime, imagery, color, subject matter, and other structural parameters will be illustrated through the examination of three poems: "La mer est plus belle," "Le Son du cor s'afflige vers les bois," and "L'Échellonement des haies" taken from Verlaine's book of poems entitled Sagesse. To this end, specific songs based upon Verlaine poems will be analyzed in terms of the presence or absence of musico- poetic synthesis involving harmony, tonality, tone-painting, texture, rhythm, and declamation. Representative poems given musical settings will be chosen for analysis from the major collections of the poet's life, namely, Fêtes galantes, La Bonne Chanson, Romances sans paroles, and Sagesse. The focus will be upon poems which are considered mileposts and which have been set by two or more composers. This will facilitate comparison.

All children have the capacity to express themselves musically and to have music be an important part of their lives. In most states classroom teachers in the primary grades are expected to provide all instruction in music, often without supervision or assistance. The idea of the classroom teacher teaching music is not new. This has been a pattern of musical instruction in the elementary schools throughout the history of our country. Teachers cannot teach material they do not know and in which they are not interested. Most classroom teachers welcome new ideas and attractive materials for use in teaching music to children in their classrooms. This dissertation presents a pattern of musical preparation for prospective primary classroom teachers based on an eclectic approach which focuses on the selected pedagogical principles of Kodály, Orff, and Dalcroze. The main body of the dissertation consists of a two semester sequence of instruction organized in thirty lessons based on a vocal approach and emphasizing movement. It includes resource materials such as lists of books on the teaching of music and dance, recordings, films and filmstrips, and song collections. More than 100 songs are used in a variety of ways as are rhymes and movement activities.

Original exercises based on the work of Sanford Meisner (as well as Viola Spolin, Jeffrey Agrell and others) are presented in a hypothetical voice studio to address truthfulness, point of view, and "reality of doing" on the vocal recital stage. The exercises present a way of addressing work on the "self" before work on the "role."

abstract: This paper investigates the origins of the piano recital as invented by Franz Liszt, presents varying strategies for program design, and compares Liszt's application of the format with current trends. In addition it examines the concepts of program music, musical ekphrasis, and Gesamtkunstwerk and proposes a new multimedia piano concert format in which music combines with the mediums of literature and the visual arts; Picturing Rachmaninoff, and Picturing Ravel provide two recent examples of this format. / Dissertation/Thesis / D.M.A. Music 2012

Master of Music / Department of Music / Slawomir Dobrzanski / This Master's report encompasses analysis of the four works performed on November 14th, 2007 for the author's Master's recital. The analysis was based on the author's experience with the pieces. Many sources were utilized to discuss composers' biographies and background information of the works. The compositions are Ludwig van Beethoven's Piano Sonata in F major, Op.10, Franz Schubert's Sonata in A major, D. 664, Fryderyk Franciszek Chopin's Nocturne in F sharp major, Op. 15, and Sergei Prokofiev's Piano Sonata No.3 in A minor.

One who undertakes the task of completing an unfinished work must perform it with conviction and with authority. The attempt to achieve a total synthesis between the work of the original composer and that of the secondary composer demands a concentrated study on both conscious and subconscious levels. The obvious characteristics of a given style, such as lengths of phrases, voicing of chords, harmonic progressions, and treatment of sequential material can be understood by analyzing many works of the composer in question. The more elusive and intangible characteristics, such as the emotional content and the manner in which feelings are expressed are absorbed more by osmosis than formal study. To write a parody and to create a work in the style of a given composer are, respectively, the lighter and more serious methods of composition which can be utilized in order to gain familiarity with and control over any given style. This is necessary groundwork for the more serious art of reconstruction, because within the creation of such a work, one gains familiarity with stylistic idioms through blatant exaggeration. Writing a work within the style of another composer while retaining one's identity is an intermediate step between that of the parody and that of the reconstruction. Finally, to create an unquestionably convincing continuation of another person's work carries this highly specialized form of composition beyond mere imitation to a higher level of creativity. Once the reconstruction has been well achieved, the audience may never be aware of the point of transition and may not even know of the scholar's existence.

No description available.

The main purpose of this paper is to compare the Opera Goyescas with the Goyescas Piano Suite in order to demonstrate how the composer used the pre-existant materials, and to what extent. The Opera Goyescas will be compared measure-by-measure with the sources from which Granados extracted materials. Scores for the two pieces of the Goyescas Piano Suite which are quoted directly and completely (El fandango de candil and El amor y la muerte) and the respective commensurate sections from the Opera Goyescas are included at the end of this document for study and comparison. A discussion of the operatic treatment of the pianistic materials is provided, demonstrating the techniques with which the composer worked in the recomposition of the Goyescas Piano Suite. Also included is a study of the individual pieces of the Goyescas Piano Suite (Books I and II), with emphasis on the fifth piece, El amor y la muerte. The developmental characteristics of that piece (which makes extensive use of motives and themes from the earlier four Suite pieces), will be discussed