The main purpose of this paper is to discuss Carlos Chávez's use of ancient Aztec instruments in several of his compositions. Several pieces in which he called for the use of these native instruments or their modern equivalents will be discussed in general, with as specific a listing as possible of the instruments required for each work. Musicologists have identified at least thirty different pre-conquest Aztec instruments. The instruments for which Chávez calls in these pieces will be discussed in detail, with illustrations when possible. Chávez is undoubtedly the most outstanding figure in the Mexican musical scene in the twentieth century. His nationalism was a unique combination of a deep entrenchment in the European tradition, an almost congenital exposure to native Indian music and complete immersion in the Hispanic-mestizo musical heritage which surrounded him daily. This study will examine the sources of these influences and how Chávez created his own musical language from them.

The violin works of Igor Stravinsky form an integral and vital part of the contemporary violin repertoire. The violin works fall into two categories: original compositions and transcriptions of previous compositions. Included in these transcriptions are orchestral suites and selections from ballet and opera. Many similarities can be noted among the compositions of this genre. The majority were composed or transcribed during a fifteen year period of Stravinsky's career and they exhibit a particular style of composition utilized by Stravinsky at that time. These violin works also generate from an amiable association between Stravinsky and a young violin virtuoso, Samuel Dushkin. During this time, Stravinsky was changing the focus of his career from that of being primarily a composer, to composer, conductor and performer. This necessitated compositions which Stravinsky could perform on tours with Dushkin. This study will be primarily concerned with Stravinsky's compositions for violin written during the years 1931 to 1935. In order to put these compositions in perspective, it is beneficial to investigate earlier events in Stravinsky's life.

The purpose of this paper is to explore the numerous compositions by Darius Milhaud in which the violin plays an important role. Included here are discussions of the works for violin and piano, violin and orchestra, solo violin, and all chamber music which includes violin for three or fewer players. The eighteen string quartets, for instance, are not dealt with here, as these works alone could be the subject of an entire volume. Also included is a brief biography of the composer and a general discussion of Milhaud's music. The major compositions which include violin are then discussed individually. Resources for this thesis were obtained from materials at the libraries at the University of Arizona, Tucson, and through inter-library loan from the libraries of Mills College, the University of Illinois, the University of Oregon, and the University of Colorado. Other information was gained from Milhaud's autobiography, "Notes Without Music ", and from correspondence with Madeleine Milhaud, the composer's widow.

Felix Mendelssohn was a many-faceted individual. While known now primarily as a composer, in his time he was also important as a virtuoso pianist and conductor. His contribution to the musical life of his time and to posterity is significant. As well as composing for nearly every genre (see Table 1) Mendelssohn was a popular soloist and dominated German conducting from 1830 until his death in 1847. Over the years his popularity has waxed and waned. The works of Mendelssohn were highly regarded during his lifetime and remained popular until about 1900. Around 1900, however, there was a major shift in opinion. At this time, his music was considered to be mediocre. The rise of anti-Semitism in Germany during the twentieth century caused a further underrating of Mendelssohn's music in his homeland. It is hoped that this, and other present-day studies, will offer a more objective view of his music. As is true with most composers, in the body of Mendelssohn's compositions, one can find individual pieces to support either greatness or mediocrity. The music which is most familiar to the public: Italian and Scottish symphonies, the Hebrides and Overture and Incidental Music to A Midsummer Night's Dream orchestral overtures, and the String Octet in E-flat Major are undoubtedly some of Mendelssohn's best. On the other hand, his operas never have been effective. Even at the end of his life, he was still searching for the perfect libretto. But it is inconsistent writing within individual pieces which is the most frustrating aspect of Mendelssohn's music. The first cello sonata is one such example. Here a solid first movement is followed by two weak ones. Included in the total number of pieces of chamber music on Table 1, are the four pieces that Mendelssohn composed for cello and piano. They consist of two short pieces and two sonatas, and were written over a sixteen year span (see Table 3, page 8). This paper aims to familiarize the reader with these cello works, investigate them in terms of the criticisms leveled at Mendelssohn's music, and examine their contribution and place in today's literature for the violoncello.

Paul Schoenfield is currently composer in residence at the University of Toledo. He is a composer of music for virtually all media, but has a special affinity for music of his own instrument, the piano. His works have been performed in concerts throughout the United State and Europe, broadcast on network television, and heard on recordings. As is often the case with today's serious composers, his abilities are channeled into musical areas besides composition. He has had a distinguished performing career, appearing as soloist with orchestras throughout the United States and in solo and chamber recitals throughout the United States and Europe. He has won numerous major competitions including the Leonard Bernstein Competition, National Young Artist's Award, and the Southwest Pianist's Foundation Competition. As a university professor he has taught a variety of courses encompassing the spectrum of music curriculum: composition, piano, music literature, analysis, counterpoint, chamber music, and music education.

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The reputation of Mendelssohn's music has suffered more than that of most major composers of his era from the vicissitudes of musical taste. From the beginning, the general public felt drawn to his simple lyricism and vitality, expressed within clearly ordered, easily understandable musical structures. Performers and critics at first responded with the same warm enthusiasm, but later became caught up in sweeping changes of musical style and in political propaganda which denounced Mendelssohn's work for non-musical reasons. Until recently his music has rarely received an objective evaluation. During his lifetime his music was received with almost universal acclaim. To the public, even to the most conservative elements of Victorian society, it had an immediate emotional appeal, while professional musician appreciated his polished craftsmanship. Performances of his works were greeted with the eager excitement described in the following London Times review of the oratorio Elijah: "It was as if enthusiasm, long checked, had suddenly burst its bonds and filled the air with shouts of exultation." His friend and colleague Robert Schumann called him a "god among men," and described him thus: "He is the Mozart of the nineteenth century, the brightest musician who most clearly fathoms, and then reconciles the contradictions of our time -- classicism and romanticism." In another comment, Schumann pays tribute to the ease and elegance of his compositional technique: "Mendelssohn I consider the first musician of this day...He plays with everything, especially with the grouping of the instruments in the orchestra, but with such ease, delicacy and art, and with such mastery throughout."

Karol Szymanowski (1882-1937) was the composer of a substantial body of compositions for the piano which, outside of his native Poland, remain little known and performed more than forty years after his death. This document is designed to acquaint the reader with this literature, and to give him a general introduction to the stylistic characteristics of the composer. As most of the important books about the composer are in Polish, an annotated bibliography is included which directs the reader's attention to more detailed sources, in both English and Polish, concerning the solo piano works.

The purpose of this study is to organize the musical philosophies of Edgard Varese and to develop an approach for stylistic analysis of his works. Many concepts which Varèse translated into musical thought were not solely musical. They were also represented in twentieth century painting, architecture, poetry, science, mathematics, and technology. An understanding of Varèse's works required a redefined approach for listening. The pursuit of this study is, therefore, relevant and justified. This document is organized in four chapters. The first chapter will examine Varèse's personal development through an overview of important influences in his life, and his aesthetic philosophies. Chapter 2 will demonstrate how Varèse's own statements helped determine the approach for the author's analyzations. Chapters 3 and 4 deal directly with the analyzations of Intégrales and Déserts. Great music of any historical period has distinguished itself by individuality and not by complacency. Composers of innovation have risen to prominence because of the uniqueness and quality of their work. The music of Edgard Varése must also be included in this category because of its uncontestable originality and merit.