This study explores general stylistic characteristics of a sample of frequently performed works for solo tuba with prepared tape. Preliminary material includes a brief overview of the status of electronic music in the solo tuba repertoire as well as a short survey of the development of electronic music.

A solo-quartet by Hoffmeister previously unpublished was discovered by the author in the archives of the Gesellschaft der Musikfreunde in Vienna.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 June 20, 1977, Copland's treatment of the fantasy concept was discussed along with compositional techniques used in the Piano Fantasy. The Piano Fantasy was performed.

The intent of this dissertation is to investigate Michael Tippett's eclectic approach to the sonata form in the twentieth century as demonstrated in his Sonata No. 1. Topics of discussion include historical background of English music, particularly the English piano sonata, at the turn of the century (chapter 1), biographical information and a general overview of Tippett's music (chapter 2), a brief examination of Tippett's Sonata Nos. 2, 3, and 4 (chapter 3) and a formal analysis of Sonata No. 1 as well as Tippett's approach to contrapuntal techniques, rhythm, harmony and tonality (chapter 4).

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.

The purpose of this dissertation is to prepare and present a critical edition of Carl Nielsen's Quintet for Winds, Op. 43, a major work in the woodwind quintet repertoire. Written for the Copenhagen Wind Quintet in 1922, it is also considered a pivotal composition in Nielsen's artistic output. This treatise offers a brief biography of Carl Nielsen, documents the history and significance of the Quintet for Winds, Op. 43, and presents a critical edition that will enable more accurate performances of this important composition.

The dissertation consists of four recitals: one chamber music recital compiled from two years' series of chamber music performances in residence, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The Fifth and Sixth Clarinet Concertos by Johann Melchior Molter, begins with perhaps the first performance of the Concerto No. 4 in D Major, Mus. Hs. 337, for clarinet in D with orchestral accompaniment reduced for piano. Bibliographical, historical and technical information is marshaled to justify the solo designation of Badische Landesbibliothek concerto manuscripts 334 and 328 to D clarinet rather than clarino. An investigation into the formal and stylistic aspects shows these two questionable works to be comparable to the composer's other four clarinet concertos. The analysis is followed by a short discussion of the problems involved in the transcription and performance of the works. The lecture concludes with the first performance of the Concerto No. 6 in D Major, Mus. Hs. 328, for clarinet in D with orchestral accompaniment reduced for piano.

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.

The dissertation consists of four recitals: repertoire consisting of solo compositions, music for clarinet alone, chamber music, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The D Major Clarinet Concerto by Theodor von Schacht, discusses background for the development of the clarinet in different pitches and gives pertinent bibliographical and historical information on the life and works of Theodor von Schacht. A formal and stylistic analysis is then followed by a short discussion of the problems involved in the transcription and performance of the work: possibly the first solo concerto ever written for the clarinet in A. The lecture concludes with the first performance of The D Major Clarinet Concerto for clarinet in A with orchestral accompaniment reduced for piano.