A history of the evolution of dance music throughout time and the instruments used for each type of dance.

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Girolamo Frescobaldi levde i brytningstiden mellan renässansen och barocken. Han var en av de betydelsefulla tonsättarna som med sin musik förde in musiken i nästa epok, den tidiga barocken. Han tog intryck av tidens uttrycksfulla vokala musik, och förde in det vokala uttrycket i sin instrumentalmusik, affetto vocale. Detta vokala uttryck var något för den tiden helt nytt, varför Frescobaldi skrev ett förord till den samling med Toccator och Partitor han gav ut först 1615 vari han gav detaljerad information om hur han ville att hans musik skulle framföras. Detta förord gav nycklar till den tidens interpreter vad gäller framförandet, liksom det ger nycklar till oss idag. På en av dessa Toccator ur första bandet har jag gjort en fallstudie och applicerat de råd Frescobaldi gav på den. För mig har detta gett en djupare förståelse för den här tiden, och framför allt för Frescobaldis cembalomusik. Den har givit mig förståelse för vad som var nytt och i förlängningen givit mig verktyg för att göra en tydligare interpretation

Louis Vierne (1870–1937) var under början av 1900-talet verksam som en av världens mest framstående organister och kompositörer. Trots att han från födseln var nästintill blind innehade han under nästan 40 år den mycket prestigefulla tjänsten Organiste titulaire vid Frankrikes mest berömda katedral Notre Dame de Paris. Viernes verksamling 24 Pièces du Fantaisie räknas idag till standardrepertoaren för orgel och i detta arbete analyseras hur tonsättarens bakgrund påverkade och inspirerade hans komponerande av verket. I studien utreds också hur man interpreterar stycket så stiltroget som möjligt och således gör tonsättaren rättvisa i största möjliga mån. Undersökningens resultat påvisar att Vierne fick inspiration till verken från sin omvärld och att hans dåliga syn hade stor inverkan på hans komponerande. Den informationen, i kombination med en redovisning av interpretationsmässiga val från framföranden av Requiem aeternam och Toccata ur 24 Pièces du Fantaisie, hjälper organisten vid sitt gestaltande av verksamlingen. / Louis Vierne (1870–1937) was active during the early 20th century as one of the world's most prominent organists and composers. Despite being almost blind from birth, he held for almost 40 years the very prestigious position of Organiste titulaire at France's most famous cathedral, Notre Dame de Paris. Vierne's collection of pieces 24 Pièces du Fantaisie is today considered as standard repertoire for the organ and this study analyzes how the composer's background influenced and inspired the music. In the study, it is also investigated how to interpret the pieces as faithfully as possible and thus do the composer justice to the greatest extent possible. The results of the study indicate that Vierne got inspiration for his work from his surroundings and that his poor eyesight had a major impact on his composing. This information, in combination with a report of interpretational choices from performances of Requiem aeternam and Toccata from 24 Pièces du Fantaisie, helps the organist when playing the collection.

Master of Music / School of Music, Theatre, and Dance / Slawomir Dobrzanski / This Master’s Report is a study of four piano compositions performed on April 10, 2016 at the author’s Master’s Piano Recital. These discussed pieces are including Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E-flat major, Op. 31, No. 3; Claude Debussy’s Images Book One; Fryderyk Chopin’s Scherzo No. 2, Op. 31. This study focus on historical, theoretical and stylistic implications of each composition.

Master of Music / Music, Theatre, and Dance / Slawomir Dobrzanski / This Master’s report analyzes four piano compositions performed on April 9, 2015 at the author’s Master’s recital. The works under consideration are Johann Sebastian Bach’s Partita in B flat major, BWV 825; Wolfgang Amadeus Mozart’s Piano Sonata in D major, K.576; Fryderyk Chopin’s Four Mazurkas, Opus 17; and Aram Khachaturian’s Toccata. This analysis includes the discussion of the theoretical, stylistic, and historical background of each composition.

The Czechoslovakian composer Jindrich Feld (b.1925) composed Introduzione, Toccata e Fuga per Flauto Solo, for the Italian flutist Roberto Frabbriciani. Feld's Introduzione is from his third style period. This work may be labeled as a synthesis of the experiments and experiences that have enabled him to create his own mature style of expression.

One of the most important ways to understand Olivier Messiaen’s musical language is through the lens of the theological ideas that many of his works convey. He considers expressing his Christian faith to be the primary purpose in his music. Through his idiosyncratic technique, Messiaen gives power and life to his religious music that he combines with his interest in literature, musical analysis, poetic imagery and symbolism, his love for theatre, and his compositional and organ abilities. The abundant studies of Messiaen’s works deal with the intricacies of his musical language, yet most of these studies barely discuss his theological ideas. Nevertheless, technical analysis of his music poses immense challenges, especially in the domains of melody and harmony. Although my approach is unconventional and do not follow any existing system, I base my technical and theological analyses mainly from Messiaen's technique, his commentaries and his references to the Scriptures. The “Combat de la mort et de la vie” is the heart of Les Corps glorieux in both technical and theological aspects. It is an intricate musical artwork where Messiaen demonstrates his melodic and harmonic developments using his idiosyncratic language, and through symbolism portrays the most complex of all drama according to Christian theology—the story of Jesus Christ's Passion and Resurrection. My research can relate directly to a more informed and convincing performance of the work, and can contribute a different perspective to the study, understanding, and appreciation of Messiaen's theologically inspired works.