Thesis (Ph. D.)--University of Texas at Austin, 2003. / Supervisors: James Buhler and Eugene Gratovich. Vita. Includes bibliographical references. Available also from UMI Company.

Treatise (D.M.A.) Florida State University, 2007. / Advisor: Alexander Jiménez, Florida State University, College of Music. Title and description from dissertation home page (viewed 3-26-2008). Document formatted into pages; contains 42 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D.M.A.)--University of Maryland, College Park, 2007. / Compact discs.

Largo al factotum from Il barbiere di Siviglia / Gioacchino Rossini -- E fra quest'ansie...e allor perche from I Pagliacci / Ruggiero Leoncavallo -- Symphonie espagnole, op. 21 / Edouard Lalo -- Next! To this we've come...papers, papers! from The consul / Gian Carlo Menotti. / text

Treatise (D.M.A.) -- Florida State University, 2003. / Advisor: Phillip Spurgeon, Florida State University, School of Music. Title and description from treatise home page (viewed 11-21-03). Document formatted into pages; contains 61 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.A.)--University of California, San Diego, 2009. / Available via ProQuest Digital Dissertations. With accompanying disc containing sound files of the thesis recital in 44K stereo. and 96K formats.

The lark ascending / Ralph Vaughan Williams -- Fantasie for violin and piano in C major, D. 934 / Franz Peter Schubert -- Violin sonata in A major / Cesar Franck. / text

Not available / text

This portfolio of eleven scores and an accompanying commentary is an in depth investigation into the use and development of compositional techniques over a wide range of instrumental and vocal combinations.  The scores submitted trace my development as a composer by considering research questions related to structural organisation, harmonic and rhythmic development and how external sources, particularly visual and literary, can be used as a starting point for the compositional process. Included in the portfolio are eleven works, categorised into three sections: instrumental music, solo works, and vocal music. The portfolio researches and examines elements of composition such as harmony, texture and timbral relationships, as well as the use of visual and literary art as a stimulus for composition across all of the instrumental and vocal combinations included.  My interest in the combination of pre-existing compositional methods such as serialism, with particular regards to pitch, and atonality is also examined in many of the scores and documented in the accompanying commentary.

The purpose of this portion of the thesis project was to make a study of the Sonata in A major for violin and piano by Cesar Franck, presented as one of the major works on the second of the two recitals performed in partial fulfillment of the thesis requirement for the degree, Specialist in Education. Of the music performed on the two recitals, the writer felt that the most challenging, from the standpoint of interpretation and of the violin technique involved, was the Franck sonata. Therefore, she has made a formal analysis of the composition as well as an investigation into the technical and musical problems arising in actual performance. It is the writer's belief that the results of the investigation will not only affect her own future performances of the sonata, but ray also be of benefit to other violinists in their study of this sonata.With Cesar Franck the cyclic treatment of thematic material was established as an important principle of composition. The writer presents a thematic analysis of the sonata in which she points out the various ways in which the composer makes use of the cyclic principle. Particular attention is given to the process of motivic development in the transformation of thematic material. The investigation shows that in the Sonata for violin and piano by Franck a single basic idea seems to dominate the entire composition, i.e., the rising and falling inflection of a germ-motive which characterizes the principal themes of the four movements. The movements are further interrelated by the appearance of common thematic material, in either identical or altered form.The formal structure of each movement was determined, and a complete thematic analysis is given. A synopsis of this analysis appears at the end of Chapter V, Analysis of the Sonata in A Major.There is an unusual departure from the "standard" sonata movement scheme in that the first movement, Allegretto ben moderato, serves as an extended "prologue" to the principal movement which appears second. Thus movement II, Allegro, is in fully developed sonata form. It contains two main themes of contrasting character, each theme having three distinct parts. The third movement, which is free and improvisatory in mood and structure, is aptly titled, Recitativo-Fantasia. The finale, Allegretto poco mosso, appears as a unique kind of rondo in which the theme of the refrain is treated as a canon at the octave.In the study of the sonata, harmonic analysis was aimed chiefly toward determining the. structural framework of the composition as a means of understanding the musical progression although a chordal analysis was presented where it seemed significant. The harmonic material is highly chromatic, as is characteristic of the Romantic period, with much use being made of the dominant ninth chord, diminished seventh chord and augmented sixth chord.Problems of violin technique, including those of bowings and fingerings, were investigated and suggestions as to their solution are offered. It is seen that a mastery of the basic detache stroke, smooth legato bowing and accuracy in the high positions are required above all. There is a noticeable absence of the use of special effects, which are unnecessary for the projection of the work. A few double and triple stops occur in the second movement while the only four-note chord is in the third movement. Trills occur at the end of the second movement and also in the Recitativo. For uniform tone color several passages require the player to play in an extended range on the same string.Great demands in the way of energy and physical stamina are required of the violinist in order to provide the variety and quantity of sustained tone necessary for proper balance with the piano.Suggestions relating to dynamics, subtleties of phrasing and accent, as well as reference to tempo and mood are made to aid in the projection of the music.This study supports the belief that in the performance of duosonata music there are no requirements separate from those for other concerted music. An effective interpretation, based on a thorough understanding of the music and a scholarly approach to the composer's musical intentions are basic requirements in both forms of music making. In addition, it is up to each player to extend his understanding of the complete score in order to perceive his role as both soloist and accompanist as the music demands.