Doctor of Philosophy (PhD)



Document Type



Part one of this dissertation is an original music composition, Galleria Armonica, Theme and Variations for Piano, Harpsichord, Harp and Orchestra in fantasia variation form. The orchestra is divided into four groups: Strings (8/8/6/6/4), Winds (2/2/2/2/), Brass (4/3/3/1), and Percussion (Percussion I: Celesta, Timpani, Vibraphone, & Snare Drum; Percussion II: Suspended Cymbal, Orchestra Bells, Tam-Tam; Percussion III: Bass Drum, Side Drum, Triangle, & Tam-Tam.) Each solo instrument (Piano, Harpsichord & Harp) is physically associated with a specified group: Piano with Brass; Harpsichord with Strings: Harp with Winds, thus three primary groups. The percussion is employed as a crossover, unifying ensemble. The title of the work derives from Michele Todini's 1676 musical instrument museum known as "Dichaiaratione della galleria Armonica eretta in Roma de M. Todini Piemontese di Saluzzo, nella sua habitazione, posta al'Arco della Ciambella Roma 1676." "According to his own description it was divided between two rooms." The arrangement of the four music ensembles symbolically represent Todini's groupings and the physical separation inherent in such an arrangement. Symbolically, music is shared among this music work's ensembles. Part two of this dissertation is a comparative study between the pedagogical methodologies of Arnold Schoenberg and Nadia Boulanger regarding training the composer. Chapter One serves as an introduction to the personal background, musical training, and careers of Arnold Schoenberg and Nadia Boulanger, individually. Chapters Two and Three present music pedagogy texts and other significant teaching methods and materials relating to Schoenberg's and Boulanger's musical pedagogy, respectively. Chapter Four presents two exemplary music education philosophies of the second half of the twentieth century: those by Bennett Reimer and David Elliott. Chapter Five is a comparison and contrast of the teaching methods and materials of Schoenberg and Boulanger in relation to the philosophies of music education of Reimer and Elliott. Chapter Six is a conclusion of the contributions to music composition pedagogy by Schoenberg and Boulanger and the implications of those findings followed by an Epilogue.



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Committee Chair

Stephen David Beck



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Music Commons