An examination of Rudolf Forst's contributions to twentieth-century solo harp literature

The purpose of this study was to begin placing Rudolf Forst’s solo harp works into the broader context of twentieth-century harp literature. A secondary purpose was to shed light on the body of lesser-known works written by American composers between 1900 and 1980. Through a stylistic analysis of Forst’s works, it is evident that his musical style was consistent with trends in American music during the early-to-late twentieth century. His early harp works, written during the 1940s, demonstrate characteristics of both German and French musical influences. Sequences, written in 1972, reveals how Forst was incorporating trends from the 1960s, which included atonality and tendencies toward the avant-garde. At the core of all of Forst’s harp works is a balance between conservative and experimental compositional approaches that enables these works to remain accessible to both listeners and performers. Forst’s solos for harp are also well-written, demonstrating his understanding of the instrument. The appendix of lesser-known solo harp works by American composers shows that Forst was not the only composer whose works have been overlooked in discussions of harp literature. Further research on Forst and the lesser-known body of works would allow for greater understanding of trends in harp literature during the twentieth century.Thesis (D.A.