Music Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/2796
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Item Beyond(2017) Fuhrman, Bryce; Wilson, Mark E; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Beyond is a three-movement orchestral work approximately 20 minutes in length. The inspiration for the piece comes from letters or correspondence I have chosen about space exploration. There are two unifying musical materials: one is a general upward contour, presented frequently as a rising stepwise passage; the other is a melody presented only in full at the climax of movement two. Movement one is titled “Unlimited.” The inspiration for this movement comes from a letter written by German scientist Ernst Stuhlinger. In this letter, Stuhlinger wrote about the famous “Earthrise” image, “It opened our eyes to the fact that our Earth is a beautiful and most precious island in an unlimited void . . . bordered by the bleak nothingness of space.” Musically, “Unlimited” contains two reflections on this sentiment: an atmosphere of optimism, reflective of the excitement of exploring the “unlimited void;” and an element of uneasiness or tension, representing the “bleak nothingness” that surrounds our planet and the danger of space travel. Movement two, titled “The Deepest of the Deep,” is inspired by a letter from speechwriter Bill Safire to President Nixon’s Chief of Staff, H.R. Haldeman. The letter contained a speech that President Nixon was to give to the nation in the event that the Apollo 11 mission ended in disaster. Although it was fortunately never necessary for President Nixon to deliver this address, I find it interesting to consider the alternative scenario. “The Deepest of the Deep” contains musical material from the first and third movements, but with a darker mood. Movement three, titled “Denis Cox’s Rocket Ship,” is inspired by a 1957 postcard sent from Australian schoolboy Denis Cox to “a top scientist” in the Royal Australian Air Force. Included on the postcard is a drawing of what little Denis envisions for the next RAAF rocket ship, including amusing annotations such as “4 Rolls Royce jet engines” and “Australian Markings.” The postcard is quite humorous considering the young sender and the high-ranking recipient. Accordingly, “Denis Cox’s Rocket Ship” is fast-paced, playful, and whimsical in character.Item Requiem, for boy soprano, soprano, baritone, chorus, and orchestra(2015) Bryant, Alexandra; Wilson, Mark E; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Requiem, for boy soprano, soprano, baritone, chorus, and full orchestra, was composed in honor of my mother and brother, both of whom passed away in the final fourteen months of my doctoral studies. The work highlights much of the traditional requiem text while incorporating Biblical texts as well as excerpts from Mary Sydney Herbert's, O. The work lasts approximately 40 minutes and utilizes six movements from the standard canon - Introit, Kyrie, Dies Iræ, Agnus Dei, Lux æterna, and In paradisum. The genesis of this work initially envisioned a child soprano portraying a young version of the female soprano, intended to represent my mother as a child - the progression of an individual from childhood to adulthood almost conversing with each other. Unfortunately that vision changed when my brother passed away while in the early stages of composition. It is a powerful image, reminder, and homage to depict the young boy soprano as my brother alongside my mother, the soprano, in the company of the Lord, performed by the baritone. Requiem opens with the Introit, which provides the tonal center of C# for the first and fourth movements. This contributes an important structural element, rather foundation, on which the work revolves. Following the Introit is the Kyrie, which features the solo soprano highlighting the text of Herbert in addition to Kyrie Eleison - Lord have mercy. Immediately contrasting the simple, open sonorities of the Kryie, the Dies Iræ is empowering in tone. Dense textures, colors, and harmonies create a tension heightened through the interaction of the baritone against the full orchestra and chorus. The Agnus Dei provides a feeling of repose with rhapsodic and chant-like qualities, underscoring the boy soprano in stark contrast to the full chorus with a brief response from the soprano. Following the Lux æterna is orchestrated similarly to the Kyrie focusing on strings and percussion with the addition of a few of the woodwinds to accompany the female voices and baritone. Lastly, the In paradisum brings us back, not fully, to the somber yet empowering mood of the opening Introit, coupled with the air of trills and sonorous clusters.Item THE GARDEN OF THE UNIVERSE: A TONE POEM FOR ORCHESTRA(2010) Rhee, Ka Young; Moss, Lawrence; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Through The Garden of Universe, I would like to combine my religious faith as a Christian with my identity as a Korean composer to create a new synthesis in contemporary music. The title came from the conversation with my mother. After listening to my In the Presence of the Lord for piano, she told me that it was like walking with God in his garden of the universe. I was inspired by the words "the garden of the universe", and this turned out to be the title of my dissertation. The 1st movement, The Garden, opens with a "heavenly" C major chord in string harmonics, harp bisbigliando, marimba tremolo, and clarinets. The chord is gradually infiltrated by a F# major tonality symbolizing the emergence of life (Rehearsal A). Rehearsal B (playfully) depicts the play of animals, insects, and birds. The C major chord returns Rehearsal C (tranquillo). Near the end of the 1st movement, a descending harp arpeggio leads to a solo violin cadenza combining the C and F# tritone chords. Following the cadenza, the 2nd movement, Chaos, begins with a chromatic motive treated contrapuntally by solo basses. The scripture reads "Now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters. " A high E hovers over the rumbling basses like the Spirit of God. This high E is re-enforced by piccolo, celesta, harp, and piano. The upper strings, timpani, and low woodwinds gradually enter in a depiction of increasing chaos. Its climax leads attacca into the 3rd movement, In Praise of Universal Harmony. This movement begins solemnly with a steadily accelerating percussion figure symbolizing the word of God. The Scripture reads "Through faith we understand that the worlds were framed by the word of God, so that things which are seen were not made of things which do appear. ", and "In the beginning God created the heaven and the earth. ." In my music this leads to a spirit of rejoicing. From Rehearsal I, "Praise the LORD. , five traditional Korean rhythmic patterns from Samullori (percussion ensemble) emerge. These are Rehearsal I to J: Gutgeori Jandan; Rehearsal K to L: Ban Gilgunak in Yeongnam Garak; Rehearsal M to N: Byeolgeori, Dalgeori in Yeongnam Garak; Rehearsal O to P: Excerpted Jangdan from Seoljanggu Garak; and Rehearsal Q to U: Jjak Soe in Uttari Pungmul. Just before the last rhythm, beginning with Rehearsal Q, the opening C major chord reappears. There is a "war" between the C and F# chords. The F# major is brought into the C major "fold" through triadic tritone progressions. The use of a Fibonacci series between Rehearsal I and O facilitates this "Progression."Item Doubt, for narrator and orchestra(2008-04-18) Srinivasan, Asha; Gibson, Robert; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Doubt is a single-movement composition of roughly twelve minutes for narrator and orchestra (woodwinds, horns, and trumpets in pairs, timpani, percussion, strings). The piece explores the controversial issue of capital punishment. The text was compiled from resources found on the websites of Death Penalty Information Center (http://www.deathpenaltyinfo.org) and Anti-Death Penalty Information (http://www.antideathpenalty.org), as well as excerpts from the Bible. Doubt was conceived of as a dramatic work in which a narrator recites factual information in a direct and unemotional manner and the orchestra provides a response to the mixed emotions elicited by the text. The list of dates and case summaries presented in the middle section of the piece seemed most powerful and effective when recited in a natural speaking voice, which is why I chose not to set the text as song. Also, I chose the orchestral medium rather than a chamber setting because the nature of the topic demanded a larger range of colors and combinations, as well as a louder, fuller sound. Much of the music was composed while deciding which texts to include. Thus the music influenced the choice of text as much as the text suggested the musical setting. The four formal divisions of the piece are delineated primarily by the text. The first section is an orchestral introduction representing various emotional perspectives suggested by the texts. The narrator begins the second section with a Biblical verse over sparse orchestration. The third and main section of the piece begins with a new melody in the low strings that is closely related to the harmonic organization of the piece. The narrator lists dates of convictions, executions, exonerations and facts related to doubtful cases. The third section and the narration conclude with another brief passage from the Bible. The fourth section is a dramatic orchestral coda, bringing back the opening harmonies of juxtaposed perfect fifths. The final chord is full of tension and discord, reflecting the oppositions inherent in the topic of capital punishment: life vs. death, sympathy vs. reproach, pain vs. hope, but above all, doubt about guilt vs. innocence.Item The Status of Inclusive Education in Maryland School Band and Orchestra Programs(2007-05-03) Shelfo, Kerri Lynn; Hewitt, Michael; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this study was to determine the status of inclusion in instrumental music programs in Maryland public schools and the attitudes of instrumental music teachers towards the inclusion of students with disabilities into their instrumental music programs. Participants (N = 214) completed an online survey which assessed the representation of disabilities in instrumental music classes, teacher preparation, inclusion practices and teacher attitudes. Data revealed poor representation of students with mental retardation in instrumental music classes, discrepancies in the implementation of inclusion, and conflicting teacher attitudes toward inclusion and specific disabilities. These data will be discussed in light of national statistics on inclusive education and the manner in which they might impact instrumental music programs.