Music Theses and Dissertations
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Item Desire Paths: Chamber Symphony for Double Wind Quintet and Piano(2017) Kenlon, Jared William; Wilson, Mark; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Taking its title from a term in urban planning and landscape architecture, Desire Paths: Chamber Symphony for Double Wind Quintet and Piano is an original musical work that explores the ideas of resistance, resilience, and adaptation, primarily through the recurrence of a central theme in each of its five movements. It spans approximately 27 minutes in performance. The first movement may be considered a "title track" of sorts, as it is also called "Desire Paths." Beginning with a twelve-tone row that is gradually deconstructed, the main melody of the work first arises about halfway through this first movement. The second movement, "Sirens On the Stern," takes inspiration from Greek mythology in its title and in its formal concerns. The English horn and bass clarinet are cast as the titular sirens, intoning delicate lines decorated with beguiling arabesques. The third movement introduces a discreet textual source. "The Dream with the Magnolia Tree" is in sound and expressive intent a response to Pablo Neruda's forty-sixth love sonnet, "De las estrellas que admiré..." ("Of all the stars I have admired..."). The rhythm and lilt of that Spanish text informs the melodic material unique to this movement, while the main theme is presented in an abridged form. More insistent and aggressive in character than the preceding three movements, "Wem das Schicksal schlägt" ("When fate strikes") pits original melodic material against fragments taken from Leoš Janáček's 1919 song cycle The Diary of One Who Disappeared. The fifth and final movement, like the third, is in large part an instrumental setting of a textual source. A passage from Jeannette Winterson's 1993 novel Written on the Body provides both the melodic material and the quiet ecstasy of the fifth movement, entitled "Let Loose in Open Fields." Accompanying the score of Desire Paths, a prose document details the origins of the work, the extramusical factors that served as catalysts for its composition, and the role each movement plays in an ongoing mediation between melodic flexibility and persistence.Item Unity Through Variety: Exploring the Cyclic Principle in Selected Works for Piano(2016) Angelucci, Michael; Gowen, Bradford; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The term ‘cyclic’ is a fairly recent addition to the modern musical lexicon. Coined by Vincent d’Indy in the early twentieth century, it is applied (often retroactively) to compositions exhibiting a recurring theme or structural device. Excluding genres that by design necessitate reiteration, such as sonata-allegro, rondo, and variation forms, this may involve any number of processes ranging from large-scale formal repetition to cyclic integration on a micro level. As a result, the concept of cyclicism is better understood within the context of a larger organizing principle, one that extends beyond the confines of a singular form or technique. Among the more common procedures is cyclic form, which features the return of a primary theme in a later section or movement of a work. Originating with the Renaissance cyclic mass, the form fell largely out of fashion in the Baroque and Classical eras, residing outside the musical mainstream until the instrumental works of Beethoven. In the nineteenth century, composers expanded the boundaries of cyclical construction by treating melodic material to an array of complex metamorphoses. Commonly referred to as thematic transformation, the “new” melody assumes an independent character apart from its parent theme, and may be assigned a programmatic or dramatic role (e.g, the idée fixe in Berlioz’ Symphonie fantastique). A hybrid of these methods is the use of reiterative motives — melodic, harmonic, and/or rhythmic cells, often originating from the same source material — that provide thematic and structural cohesion. Together, these processes form a principle of cyclic unity found in a wide variety of genres and styles, a testament to its influence on the repertory both past and present. Over the course of three recitals, this performance dissertation explored how the cyclic principle is applied in selected solo, chamber, and concerto works from Ludwig van Beethoven to John Corigliano. All three recitals were held in Gildenhorn Recital Hall, part of the Clarice Smith Performing Arts Center at the University of Maryland—College Park, MD. Live compact disc recordings of all three recitals are housed in the Digital Repository at the University of Maryland (DRUM).Item Contrasts: Quartets and Art Songs of the Nineteenth Century(2016) Brown, Elizabeth Lillian; Sloan, Rita; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).Item An Examination of Style in the Development of the Sonata for Trumpet and Piano (1903-2010)(2015) Jakuboski, Edward; Gekker, Chris; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Beginning in the early twentieth century, many composers decided to showcase the trumpet as a vehicle for melodic expression. Through my selection of representative works, I explore the correlations between each composer, their musical influences and how their compositional ideas contribute to the development of the sonata for trumpet and piano. Traditionally, the instrumental sonata represents a chamber work for a soloist with piano in three movements, with at least one composed in sonata-allegro form. Often the outer movements are played at a faster tempo, while the middle movement is typically slow. The tradition of the sonata usually implies that both instruments are treated equally with a true musical dialogue occurring between them. My dissertation focuses on major works composed during the development of the sonata for trumpet and piano and how the stylistic components of the music are linked to Classical and Romantic music, in addition to jazz and modern music of the twentieth century. The organization of my recitals is loosely chronological with each piece representing trends in trumpet writing and pedagogy from composers representing Denmark, France, Austria, Germany, Russia and the United States. The works include seven sonatas for trumpet and piano (two performed on rotary trumpet), one for cornet and piano, and one for cornet or bugle and piano (performed on flugelhorn). In addition to performing these works, a complete analysis of the music confirms certain compositional, formal and style trends also present in works from the Classical and Romantic eras. Ironically, these periods of music history were times of relative dryness for solo trumpet repertoire. American sonatas, in particular, uncovered trends by composers that utilize components of jazz and modern harmony combined with both neo-Classical and neo-Romantic elements. Composers also continued to employ unique rhythmic structures and angular melodic writing while retaining the historical use of the trumpet by including heroic calls and exciting fanfare motifs. Experimentation with new timbres included the incorporation of various types of mutes and higher pitched trumpets that became commonplace in much of the modern trumpet repertoire. As a result, students of the instrument benefit from studying these solos.Item From Albéniz to Arbós: the Orchestration of Iberia(2010) Carlson, Lindsey; Haggh-Huglo, Barbara; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Enrique Arbós's five orchestrations of pieces from Iberia, the masterly piano work by his close friend, Isaac Albéniz, are among the most frequently programmed works in the Spanish orchestral repertoire today. Increased academic interest in Albéniz's orchestral output has revealed that Arbós's orchestration of Albéniz's piano solo, "El Puerto," from Iberia, bears striking similarities with Albéniz's unpublished orchestration of the same piece. Although Albéniz asked Arbós to take over the task of orchestrating "El Puerto," little is known about the details of this arrangement. To shed light on this issue, I have carefully reviewed the overlapping biographies of these two composers, as well as thoroughly analyzed the two scores for the first time. I conclude that Arbós's orchestration of "El Puerto" is indeed a revision of Albéniz's orchestration, and that this revision was a natural result of their close relationship.Item COMPOSITIONS FEATURING THE PIANO IN FANTASY FORM: 1820-1920(2006) Wu, Kuei-I; Rodriquez, SantiagoThe Fantasy form offered a composer the freedom to create a work without concerns for fitting into the current stylistic and traditional structures. The flowering of the form seems to be concentrated from 1820-1920 since the composer started to use it as a way to convey a personal idea or to portray a special spirit. This dissertation is comprised of three recitals with fantasies in different genres and styles. Through performing these diverse fantasies, I have been inspired to connect with the imagery and spirit of the compositions in order to capture the unique sentiments of each piece. Also, in order to keep the audience absorbed in the music that is without structure, I have focused on expanding my technical abilities to vary color, sonority, and phrasing. Program one (April 26,2004) includes Fantasie, Op. 17 and Piano Concerto, Op. 54 (assisted by Ya-Hsin Wu) by R. Schumann. Program two (December 10, 2004) includes Three Fantastic Dances, Op. 5 by D. Shostakovitch, Fantasy "Sonataecossaise ", Op. 28 by F. Mendelssohn, Sonata No.2 "Sonata-Fantasy", Op. 19 by A. Scriabin and Fantasie for Piano and Violin, D 934 by F. Schubert with violinist, TaoChang Yu. The last program (November 1, 2005) includes Fantasia baetica by E. de Falla, Morceaux de Fantaisie, Op. 3 by S. Rachrnaninoff, Fantaisie, Op. 49, Impromptu No. 4 '%h.ntasy-hpromptu", Op. 66 and Polonaise-Fantaisie, Op. 61 by F. Chopin.Item Calling Tunes: A Piece in Three Movements for Violin, Clarinet, Violoncello, and Piano(2008-05-02) Lincoln-DeCusatis, Nathan; Gibson, Robert; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Calling Tunes is a seventeen-minute piece in three movements for violin, clarinet, violoncello, and piano. The title refers to the common jam-session activity of "calling tunes", which represents an expression of common knowledge between musicians within an unrehearsed, improvisation-based ensemble. Each individual in the group shares a common repertory that is used as a backdrop to music-making -- a collection of not only melodies and chords, but a world of performance practices, music theory, and cultural memory that is drawn upon to create music without the need of prior rehearsal or planning. Calling Tunes strives to capture this unrehearsed, impromptu quality as if the piece had been created by an informal gathering of musicians extemporizing on some kind of shared musical language. Each movement focuses on a single originating motive that is developed and transformed throughout like an improviser embellishing a familiar tune. The first movement, Montunos, is based on the piano vamp of Afro-Cuban salsa music, which is often characterized by off-the-beat syncopation and harmonization in thirds. The montuno that opens this movement combines these traditional qualities with metric irregularity and an ambiguous harmony that produces an otherworldly, out-of-tune quality. The second movement, Canzone, acts as an introspective, lyrical interlude within the piece that begins as a chord progression without a melody. The long lines in each instrument combine to form three- and four-note chords that imply fleeting diatonic collections that slowly bleed into each other at a glacial pace. The real canzone is saved until the end where the cello channels the previous glimpses of tonality into a final coda-like cantabile statement. The third movement, Variations on a Riff, takes the simple idea of a G major triad (first presented in the clarinet in mm. 34¬-44) and bends it through multiple permutations and harmonic contexts. This movement is framed by two fast sections in a galloping compound meter whose volatile, slightly unfinished texture sums up the attitude of the entire piece -- a composed musical narrative that seems to have been created in the moment out a subconscious musical language.Item The Pedagogical Legacy of Johann Nepomuk Hummel(2006-08-07) Hulbert, Jarl; Davis, Shelley; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist-superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel's eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel's biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel's reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel's most celebrated compositions. The Postlude assesses Hummel's role as a teacher by also addressing his "hidden" presence. For example, core elements of his method inform the pedagogy of Isabelle Vengarova, a teacher of Samuel Barber and Leonard Bernstein. Her piano instruction is indebted to Hummel, revealing the far-reaching influence of his pedagogical legacy. The appendices address important aspects, for example, Hummel's indirect impact in the US through Charles Zeuner. Hummel's pedagogical legacy is divulged here in its significance of impact. Renewed interest is needed in a musician of eminence who suffered much bias and neglect and deserves a full reevaluation.Item THE EFFECT OF A PROGRAM OF PORTABLE ELECTRONIC PIANO KEYBOARD EXPERIENCE ON THE ACQUISITION OF SIGHT-SINGING SKILL IN THE NOVICE HIGH SCHOOL CHORUS(2005-11-23) Parks, Judith Elseroad; Silvey, Philip; Smith, Bret; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The problem was to determine whether a method of aural and visual vocal training that included a program of portable electronic piano keyboard experience would be more effective in teaching sight-singing skills to novice high school chorus students than a method that included only aural and visual vocal training. A sub-problem was to determine whether novice chorus students enjoyed playing electronic keyboards in chorus as a reinforcement experience in sight-singing training. Students were randomly assigned to two treatment groups, tested with the Musical Aptitude Profile, Tonal Imagery, part A, and then trained separately. The experimental group sang repetitions of melodic patterns and utilized techniques associated with the Kodály Method while simultaneously playing keyboard. The comparison group received a similar treatment without using keyboards. The students were pre- and post-tested in sight-singing using the Vocal Sight-Reading Inventory. Results of the Analysis of Covariance using MAP scores as the covariate revealed no significant difference (p<.05) between post-test scores of the two groups. Improvement was noted in 96% of students from pre-test to post-test regardless of grouping. The repeated measures ANOVA revealed a significant relationship (p<.006) between aptitude group and post-test score. High aptitude students in both groups were found to benefit more from the training than low aptitude students. High aptitude keyboard group students achieved an average gain score that was 8.67 points higher than the comparison group. Of the total experimental group, 92% enjoyed playing keyboards in chorus. It is recommended that future research be undertaken to study the use of keyboards with advanced high school choruses and with uncertain singers in the high school chorus. Research is also needed to develop graded, valid, and reliable sight-singing tests for use in high school chorus. Techniques of the Kodály Method should be further investigated for use in high school sight-singing training.