Theses and Dissertations from UMD
Permanent URI for this communityhttp://hdl.handle.net/1903/2
New submissions to the thesis/dissertation collections are added automatically as they are received from the Graduate School. Currently, the Graduate School deposits all theses and dissertations from a given semester after the official graduation date. This means that there may be up to a 4 month delay in the appearance of a give thesis/dissertation in DRUM
More information is available at Theses and Dissertations at University of Maryland Libraries.
Browse
3 results
Search Results
Item TRACING THE EVOLUTION OF STYLE AND TECHNIQUE IN UNACCOMPANIED VIOLIN WORKS SPANNING THE SEVENTEENTH THROUGH TWENTIETH CENTURIES(2019) Wright, Audrey; Salness, David; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Violin playing on a universal level encompasses a vast history of stylistic and technical traditions. By studying the evolution of the styles and techniques of violin playing–while not always obvious or expected–one can further understand and have a greater appreciation for the genre as a whole. The specific realm of unaccompanied polyphonic violin repertory is a unique one, for the violin itself was never physically ideal for chordal playing, and yet, composers have expanded their idiomatic writing through this very genre in truly ideal ways from the early-Baroque Era until now. My approach with this performance dissertation has been to highlight solo polyphonic works of both standard and non-standard reputation, to show a wide scope of the styles and techniques that have been used over centuries to shape how we experience violin playing today. What we discover is that despite the leaps and bounds taken by composers of this genre to reach the current trends, the simplest and most widely applied violinistic traditions over time are the ones that composers continue to rely on the most.Item EN BUSCA DE UN PAÍS INTERIOR: LA NOVELA LÍRICA VANGUARDISTA EN GILBERTO OWEN, ROSAMEL DEL VALLE Y HUMBERTO SALVADOR(2015) Gonzalez, Norman Alberto; Aguilar Mora, Jorge; Spanish Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Scholars have shown a tendency to analyze the so-called “historical avant-garde” from a perspective of "shock". This vanguardist gesture seeks to destabilize a mode of thinking and doing art in the early part of the twentieth century. If there is indeed an inevitable initial historical moment when the avant-garde becomes iconoclastic and distinguishes themselves in a patricidal gesture, there must exist another moment when the contributions of the avant-garde can be seen to challenge not only the formal aspects of the cultural tradition, but also its contents. Few authors have considered the avant-garde writings in dialogue with a tradition that began in the nineteenth century or with other contemporary aesthetics —often opposed in style and approach. One purpose of this work is to locate other aesthetic affinities with the avant-garde movement to better define how they differ and create their own genealogies as well as enter into dialogue with each other. In order to achieve this I propose a reading of the context in which one can see the necessity to seek a new expression for the spiritual demands of the time. One of these new spiritual demands is addressed by the so-called lyrical novel, which can be considered as a subgenre of the literary vanguards. Thus, by analyzing three Latin American writers: Gilberto Owen (Mexico, 1904-1952), Rosamel del Valle (Chile, 1901-1965) and Humberto Salvador (Ecuador, 1909-1982) and their avant-garde lyrical novels written between 1928 and 1931, I will identify what can be considered new, which elements characterize these novels, and how their content challenges the traditional narrative genre and creates new sensibilities. The avant-garde fundamentally breaks with the aesthetics of representation, leading to broader ontological, epistemological, and political ruptures. The aim of avant-garde literature is to regain the dynamic aspect of reality that was lost through the domination of rationalism. We are able to explore this re-appropriation through unique approaches to the elements of imagination, the occurrence (or not) of events, and experience and see how the authors were able to contribute to the radical critique of aesthetic beliefs and notions of reality at the beginning of the twentieth century.Item Vaudevival: Old is the new New(2012) Oleson, Emily; Phillips, Miriam; Dance; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Vaudevival: Old is the new New was an evening-length concert performed October 20th & 21st, 2011 at the Clarice Smith Performing Arts Center in partial fulfillment of the M.F.A. degree in Dance from the University of Maryland's School of Theatre, Dance, and Performance Studies. Vaudevival was a "trad" dance theater project that challenged concepts of aesthetic hierarchies in popular culture. The show ricocheted through twentieth-century vernacular dance to create a vibrant statement about the cyclical nature of art and society, with live music and multi-media projections. This paper is a written account of theoretical and practical problems of identity politics and appropriation that unfolded during the choreographic process. Envisioning a creative utopia free of exploitative hierarchies - both on the stage and on the page, Vaudevival invokes the old to reinvent the new through the intertextuality of American dances, bringing scholarship to the theater, and bringing some theater to scholarship.