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.
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Item Echoes of Celestial Arias - The Bassoon's Harmonious Journey Through Adaptation(2024) Ren, Qun; Grimmer, Joseph JG; Frisof, Sarah SF; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This performance dissertation examines the potential of musical expression and technical skills on bassoon through a series of arrangements for the instrument. Each program features original works in addition to vocal and other instrumental works that were transcribed for bassoon. The works performed and discussed in this document include: Steven Dibner’s arrangement of Fantasia di Bravura on motives of Donizetti’s La Figlia del Reggimento; William Winstead’s First Operatic Anthology and arrangement of Carmen Fantasy; Antonio Torriani’s Divertimento on various themes from Lucie de Lammermoor; John Steinmetz’s Suite from an Imaginary Opera; J.S. Bach’s Sonata for Viola de gamba, BWV 1029 and his Oboe Concerto BWV 1053r; Maurice Allard’s Variation on a theme by Paganini (Capriccio 24); Fritz Kreisler’s Liebesleid and Liebesfreud; Johannes Brahms’ Sonata for Piano and Violoncello in E minor, op. 38; C.P.E. Bach’s Cello Sonata in A minor, H. 432; and G.F. Handel’s Trio Sonata in G minor, HWV 393.Item Copia Rerum: Histories and Theories of Rhetorical Arrangement(2023) Leon, Roberto Sebastian; Valiavitcharska, Vessela V; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Many rhetoric and composition scholars concentrate on developments in argument and expression. Form, however, receives comparatively less attention, leading scholars to ask “Who Took the Form out of the Process?” and to argue for “Re-fusing Form in Genre Theory.” “Copia Rerum” responds to these invitations by reframing the history of rhetoric and composition as a history of rhetorical arrangement. Drawing on primary sources from several fields and attending to terms of art, I account for previously proposed theories of arrangement in composition studies, noting how arrangement is often conceptualized as a matter of intersentential or interparagraph linkages, organizational frames, or a series of moves; and as such, modern approaches to arrangement often reduce arrangement to a matter of argument or expression. Inasmuch as these scholars have found such inspiration from the history of rhetoric, and recognizing that many of these structural concepts are critiqued for their nineteenth-century assumptions and sometimes restricted focus on linear or static form, a turn to the history of rhetoric can enrich our understanding of arrangement. The following chapters turn to ancient rhetoricians from Greek and Roman rhetorics to Medieval and Renaissance rhetorics. Along the way, I attend to terms of art such as ideai, kephalaia, modi positionum, and figura rerum to explore the multidimensional, responsive, synthetic, distributive, variable, and transformational possibilities of rhetorical arrangement. I find that ancient Greek discourse theorists understand arrangement as integral to composition; that other Greeks and Romans recognize the responsive and embeddable potential of mesostructures; that Medieval rhetoricians extend these practices and blur distinctions between the parts of an oration, invention, and the figures of thought; and that the Erasmian tradition clearly combines the figures of thought with the parts of an oration to show how the parts of an oration can be considered discoursal figures. In terms of the history of rhetoric, this dissertation recovers and traces pre-modern and early-modern structural concepts and their explicit and implicit theories and pedagogies. By attending to these examples of pre-nineteenth century units of discourse, my study adds to discussions among historians of rhetoric concerning the Sophists, stasis theory, progymnasmata, Medieval composition, and Renaissance stylistics. In terms of rhetoric and writing studies, this dissertation situates rhetorical arrangement among writing studies, linguistics, psychology, and communication studies; accounts for shifts of structural concepts from writing studies to adjacent fields; and offers new theoretical and methodological ways of thinking about and teaching genre moves. The theories I recover and principles I explore can serve as a fresh basis for thinking about arrangement and form in composition for scholars, teachers, and students.Item W.A. Mozart's Die Zauberflöte An Arrangement and Performance Edition for Wind Instruments and Vocal Soloists(2016) Rivera, Anthony; Votta, Michael; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this dissertation is to produce a new Harmonie arrangement of Mozart’s Die Zauberflöte suitable for modern performance, bringing Joseph Heidenreich’s 1782 arrangement—one of the great treasures of the wind repertoire—to life for future performers and audiences. I took advantage of the capabilities of modern wind instruments and performance techniques, and employed other instruments normally found in the modern wind ensemble to create a work in the tradition of Heidenreich’s that restored as much of Mozart’s original thinking as possible. I expanded the Harmonie band to include flute and string bass. Other instruments provide special effects, a traditional role for wind instruments in the Classical opera orchestra. This arrangement is conceived to be performed with the original vocal soloists, making it a viable option for concert performance or for smaller staged productions. It is also intended to allow the wind players to be onstage with the singers, becoming part of the dramatic action while simultaneously serving as the “opera orchestra.” This allows creative staging possibilities, and offers the wind players an opportunity to explore new aspects of performing. My arrangement also restores Mozart’s music to its original keys and retains much of his original wind scoring. This arrangement expands the possibilities for collaboration between opera studios, voice departments or community opera companies and wind ensembles. A suite for winds without voices (currently in production) will allow conductors to program this major work from the Classical era without dedicating a concert program to the complete opera. Excerpted arias and duets from this arrangement provide vocalists the option of using chamber wind accompaniment on recitals. The door is now open to arrangements of other operas by composers such as Mozart, Rossini and Weber, adding new repertoire for chamber winds and bringing great music to life in a new way.