College of Arts & Humanities
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The collections in this community comprise faculty research works, as well as graduate theses and dissertations.
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Item "Many Hands Hands": Early Modern Englishwomen's Recipe Books and the Writing of Food, Politics, and the Self(2006) Field, Catherine; Donawerth, Jane; English; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)"Many Hands Hands" is a study of early modern Englishwomen's recipe (or "receipt") books. It traces how women explored and expressed matters of food, politics, and self in culinary, medicinal, and cosmetic recipes. The receipt book genre was closely associated with the work of the early modern house, where women were accepted as authorities in matters of household management; thus, the receipt book was particularly accessible to women as they searched for modes of self-expression. Through recipe practice, the housewife managed her own body, as well as the bodies of those under her care (such as her husband, children, servants, and neighbors); at the same time, she occasionally exerted pressure on the body politic of the state. In this period, domestic activities within the home were often politicized, and I argue that the housewife's role and recipe practice were considered central to definitions of English nationhood. In addition to surveying women's manuscript recipe collections, I also analyze printed representations of their recipe practice from the beginning and middle of the seventeenth century. In Shakespeare's All's Well that Ends Well (c.1604), the female practitioner is represented as powerful and capable, yet Helen's specialized knowledge about the (royal) male body makes her a troubling and disturbing figure to the other characters in the play, including Bertram of Rossillion, the man she hopes to marry. The play ultimately valorizes Helen's practice, however, and it reinforces an empirical world view, where with the proper "how to" (or recipe), bodies are knowable and healable, in spite of their transgressive (if predictable) desires. By the middle of the seventeenth century, "how to" books of recipes (in print and in manuscript) come to be increasingly influenced by utopian writings. Printed cookbooks attributed to women reveal utopian longings in the form of royalist nostalgia, a desire to reclaim the past as a place of good household management and national economy. Recipes became a mode through much women and men could reflect on the "how to" workings of the body in order to improve the health of the individual and, ultimately, the body politic of the state.Item SAMUEL MORTON, JOSIAH NOTT, AND THE ORIGINS OF THE `AMERICAN SCHOOL': AUTHORITY, GENIUS, AND SYSTEMS-BUILDING IN NINETEENTH CENTURY ETHNOLOGY(2009) Donohue, Christopher R.; Ridgway, Whitman H.; History; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This thesis traces the origin and development of the "American School" of ethnology from the natural historical debate over the nature of hybridity and the definition of species between the naturalist John Bachman and the ethnologist Samuel George Morton to the posthumous management of Samuel Morton's reputation and authority by the physician and ethnologist Josiah Nott and his collaborators in Types of Mankind for the purposes of establishing themselves as ethnological authorities in their own right.Item The Many Faces of Paul Hindemith(2006) WANG, SZU-YING; Stern, James; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The purpose of this project is to present selected violin pieces by Paul Hindemith (1895-1963) against a backdrop of the diverse styles and traditions that he integrated in his music. For this dissertation project, selected violin sonatas by Hindemith were performed in three recitals alongside pieces by other German and Austro-German composers. These recitals were also recorded for archival purposes. The first recital, performed with pianist David Ballena on December 10, 2005, in Gildenhorn Recital Hall at the University of Maryland, College Park, included Violin Sonata Op.11, No. 1 (1918) by Paul Hindemith, Sonatina in D Major, Op. 137 (1816) by Franz Schubert, and Sonata in E-flat Major, Op.18 (1887) by Richard Strauss. The second recital, performed with pianist David Ballena on May 9, 2006, in Gildenhorn Recital Hall at the University of Maryland, included Sonata in E Minor, KV 304 (1778) by Wolfgang Amadeus Mozart, Sonata in E (1935) by Paul Hindemith, Romance for Violin and Orchestra No.1 in G Major (1800-1802) by Ludwig Van Beethoven, and Sonata for Violin and Piano in A minor, Op. 105 (1851) by Robert Schumann. The third recital, performed with David Ballena and Kai-Ching Chang on November 10, 2006 in Ulrich Recital Hall at the University of Maryland, included Violin Sonata Op.12 No.1 in D Major (1798) by Ludwig Van Beethoven, Sonata for Violin and Harpsichord No.4 in C Minor BWV 1017 (1720) by J.S. Bach, and Violin Sonata Op.11 No.2 (1918) by Paul Hindemith. For each of my dissertation recitals, I picked a piece by Hindemith as the core of the program then picked pieces by other composers that have similar key, similar texture, same number of movements or similar feeling to complete my program. Although his pieces used some classical methods of composition, he added his own distinct style: extension of chromaticism; his prominent use of interval of the fourth; his chromatic alteration of diatonic scale degrees; and his non-traditional cadences. Hindemith left behind a legacy of multi-dimensional, and innovative music capable of expressing both the old and the new aesthetics.Item VIRTUOSO PIANO ARRANGEMENTS BASED ON OPERA, SONG AND WALTZ(2008) Yi, Chi-Hsin; Dedova, Larissa; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Piano arrangement refers to piano music that borrows and reworks from existing music. As a result of its popularity and vast publications, this particular genre was established during the nineteenth century. This performance dissertation concentrates on virtuosic piano pieces that originally based on opera, song or waltz. From the perspective of musical form, this selection of works aims to show the diversification, as the originals of the three types- opera, song and waltz- contrasts drastically in length, format, and the performing force. The operatic arrangements are generally characterized with technical brilliance and luxurious sonority. Among the nine arrangements, Liszt's Reminiscences de Norma stands out as the only fantasy that embodies its unique dramatic view to the entire opera. The other eight pieces took shape from instrumental and vocal music of single operatic scenes by Brahms, Backhaus, Liszt, Moszkowski, Ravel, Saint-Saens, Sgambati and Tausig. The second selection includes ten pieces originated from art songs and arranged by Liszt, Thalberg, Grainger, Godowsky, and Grieg. Liszt's works are emphasized in this selection for the seamless union of poetry, music, and virtuosic technique serves as the aesthetic basis. When transcribing from other composers' songs, a distinct feature of confrontation between two contrasting personalities and alteration of musical styles are often clearly evident. The third selection consists of waltz arrangements by Dohm1nyi, Friedman and Grtinfeld, which perfectly express the gallant and glamorous Viennese spirit. These simple waltz melodies or themes charm through the effectiveness of brilliant piano texture. In retrospect, these piano arrangements reveal tremendous possibilities of the piano, including the piano's capacity to approximate orchestral effects, incorporate different vocal elements, and mimic the style of nineteenth-century improvisations. They suggest challenges beyond virtuosic technique and inspire the performer's sense of drama, poetry, color, and imagination.Item MUSICAL THEATER AND THE CLASSICAL VOICE: CROSSOVER SINGING IN THE TWENTIETH CENTURY(2009) Chung, Kotnim; Mabbs, Linda; Music; University of Maryland (College Park, Md.); Digital Repository at the University of MarylandThis dissertation explores the transformation of opera comique (as represented by the opera Carmen) and the impact of verismo style (as represented by the opera La Boheme) upon the development of operetta, American musical theater and the resultant change in vocal style. Late nineteenth-century operetta called for a classically trained soprano voice with a clear vibrato. High tessitura and legato were expected although the quality of the voice was usually lighter in timbre. The dissertation comprises four programs that explore the transformation of vocal and compositional style into the current vocal performance practice of American musical theater. The first two programs are operatic roles and the last two are recital presentations of nineteenth- and twentieth- century operetta and musical theater repertoire. Program one, Carmen, was presented on July 26, 2007 at the Marshall Performing Arts Center in Duluth, MN where I sang the role of Micaela. Program two, La Boheme, was presented on May 24,2008 at Randolph Road Theater in Silver Spring, MD where I sang the role of Musetta. Program three, presented on December 2, 2008 and program four, presented on May 10, 2009 were two recitals featuring operetta and musical theater repertoire. These programs were heard in the Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center in College Park, MD. Programs one and two are documented in a digital video format available on digital video disc. Programs three and four are documented in a digital audio format available on compact disc. All programs are accompanied by program notes also available in digital format.Item MUSICAL WITNESSES: PROKOFIEV AND SHOSTAKOVICH DURING THE SOVIET ERA- SOLO PIANO, DUOS AND VOCAL CHAMBER MUSIC(2009) Sinaisky, Ilya; Sloan, Rita; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Composing in many different musical forms, Prokofiev and Shostakovich both reflected the turbulent, often overwhelming times in which they lived while being denounced by Soviet authorities as "imitators of decadent, Western bourgeois art." Starting in 1936, having been accused with other artists and writers of "anti-people Formalism", both composers adapted to these new circumstances. Prokofiev turned to composing music for children, films and ballet, while Shostakovich sought refuge in chamber works. Being denounced again in 1948 for "bourgeois Formalism, anti- melodious content and lack of understanding of Soviet heroism", each composer's health and financial situation worsened. Wordless protests found their way into Prokofiev and Shostakovich's music. Examples include grotesque, brutal musical gestures (the 2nd movement of Prokofiev's F minor Violin and Piano Sonata), musical codes and/or quotes (the Shostakovich Viola and Piano Sonata), and symbolic sounds ('bell' sounds reminiscent of Russian Orthodox Churches, 1st movement of the Prokofiev's F minor Violin and Piano Sonata; the 'knocking-at -the-door' rhythm in Shostakovich's Viola and Piano Sonata). Knowing more about Prokofiev and Shostakovich being victimized by the Soviet Union's totalitarian regime, I understood their music as a testimony to their times. This helped me to better appreciate and interpret both composers' musical intents and subtleties. My performance dissertation explored sonatas for piano with cello, violin, viola and flute, vocal chamber music with piano and solo and duo piano works, all written during the composers' years under Soviet control. These works were performed in three recitals at the University of Maryland, documented on compact disc recordings.Item SELECTED ACCOMPANIED AND UNACCOMPANIED FLUTE WORKS OF RIVIER, BOZZA, AND FRANCAIX(2008) Kazik, Kelly Ann; Montgomery, William; Music; University of Maryland (College Park, Md.); Digital Repository at the University of MarylandA great deal of flute music written during the twentieth century was the product of French composers for French flutists. Through the course of the century some composers and compositions made it into the standard repertory while the flute works of Rivier, Bozza, and Francaix remained on the periphery. (The composers are listed and discussed chronologically based on date of birth rather than alphabetically.) This dissertation focuses on the accompanied and unaccompanied flute works of these men. It seeks to bring to light works that are almost totally unknown, and places them in relation to the works that have made it into the secondary repertory. The pieces chosen for this project represent each period of the composers' output in relation to the flute works. This dissertation follows the stylistic and technical traits found in the flute works of each composer and, when appropriate, compares the traits among the composers. The following is a list of the works performed: Rivier's Oiseaux tendres, Sonatine, Concerto, Ballade, Virevoltes, Trois Silhouettes, Comme une tendre berceuse . ..; Bozza's Image, Aria, Divertissement op. 39, Soir dans les montagnes, Trois Impressions, Concertina da camera, Cinq Chansons sur des themes Japonais, Phorbeia; Francaix's Divertimento, Concerto, Suite, and Sonate. The written part of this performance dissertation includes biographical information on each composer, program notes for each piece performed, a discography, and a selected bibliography.Item PHILIPPE ROGIER (c.1561-1596): MISSA INCLITA STIRPS JESSE. A CRITICAL AND PERFORMING EDITION WITH PERFORMANCE COMMENTARY(2008) Cave, Philip George; Maclary, Edward; Music; University of Maryland (College Park, Md.); Digital Repository at the University of MarylandThe dissertation comprises two parts: (a) a musical edition and (b) a performance given on 3 July, 2008 of Philippe Rogier’s Missa Inclita stirps Jesse. The dissertation explores some of the editorial decisions required, how the demands of performers and musicologists differ, and whether they can be reconciled in one single edition. The commentary explains the preparation and realization of the edition. A video recording of the concert performance is attached to the dissertation. The Mass: The Missa Inclita stirps Jesse was published in Madrid in 1598 in a collection entitled Missae Sex. The mass setting is for four voices, except the Agnus Dei, which is for five, and is based on musical material in the motet Inclita stirps Jesse by Jacobus Clemens non Papa (c. 1510-15 – c.1556-6). Rogier’s choice and use of musical material from the motet (published in 1549) are discussed in the dissertation. The Edition: The edition is made from a microfilm copy of the Missae Sex held in the Biblioteca del Conservatorio de Musica “Giuseppe Verdi” in Milan. The Missae Sex was originally dedicated to King Philip II of Spain (1527-1598, reg. 1556-1598), whom Rogier had served as chorister and then maestro de capilla. Both Rogier and King Philip died before the volume was ready for publication. One of Rogier’s pupils, Géry de Ghersem, prepared the volume, which was printed in 1598, dedicated to King Philip III. The Performance: The mass was performed at a concert of Spanish Renaissance music in St. Matthew’s Cathedral, Washington, DC, on 3 July 2008, sung by the ensemble Orpheus directed by Philip Cave as part of the Chorworks summer workshop entitled Kings and Conquistadors: Music of Old and New Spain.Item UNDER-APPRECIATED VIOLIN REPERTOIRE OF THE TWENTIETH CENTURY(2009) Lee, Yu Jeong; Stern, James; Music; Music; University of Maryland (College Park, Md.); Digital Repository at the University of MarylandFrom the countless number of works in the violin repertoire, only a relatively few are chosen to be played regularly. For instance, the premier of Beethoven’s Violin Concerto was not successful, and the work was neglected until the late 19th century, when it was revived by Joachim. I strongly believed that we should not stop discovering and bringing forgotten and under-appreciated masterpieces to our audience so that we may prevent these works from being buried permanently. This was the purpose and the title of my dissertation project. Selections for my dissertation programs consisted of works by relatively unknown composers or lesser-known pieces by well-known composers. In addition, I did try to make the program as varied as possible: I played a violin concerto and solo violin piece as well as regular violin sonatas. As I looked for such works, and prepared all the recitals it often occurred to me that I was getting lost in the midst of thousands of under- appreciated treasures which I felt the need to rescue. Furthermore, all of them were the kinds of works that definitely required much more of my time and effort to research and to learn than standard repertoire that could be easily heard in recordings and read about, for the limited accessible information about them and technical difficulties. Therefore, I basically selected the pieces for the three dissertation recitals among those works I most wanted to learn immediately. My project included Arvo Pärt’s Fratres for Violin and Piano, Béla Bartók’s Sonata No.2 for Violin and Piano, Ottorino Respighi’s Violin Sonata, Leoš Janáček’s Violin Sonata, Carl Nielsen’s Violin Concerto, Karl Goldmark’s Ballade, Karol Szymanowski’s Violin Sonata, Krzysztof Penderecki’s Cadenza for Solo Violin, and André Previn’s Tango Song and Dance. The pianists for these performances were Juny Jung and Hyun Jung Kim for the first two recitals, and Hye Jin Lee for the last one. My thirst for researching and playing hidden treasures of the past for my audiences will not end after I complete my degree, and I am sure that this project will go on throughout my whole musical life.Item VARIATION FORMS: A SURVEY THROUGH FOUR CENTURIES OF VIOLIN REPERTOIRE(2009) Choi, Yunjung; Fischbach, Gerald; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Variation, or the re-working of existing musical material, has consistently attracted the attention of composers and performers throughout the history of Western music. In three recorded recitals at the University of Maryland School of Music, this dissertation project explores a diverse range of expressive possibilities for violin in seven types of variation form in Austro-German works for violin from the 17th through the 20th centuries. The first program, consisting of Baroque Period works, performed on period instrument, includes the divisions on “John come kiss me now” from The Division Violin by Thomas Baltzar (1631 – 1663), constant bass variations in Sonate Unarum Fidium by Johann Heinrich von Schmelzer (1623 – 1680), arbitrary variation in Sonata for Violin and Continuo in E Major, Op. 1, No. 12 “Roger” by George Friedrich Händel (1685 – 1759), and French Double style, melodic-outline variation in Partita for Unaccompanied Violin in B Minor by Johan Sebastian Bach (1685 – 1750). Theme and Variations, a popular Classical Period format, is represented by the Sonata for Piano and Violin in G Major K. 379 by Wolfgang Amadeus Mozart (1756 – 1791) and Sonata for Violin and Piano in A Major, Op. 47 No. 9 the “Kreutzer” by Ludwig van Beethoven (1770 – 1827). Fantasy for Piano and Violin in C Major D. 934 by Franz Schubert (1797 – 1828) represents the 19th century fantasia variation. In these pieces, the piano and violin parts are densely interwoven, having equal importance. Many 20th century composers incorporated diverse types of variations in their works and are represented in the third recital program comprising: serial variation in the Phantasy for Violin and Piano Op.47 of Arnold Schoenberg (1874 – 1951); a strict form of melodic-outline variation in Sonate für Violine allein, Op. 31, No. 2 of Paul Hindemith (1895 – 1963); ostinato variation in Johan Halvorsen’s (1864 – 1935) Passacaglia for Violin and Viola, after G. F. Handel’s Passacaglia from the Harpsichord Suite No. 7 in G Minor. Pianist Audrey Andrist, harpsichordist Sooyoung Jung, and violist Dong-Wook Kim assisted in these performances.