Music

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13 Episodes for String Quartet
(2019) Dizon, Quinn Gareth; Wilson, Mark E; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
13 Episodes for String Quartet is an original composition with an approximate duration of 38 minutes. A dramatic narrative unfolds over a 13-movement arch form as two intervals, a tritone and a perfect fifth, are presented and explored in different harmonic and melodic contexts. As these two opposing forces compete for the foreground, a gradual shift takes place from musical material that is audibly tritone based to material that is audibly perfect fifth based. To help realize the structure and content for this composition, I developed a computational method to generate and parse pitch-class sets based on user supplied interval content and filter criteria. I call this Binary Harmony. In this method, I generate sequences of pitches, where each dyadic adjacency in the sequence forms one of two provided pitch class-intervals. The principal musical material for each movement is generated using this computational method.
20th Century French Oboe Repertoire from Two Groups of Composers: "Le Triton and "Le Jeune France"
(2006) Kim, Yeong Su; Hill, Mark; Music; University of Maryland (College Park, Md.); Digital Repository at the University of Maryland
21st CENTURY AMERICAN TRUMPET SONATAS: THE PERFORMANCE PRACTICE AND PEDAGOGICAL INFLUENCES OF FOUR SONATAS
(2024) Rudy, Brennan; Gekker, Paul C; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
Sonatas for trumpet and piano have played an impactful role in the development of the trumpet as a recital instrument. Thorvald Hansen’s 1903 sonata for cornet and piano was the earliest sonata for our instrument, later leading to the first two sonatas for the Bb trumpet and piano in 1939 by German composer Paul Hindemith and Soviet composer Boris Asafiev. The first American sonata for trumpet and piano was written by Harold Shapero in 1940 and was dedicated to his teacher, Aaron Copland. These early sonatas led to other prominent 20th Century trumpet sonatas that were written by American composers Kent Kennan, Halsey Stevens, and Eric Ewazen. As a modern solo instrument, performance and pedagogical practices for the trumpet are strongly based on compositions of the 20th Century or earlier. As we are now almost 25 years into the 21st Century, trumpet sonatas and their composers have continued to evolve and create a lasting impact on the use of the trumpet and its pedagogy. This dissertation will discuss the pedagogical impacts and musical developments of several 21st Century sonatas for trumpet and piano. Accompanying this dissertation are four recordings of some of the most recently published trumpet sonatas from 2015-2023, each by American composers of diverse backgrounds. The four recorded sonatas previously had very few or no professional recordings and exemplify modern developments on traits originally established by composers of early trumpet sonatas. Through this dissertation and accompanying recordings, I hope to encourage the use of modern trumpet sonatas for application in pedagogical instruction, performances, and college and university juries and entrance auditions.
45 Concert Etudes on the Themes of Richard Strauss, Gustav Mahler, and Johannes Brahms
(2007-04-25) Miller, Brett; Miller, Gregory; Sparks, Rich; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The composition of these etudes was influenced by Franz Strauss' pedagogical study, 17 Concert Studies for Valve-horn after themes from Beethoven. Strauss' etudes were designed as pedagogical tools to enhance his students' abilities on the horn as well as to enable greater ease in the performance of the works of Beethoven. Strauss borrows themes from Beethoven, each of which is woven into an etude designed around specific technical goals. Each etude is designed as a concert piece, rather than a repetitive technical etude. The etudes of particular interest are those Strauss has composed based on Beethoven's Second Symphony, Fifth Symphony, and Sixth Symphony. Strauss has taken challenging symphonic passages from each, creating etudes that contain the original excerpts, while pushing them far beyond the level of their inherent difficulty. Following Franz Strauss' example, this project involves the creation of 45 concert etudes that are based on themes from the works of Richard Strauss, Gustav Mahler, and Johannes Brahms. Each etude focuses on particularly demanding technical or musical challenges that horn players encounter in preparing these works for performance or audition. Each etude is composed in a manner that is stylistically coherent with the composer upon whose theme it is based. While striving to make each etude extremely challenging, each etude is composed so that it could be performed as an unaccompanied recital piece. Each etude pushes the technical envelope past the excerpt upon which it is based, whether the etude is based on articulation, dynamic control, transposition, lyricism, or pure finger technique. It is intended that achieving mastery on a particular etude will directly translate into an overall ease in performing the work upon which it is based. Furthermore, these etudes will develop technique that musically liberating than constant repetition of a particular excerpt. Therefore, these etudes are not only beneficial to those who are learning the orchestral literature from the ground up, but for those who need a new way in which to practice and to enhance their understanding of a particular excerpt.
Above the Horizon, for orchestra
(2011) Jaskot, Matthew Joseph; Wilson, Mark E; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
Above the Horizon is a two-movement composition for orchestra of roughly sixteen and a half minutes. The piece explores a variety of musical characteristics that have been important in my recent work, including the textural difference between active and static music. In this piece, I try to find various ways of superimposing these seemingly contrasting ideals. For example, a section of music that is not driven by pulse or harmonic change and is therefore static may be animated by active musical gestures such as tremolandi, trills or repetitions of single pitches. This technique helps to provide a constant sense of energy even within the slower, more reflective sections. Another important characteristic involves using timbre changes to transform single pitches and/or larger harmonic units. The orchestral medium, with its broad spectrum of colors, was a logical choice for this aesthetic consideration. The first movement, Cloud Formations, considers how the registral placement of pitch affects the resulting sound of similar harmonies, mainly through the opposition of open-spaced harmonies and cluster chords. The piece can be divided into three main formal sections, the first of which slowly unfolds the primary harmonic material, an openly spaced five-pitch chord that expands in a wedge-shaped motion. The second section shifts the focus to clusters, concentrating the pitch material into narrower but densely packed registral bands. The third section combines ideas from the previous two and leads to a forceful orchestral tutti before a short coda ends the movement. The second movement, Fireworks, consists of an energetic sound world that is motivated by the initial brass chords. The reiteration of these chords leads to the first of three main formal sections, where an underlying sixteenth note pulse that is irregularly accented provides a background for multiple layers of music. A contrasting second section lacks a regular pulse, is more chromatic and focuses on high and low registral extremes. The final section begins with a single trill-like figure before forceful repetitions of dense harmonies, rushing scalar gestures and repeated yet staggered pitch patterns provide the material for the end of the piece.
Adaptive Reuse: a chamber symphony for 13 musicians
(2017) Wixon, Henry Ross; Gibson, Robert L; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
Adaptive Reuse is a chamber symphony of approximately 14 minutes 30 seconds in four continuous movements and is scored for 13 musicians: 1 flute (doubling piccolo); 1 oboe (doubling English horn); 1 B-flat clarinet (doubling bass clarinet); 1 horn in F; 1 trumpet in C; 1 percussionist (quad toms and vibraphone); 3 violins; 2 violas; 1 cello; and 1 double bass. The piece explores the term “adaptive reuse:” the repurposing of old buildings to meet a community’s changing needs while preserving sites of historic value. Whether in the form of rustic tables made from reclaimed barn timbers or mixed-use developments that breathe new life into derelict industrial buildings, the notion of adaptive reuse combines our society’s increased awareness of the earth’s limited resources with our demand for authenticity. This concept is ideally suited to musical materials as well: since the Middle Ages, Western composers have reused their own music and the compositions of others or have simply found inspiration in older, more “learned,” forms throughout every stylistic period. The musical materials of Adaptive Reuse are drawn from my 2007 solo bass clarinet work Requiem for Dead Wood; I develop the original composition’s compelling motives through non-tonal and rhythmically asymmetrical explorations. The first movement, “Reclaimed Wood,” acknowledges the source material (Dead Wood) and the aforementioned repurposing of old construction materials into furniture or architectural details. The second, “Persons of Record,” divides the ensemble into two competing choirs, reflecting the attempts by impassioned speakers to sway community members at public hearings. “Request for Proposal,” refers to the solicitation of bids from developers; in this movement, I rework a second-movement countermelody through several guises (“proposals”) using a number of compositional schemes. As the subtitle “Old and New” suggests, the final movement conveys the dual outcomes of adaptive reuse: first, the ensemble coalesces into the only true climax of the piece for one shimmering moment—its new purpose—and second, the opening material returns, indicative of the preservation inherent to this type of development.
The Aesthetics of Motion in Musics for the Mevlana Celal ed-Din Rumi
(2007-06-04) Vicente, Victor Amaro; Provine, Robert C.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
This dissertation investigates the concept of motion as a fundamental aesthetic element in the devotional music, dance, and rituals performed in honor of the celebrated thirteenth-century Persian mystic poet and saint, the Mevlana Celal ed-Din Muhammad Rumi. The main focus of the study is threefold. First, it investigates the prevalence of the notion of movement in Islamic music and culture, specifically within the Sufi communities of Turkey, in order to arrive at a broader understanding of the relationship between music, aesthetics, and worldview. Secondly, it explores how musical performance functions as a form of devotion or religious worship by focusing on the musical repertories performed in honor of a single holy figure, the Mevlana Rumi. Finally, it provides an ethnographic account of contemporary developments in Sufi musical culture in Turkey and across the world by describing the recent activities of the Mevlana's devotees, which includes members of the Mevlevi Order of Islamic mystics as well as adherents of other Sufi brotherhoods and followers of so-called New Religions or New Age. The primary research for this study involved two short one-month field trips to Turkey and India in 2002 and 2003, respectively, and a longer one year expedition to Turkey in 2004 and 2005, which also included shorter stays in Cyprus, Syria, and Egypt. Additionally, the dissertation draws directly from critical theories advanced in the fields of ethnomusicology, cultural anthropology, and ethnochoreology and focuses on the kinesthetic parameters of music, dance, trance, and ritual as well as on broader forms of socio-cultural movement including pilgrimage, cultural tourism, and globalization. These forms of movement are analyzed in four broad categories of music used in worship, including classical Mevlevi music, music of the zikr ceremony, popular musics, and non-Turkish musics.
Affecting Eternity: The Pedagogical Influence of Olivier Messiaen
(2020) Welch, Andrew; Sloan, Rita; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
Olivier Messiaen was among the most prominent and prodigious composer-teachers of the 20th century, teaching scores of students while holding two positions at the Conservatoire de Paris, first as professor of analysis, then as professor of composition. This dissertation explores the connections that can be established through three generations of composers: the composers whose works Messiaen lectured on, his own works, and works by the students of Messiaen. The repertoire considered centers on the piano in various solo and collaborative settings, including operatic reductions, art song, and instrumental chamber music. An effort was made to include students from different periods of Messiaen’s teaching career and representatives of different aesthetic traditions, including serialism, neo-expressionism, European minimalism, and others. Compositions by composers preceding Messiaen were chosen because they were most important to Messiaen and his philosophies. All of these works and composers are assembled here in order to represent the breadth and diversity of Messiaen’s teaching, which enabled his students to find distinct voices in the postwar musical scene. This repertoire was performed over the course of three recitals on November 15th, 2019, March 8th and May 6th, 2020, with the first two recitals held in the Gildenhorn Recital Hall at the University of Maryland, and the third recital streamed live from the living room of the pianist. Recordings of these three recitals can be found in the Digital Repository at the University of Maryland (DRUM).
African-American Composers for the Concert Saxophone: A Look at Three Prolific Composers
(2014) Perez, Brian Nicholas; Votta, Michael; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
African-American composers within the field of classical music have made very profound contributions to the literature. In the field of chamber music, Scott Joplin, William Grant Still, Adolphus Hailstork and other composers illustrious composers have created an established and well-documented body of repertoire for many orchestral wind instruments. The saxophone repertoire, however, has not been developed as fully due to its limited tradition as an orchestral instrument and its prominence in the tradition of jazz and popular music. African-American composers in particular appear to be significantly under-represented within the standard concert saxophone literature. My personal experiences with saxophone repertoire in academic settings, solo recitals, conferences and in surveys of standard repertoire from nationally-recognized saxophone teachers support this assertion. There are many African-American composers who have made substantial contributions to the body of repertoire for the concert saxophone. This dissertation examines the works of three prolific African-American composers for the concert saxophone; Dr. Yusef A. Lateef, Andrew N. White III, and Dr. David N. Baker. All have composed more than five separate works featuring the concert saxophone. This project comprises three recitals, each dedicated to one of the three composers selected for this dissertation. Each recital presented will present their compositions featuring the saxophone as a soloist with various types of accompaniment. The project also includes newly-created piano reductions of Dr. David Baker's works for saxophone and orchestra made collaboratively with Baker and arranger John Leszczynski.
Afro-Cuban Bata Drum Aesthetics: Developing Individual and Group Technique, Sound and Identity
(2003-12-05) Schweitzer, Kenneth George; Provine, Robert C; Music
The Lucumi religion (also Santeria and Regla de Ocha) developed in 19th-century colonial Cuba, by syncretizing elements of Catholicism with the Yoruba worship of orisha. When fully initiated, santeros (priests) actively participate in religious ceremonies by periodically being possessed or "mounted" by a patron saint or orisha, usually within the context of a drumming ritual, known as a toque de santo, bembe, or tambor. Within these rituals, there is a clearly defined goal of trance possession, though its manifestation is not the sole measure of success or failure. Rather than focusing on the fleeting, exciting moments that immediately precede the arrival of an orisha in the form of a possession trance, this thesis investigates the entire four- to six-hour musical performance that is central to the ceremony. It examines the brief pauses, the moments of reduced intensity, the slow but deliberate build-ups of energy and excitement, and even the periods when novices are invited to perform the sacred bata drums, and places these moments on an equal footing with the more dynamic periods where possession is imminent or in progress. This document approaches Lucumi ritual from the viewpoint of bata drummers, ritual specialists who, during the course of a toque de santo, exercise wide latitude in determining the shape of the event. Known as omo Ana (children of the orisha Ana who is manifest in drums and rhythms), bata drummers comprise a fraternity that is accessible only through ritual initiation. Though they are sensitive to the desires of the many participants during a toque de santo, and indeed make their living by satisfying the expectations of their hosts, many of the drummers' activities are inwardly focused on the cultivation and preservation of this fraternity. Occasionally interfering with spirit possession, and other expectations of the participants, these aberrant activities include teaching and learning, developing group identity or signature sound, and achieving a state of intimacy among the musicians known as "communitas."
Agility and Fioratura: The Foundation of Coloratura Soprano
(2007) Lee, Jung-A; Mabbs, Linda; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purpose of my dissertation project to explore the coloratura repertoire and the technical requirements needed to sing it: a repertoire which requires flexibility to navigate through technically challenging passages as well as the skill to control the legato requirements and the freedom needed to execute, with brio, passages of the high range. This dissertation project comprises two major roles in staged performances of Der Schauspieldirektor (The Impresario), by W. A. Mozart and Lucia di Lammermoor (The Bride of larnmerrnoor) by G. Donizetti, as well as a recital presenting coloratura concert and song repertoire. These recordings are available through the Michelle Smith Performing Arts Library in Clarice Smith Performing Arts Center at University of Maryland, College Park.
"Alan Lomax's iPod?": Smithsonian Global Sound and Applied Ethnomusicology on the Internet
(2007-05-08) Font, David Octaviano; Dueck, Jonathan; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The phenomenon of digital music on the Internet marks a turning point in the way human beings make, listen to, and share music. Smithsonian Global Sound is, variously: 1) a digital music download service; 2) the central hub of a network of digital music archives; and 3) the Internet branch of Smithsonian Folkways Recordings. Like all things vital, Smithsonian Global Sound is also developing rapidly. This thesis synthesizes a brief history of the Smithsonian Global Sound project, explores some of the vital issues related to the project, and offers a series of observations and recommendations for the project's development. Tracing the roots of Smithsonian Global Sound back to early archival efforts by music scholars, Moses Asch's Folkways Records, the acquisition of the Folkways catalog by the Smithsonian, and the development and launch of Smithsonian Global Sound, the project is examined as a example of applied ethnomusicology on the Internet.
Alexander Nikolaevich Skrjabin: From Romanticism to the Mystic Chord, the Ten Piano Sonatas and 24 Preludes, Opus 11
(2007) Ragone, Aldo; Dedova, Larissa; Music; University of Maryland (College Park, Md.); Digital Repository at the University of Maryland
Alexander Nikolaevich Skrjabin, Russian pianist and composer, was a rarity - a musical mystic. Influenced by the writings of Fichte, Nietzsche, Schopenhauer, by Russian Symbolism, and the theosophy of Madame Helena Blavatsky, he developed his own ecstatic conception, believing that creation is the emanation of a Divine Principle and placing himself as a Promethean player in the drama that would change the destiny of the human race. Born in Moscow on Christmas Day, December 25, 1871 (Julian calendar) and dying prematurely on Easter, April 14, 1915, Skrjabin assigned himself the role of Messiah. In fact, he elaborated a theory that foretold the end of the world through a colossal cataclysm after the performance of his messianic work, "Mysterium," an event that would purify humankind and give birth to a joyful superhuman race, free of disease and struggle. Skrjabin, like many Russian composers of the last part of the 1 9century (Liadov, Glazunov, Cui, and others), fell under the sway of Chopin. As soon as 1897, though, Skrjabin diverged from his early style in the first sonata in F minor Opus 6 and later the twenty-four Preludes, Opus 11. Although he composed five symphonies, Skrjabin dedicated himself mainly to writing piano works, including the short forms favored by Chopin. However, it is his set of ten sonatas, written during a twenty-one year span between 1892 and 1913 that represents the core of his musical output. The ten sonatas can be divided into three compositional periods: sonatas 1- 3 belong to the first period (late romantic); sonatas 4-5 belong to the transitional period (fi-om late romantic style towards atonality); and sonatas 6-10 are clearly in Skrjabin’s late style, characterized by tonal instability and the use of musical symbols such as trills and intervals of the tritone, seventh, and ninth. However, the most important of his musical innovations was his famous "Mystic Chord (based on the notes C-F#-Bb- E-A-D), not only because it was meant to represent the initial chaos of the universe, the origin of the whole, but also because through it Skrjabin conceived the revolutionary harmonic system of all of his late works.
Alice Chalifoux -- The Legacy
(2004-02-04) Pike, Anastasia Natasha; Davis, Shelley; Pacholczyk, Jozef; Wakefield, John; Music
This thesis provides a glimpse into the life of one of the foremost musicians of the 20th century -- renowned performer and pedagogue, Alice Chalifoux. In order to gain insight into her life, the discussion begins by exploring a brief history of the harp, as well as a review of Miss Chalifoux's mentor and colleague, Carlos Salzedo. Miss Chalifoux is the representative of the Salzedo harp method and, many believe, his most outstanding student. Some argue that she actually surpasses her teacher both as performer and pedagogue. This project is focused primarily on Miss Chalifoux's public life as the former principal harpist of the Cleveland Orchestra (1931-1974), as well as her career as a teacher at the Cleveland Institute of Music, Oberlin-College Conservatory, Baldwin-Wallace College, and the University of Maryland, and her directorship of the Salzedo Summer Harp Colony of Camden, Maine.
All This the World Well Knows: a symphonic cantata in Sonnets and Proverbs for mixed chorus, four solo voices, and orchestra
(2010) Perry-Parrish, Joseph Adams; Wilson, Mark E; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
All This the World Well Knows is a 30-minute symphonic cantata for mixed chorus, four solo voices (soprano, mezzo-soprano, tenor, and baritone), and orchestra. The libretto, adapted by the composer, weaves together texts from Shakespeare's Dark Lady sonnets and from the King James Bible's book of Proverbs in a loose narrative of love, betrayal, and reconciliation. The composition's pitch material includes microtonality that arises from the just intonation of sonorities derived from the harmonic series. In passages in which the solo voices express this microtonality, they are amplified in order to allow precise, non vibrato intonation. The modest size of the orchestra, which includes pairs of winds and only two percussionists, makes the composition practical for a wide range of performing groups.
Alms for Soprano and Orchestra
(2014) Pierson, Joel; Gibson, Robert; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
Alms is a song cycle for soprano and orchestra in four movements, using five poems by Edna St. Vincent Millay as text. The poems are Alms, Afternoon On A Hill, Bluebeard, First Fig, and Second Fig. Due to the brevity of First Fig and Second Fig, I set these poems as one movement. The instrumentation is 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, 4 percussion (including timpani), harp, piano, and strings. I have been drawn to the poetry of Millay for many years, and have set a few of her poems in the past. While Millay was not a progressive in terms of poetic structure or meter, her subject matter was groundbreaking, and her works contain an alluring balance between modernism and tradition. This balance runs somewhat in parallel to my music, which maintains some semblance of tonal structure, while also venturing into more contemporary techniques. A product of the Jazz Age, I believe that some of Millay's artistic perspective has a home in my music, which relies on jazz harmony and shows great appreciation of early twentieth-century popular and art music. The roots of this particular piece come from a desire to create a large orchestral work which has an underpinning of jazz harmony, but without most of the rhythmic or cultural associations that are attached to composing "jazz". I employ ninths, elevenths, and thirteenths, so typical of jazz, but not in terms of chord progressions moving by fifths or resolving with a conventional sense of voice leading. Much of the harmony is voiced without regard for the traditional hierarchy of tonal music, despite the fact that the chords and progressions themselves contain almost exclusively "tonal sounding" chords. The purpose of composing this way is to create textures which are both unpredictable and contemporary, yet approachable by a listener who has little exposure to present-day art music. This is how I interpret the work of Millay - a modern artistic endeavor which still has roots in tradition.
Amateur and Professional, Permanent and Transient: Orchestras in the District of Columbia, 1877–1905
(University of Chicago Press, 2012) Warfield, Patrick
"AMBER LEAVES" FOR SOLO SITAR AND ELECTRONICS
(2012) Regulski, Thomas; Delio, Thomas; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
Amber Leaves is a composition for solo sitar and live electronics. The work constitutes a fusion between Western musical composition and Indian classical music, which I have been studying simultaneously for the past seven years. The sitar's music draws heavily upon its traditional performance technique, while also introducing a number of extended techniques developed specifically for this piece. Compositionally, I rely minimally on the tonal elements of Indian music, choosing instead an approach to tonality consistent with my recent work. The instrument is amplified by four loudspeakers, which are positioned in a square around the audience. At the same time, a microphone is picking up the sound and sending it to a computer, where it is modulated in various ways. Once processed, the computer sends the sound out to the same loudspeakers. The speakers themselves play an important role in the composition, as the sound is constantly moving from one to another. A large portion of the electronic processing occurs in a patch that I programmed in Max/MSP. The patch creates a variety of musical responses based on a real-time spectral analysis of the sitar performance. This initial process establishes a fundamental relationship between the synthesized sound and the sitar's music. Furthermore, I make use of the programming language Lisp to perform a number of algorithms that aid in the generation of these sounds.
The American Contemporary Clarinet Concertos of John Corigliano, William Bolcom, Joan Tower, and John Adams
(2019) Rynes, Matthew; DiLutis, Robert; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The clarinet concertos by John Corigliano, William Bolcom, John Adams and Joan Tower are among the most technically demanding pieces for the instrument of the last half-century. Each of the four composers utilizes a unique musical language that borrows from earlier pieces and musical styles. All four concertos also challenge the clarinetist’s ability to interpret various musical styles from contemporary and popular genres. This document outlines the form of each concerto, the various compositional languages utilized by each composer, and the popular and contemporary genres borrowed in each concerto.
THE AMERICAN TUBA SONATA: A SURVEY OF WORKS WRITTEN BETWEEN 1959 - 2019
(2023) Cipriano, James; Votta, Michael; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purpose of this project is to explore the sonata repertoire written for tuba and piano by exclusively American composers. The musical selections occupy three distinct time frames during my educational and professional career and have been presented in three recitals in line with those periods. They were organized in the following manner; works that were standard repertoire for university students in the 1990s, works that appeared early in the 21st century that now hold a place in the standard repertoire, and works that have been composed within the last ten years:American Tuba Sonatas dating from 1959-1976 Walter Hartley - Sonata for Tuba and Piano Louis V. Pisciotta - Sonata for Tuba and Piano Alec Wilder - Sonata No. 1 for Tuba and Piano Bruce Broughton - Sonata for Tuba and Piano American Tuba Sonatas dating from 1998-2007Stephen Rush - Tuba Sonata Anthony Plog - Tuba Sonata Barbara York - Sonata for Tuba and Piano: “Shamanic Journey” John Cheetham - Sonata for Tuba and Piano American Tuba Sonatas dating from 2014-2019Quinn Mason - Sonata for Tuba and Piano: “Darkplace” Ian Lester - Sonata: “Hades: God of the Underworld” Frank Lynn Payne - Short Sonata Andrew Lewinter - Sonata for Tuba (or Bass Trombone) and Piano