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Item PERFORMANCE OF THE VIOLIN CONCERTO AND SONATAS OF JOHANNES BRAHMS WITH AN ANALYSIS OF JOSEPH JOACHIM'S INFLUENCE ON HIS VIOLIN CONCERTO(1997) Hsieh, I-Chun; Heifetz, Daniel; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, MD)This dissertation consists of a performance project and extensive studies of selected works by Johannes Brahms, including the Violin Concerto, Sonatensatz, and three Violin Sonatas. The performance project was presented in two recitals at the University of Maryland, College Park, on November 14, 1997, and November 16, 1997. The first recital featured Brahms' s Sonatensatz in C Minor, Violin Sonata No. I, Op. 78 in G Major, and Violin Sonata No. 3, Op. 108, in D Minor. The second recital included Brahms' s Violin Sonata No.2, Op. 100, in A Major and Violin Concerto Op. 77, in D Major. Section One gives an overview of this dissertation project. Section Two introduces the violin virtuoso Joseph Joachim, his relationship with Johannes Brahms, and Brahms' s life and major violin works. This section also analyzes Joachim' s performance practice and his teaching style. The end of this section focuses on the influence of Joseph Joachim on Brahms' s Violin Concerto and indicates the differences between Brahms' s original manuscript and the version suggested by Joachim. Section Three is composed of the programs of the two recitals. Section Four consists of program notes for the two recitals. The first recital was performed by I-Chun Hsieh, violin and Roy Hakes, piano. The second recital was performed by I-Chun Hsieh, violin and Chia-Hsuan Lee, piano.Item Symbolism in the Music of Lili Boulanger: an Analysis of Clairieres dans le ciel(1993) Dopp, Bonnie Jo; Davis, Shelley; Music; University of Maryland (College Park, Md); Digital Repository at the University of MarylandFrench composer Lili Boulanger (1893-1918) lived and worked at a time of experimentation and change in European musical techniques and aesthetics. Her documented interest in French Symbolist literature, her sheltered, sickly life and her mystic personal beliefs were reflected in a style of composition that grew more subjective as she matured. Analysis of her longest work, the song cycle Clairieres dans le ciel, when amplified by specific information about her life, reveals symbolism that parallels personal meanings contemporary Symbolist artists in literature and painting encoded in their work. Other composers of the period engaged in similar semiotic invention, though the term "Symbolist" is seldom applied to them. When critical hallmarks of Symbolist writings are employed, they support the assignation "Symbolist" to the music of Lili Boulanger.Item Thirty-Two Transcriptions for Piano of Organ Chorales of J.S. Bach(1995) Mortensen, John Joseph; Koscielny, Anne; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)Thirty-two new piano transcriptions of selected Bach organ chorales comprise this dissertation. Examples of the various types of the organ chorale are included. Seven pieces from the recently-discovered Neumeister Collection have also been transcribed . Each transcription is accompanied by a commentary which includes the text and translation of the German Reformation hymn upon which the piece is based, a discussion of the music itself and its relationship to the hymn text, and a description of the specific method used in transcribing the piece for piano. The transcriptions themselves cover a range of technical difficulties, from pieces intended for the student to compositions for public performance. Furthermore, some are arranged for piano duet, duo, and in one case, for two pianos, eight hands. The method of transcription varies from an attempt to approximate the organ sound to an approach in which creating a new, thoroughly pianistic timbre is the goal. In some cases significant portions of Bach's originals have been arranged in order to accommodate the piano and its sound.Item PERFORMANCE OF THE VIOLIN CONCERTO AND SONATAS OF JOHANNES BRAHMS WITH AN ANALYSIS OF JOSEPH JOACHlM'S INFLUENCE ON HIS VIOLIN CONCERTO(1997) Hsieh, I-Chun; Heifetz, Daniel A.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)This dissertation consists of a performance project and extensive studies of selected works by Johannes Brahms, including the Violin Concerto, Sonatensatz, and three Violin Sonatas. The performance project was presented in two recitals at the University of Maryland, College Park, on November 14, 1997, and November 16, 1997. The first recital featured Brahms' s Sonatensatz in C Minor, Violin Sonata No. 1, Op. 78 in G Major, and Violin Sonata No. 3, Op. 108, in D Minor. The second recital included Brahms' s Violin Sonata No.2, Op. 100, in A Major and Violin Concerto Op. 77, in D Major. Section One gives an overview of this dissertation project. Section Two introduces the violin virtuoso Joseph Joachim, his relationship with Johannes Brahms, and Brahms' s life and major violin works. This section also analyzes Joachim's performance practice and his teaching style. The end of this section focuses on the influence of Joseph Joachim on Brahms' s Violin Concerto and indicates the differences between Brahms' s original manuscript and the version suggested by Joachim. Section Three is composed of the programs of the two recitals. Section Four consists of program notes for the two recitals. The first recital was performed by I-Chun Hsieh, violin and Roy Hakes, piano. The second recital was performed by I-Chun Hsieh, violin and Chia-Hsuan Lee, piano.Item THE HARMONIC DEVELOPMENT OF THE BLACK RELIGIOUS QUARTET SINGING TRADITION(1997) Dent, Cedric Carl; Gibson, Robert L.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)The development of folk music in the United States includes many distinct styles of quartet singing. This study examines the harmonic development of black religious quartet singing, a subgenre of black gospel music. This community-based, church-oriented style of quartet singing became popular in the early 1920s and continues to thrive today. This study applies traditional tonal theory, jazz theory and Schenkerian analysis to quartet performances, and through these methods of analysis, identifies and traces threads of harmonic development through the genre, which define stylistic epochs. Threads of development include use of meter and rhythm, call-and-response techniques, function of the bass voice, chord structures and use of added dissonance, number and function of voice parts, and variation techniques in repetitive song structures. The investigation identifies three styles of black religious quartet singing: folk, jubilee, and gospel. The performances examined include "I'm Praying Humble" (1937) by Mitchell's Christian Singers, "One Day When the Lord Will Call Me" (1942) by the Southern Sons and "Mary Don't You Weep" (1959) by the Swan Silvertones. Additionally, a recent trend of development is identified and labeled neo-jubilee, and a performance of ''Mary" (1988) by the vocal group TAKE 6 represents this trend. Complete transcriptions of these performances arc provided for musical analysis. The influence of big band music on the development of black religious quartet singing is also examined. The course of development in quartet singing is strikingly similar to that of big band music and is observable in the aforementioned threads of harmonic development. Finally, group singing is the focus of this study, and only styles that are a cappella or harmonically independent of instrumental accompaniment are examined. Styles where instrumental accompaniment is a part of the fundamental structure of the performance are not examined.Item The Solo Piano Music of Robert Starer(1990) Ayesh, Kevin Bradley; Johnson, Roy H.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)This dissertation consists of a tape recording of the complete solo piano music to date of Robert Starer (b. 1924), and a supplemental, descriptive essay that is designed to be considerably more detailed than the usual booklet that often accompanies commercial presentations of this type. Starer's piano works range from the short to the extensive. He has contributed several genres of keyboard literature: sonatas (one traditional in form, the other unconventional.); a theme and variations; fantasies; toccatas; a fugue; free forms; and preludes, caprices, and other character pieces. The large works include the two sonatas, the fantasy-like Evanescents, The Ideal Self: Fantasy, Variations and Fugue on a Song, and Twilight Fantasies. Smaller character pieces, of which Starer has composed many, exist mainly in collections, such as Five Caprices, Three Israeli Sketches, and At Home Alone. Starer is perhaps best known to pianists through his instructive compositions; most popular are the two sets of Sketches in Color. The dissertation includes a biographical sketch of the composer and a discography of Starer's solo piano works.Item SELECTED VIOLIN REPERTOIRE BY CONTEMPORARY KOREAN COMPOSERS(1997) Kim, Heejoung; Fischbach, Gerald; School of Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)This dissertation deals with violin repertoire of current Korean composers. A survey of this music illustrates the various ways in which Korean composers dealt with their native musical traits on the one hand, and their studies of western techniques on the other hand. This music is rarely performed due to its unavailability and also its complexity. The initial task was one of identifying the Korean composers who write contemporary violin music in order to contact them. This was mostly accomplished with extensive long distance telephone and also a few instances of written or faxed correspondence. Since literature pertaining to the present topic is practically nonexistent in the United States, the generous offerings in the form of books and magazine articles sent by the composers greatly aided in the research. Challenges in the nature of interpretation, unusual violinistic demands, and complex ensemble considerations became the next stage ,of the project once the scores arrived. Performance preparation included stimulating sessions with Dr. Gerald Fischbach who offered many illuminating ideas and ingenious advice in some very unorthodox violin writing. Coachings from members of the Guarneri Quartet also resulted in excellent suggestions. The traditional elements which the composers have at their disposal include Korean scales of three to five tones, rhythmic patterns which are largely based on triplets and triple meter, sonorities of traditional instruments such as the Kaya-gum, and characteristics such as very sustained tempi. The works considered in this study illustrate how these traits are interspersed within twentieth century fabrics of free atonality, the twelve-tone system, quarter-steps, and the intervallic series. Some compositions avoid contemporary techniques by adhering to simple forms and show strong tendencies towards tonality. Still others are highly westernized and only exhibit a few instances of Korean characteristics. The experience of studying and performing this repertoire has culminated in the affirmation that the philosophies of Korean traditional and western musical cultures has been assimilated by contemporary Korean composers to create a musical language that is convincing in its own way.Item Sonatas for Flute and Piano Composed in 1994, 1995, 1996, and 1997 and Performed at the National Flute Association Conventions in Those Years(1999) Risinger, KImberly McCoul; Montgomery, William; School of Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md)This dissertation project examines recent contributions to the flute sonata genre and provides insights into the compositional techniques of their composers. Because of the abundance of flute sonatas written in the last decade, the scope of this study concentrates on those sonatas composed in 1994, 1995, 1996 and 1997 and performed at the National Flute Association Conventions in those years. The dissertation involves the performance of three recitals which will help to disseminate this literature to professional and lay audiences. The first recital, September 21, 1998, includes sonatas by Samuel Zyman, Gary Schocker and Matthew Halper. The second recital, November 14, 1998, includes sonatas by Elisenda Fabregas and Mike Mower. The third recital, Aprill, 1999, includes sonatas by Martin Hennessy and Jeff Manookian. Extensive program notes for the recitals include a biography of each composer focusing on recent achievements, awards and professional positions and an overview and brief analysis of each work. Appendices provide a listing of each composer's works to date (Appendix A), 1 examples of the main themes from each of the sonatas discussed (Appendix B) and copies of the programs performed (Appendix C). A bibliography is also included. This performance dissertation highlights the effectiveness of the National Flute Association as a vehicle for the creation and performance of new music. By focussing on the sonatas performed at the conventions in the years 1994, 1995, 1996 and 1997, the variety of new flute sonatas being composed is illustrated. Insights into each sonata are presented, derived from discussions, interviews (live, telephone and e-mail) and correspondence with each of the composers involved in this project.