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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.Item NEGLECTED CELLO REPERTOIRE OF TWENTIETH CENTURY ENGLISH COMPOSERS(2006) Lim, Yekyung; Elsing, EvelynIn the Twentieth Century, the proliferation of cellists and the exceptional development of cello techniques, combined with composers' acceptance of the challenges by these developments, led many British composers to contribute to the enrichment of the cello concert repertoire. A great number of compositions written for the cello in the Twentieth Century England have been long neglected. In comparison with their other works in the genres of concerto, symphony, and opera, works for cello by prominent Twentieth Century English composers Elgar, Walton, and Britten are relatively unknown, except for Elgar's cello concerto. There are also many lesser-known composers like Delius, Bax, Bridge, and Clarke, who flourished in the fmt half of the century, but eventually became disregarded. Some reasons for this neglect may be as follows: the reluctant attitude toward new trends in the English musical establishment around the turn of the century; a lack of readily available editions of these composers' compositions; an over-abundance of fine composers at one time; and lastly, an overly individualistic approach to the music restricting a general public appreciation and recognition. Encountering a recording of the Walton cello concerto prompted me to further study the neglected Twentieth Century English cello repertoire. Many works of the above-mentioned composers still have not been fully valued in the cello repertoire. For this reason, the purpose of this project was to inspire cellists to learn and broaden as well as to appreciate the beauty of the Twentieth Century cello literature. As part of the doctoral performance project, three recitals featuring the works by six English composers were performed. My collaborator in all three recitals was pianist Eunae KO. The fmt recital included the Sonata for cello and piano by Frank Bridge and the Concerto by William Walton. The second recital was comprised of relatively unknown cello works: Sonatina in D major by Arnold Bax, Romance by Frederick Delius, and the Sonata Op. 40 by Rebecca Clarke. The third recital consisted of Folk-Tale by Arnold Bax and the Symphony for Cello and Orchestra Op. 68 by Benjamin Britten.Item MANAGING TECHNICAL AND STYLISTIC CHALLENGES OF 5 SOPRANO ROLES IN 3 DIFFERENT FACHS(2006) Shin, Jae Eun; Ziegler, DeloresThis dissertation follows the demands of one soprano's journey through five diverse works covering and incorporating four different musical periods (Classical, Be1 Canto, Romantic, and Verismo), three German Facher (Soubrette, Lyric Coloratura, and Dramatic Coloratura), and two languages (Italian and French). Ultimately, this project is a study and presentation of the challenges of singing diverse roles effectively while remaining healthy, both vocally and ~sychologically. Beyond the use of the German Fach system of categorization and subcategorization, I felt motivated to discover how to determine for myself if the operatic roles offered to me would be well suited to my voice, its timbre, and my physical capabilities. Sometimes, the challenge in singing a role has little reflection on the ability of the singer or whether she is singing within her assigned Fach but, rather, has more to do with the composer's ability to write well for the voice. While the works within this dissertation show both contrasting characters and, thus, differing Fach categorizations, I will argue that the German Fach System is a subjective framework. The use of the Fach system assists theaters in deciding which roles each singer can be expected to sing before choosing the repertoire. In my opinion however, many roles can be sung by singers from more than one Fach category, depending on the abilities of the singers, conscientious teachers, conductors, directors, and even the sizes of the opera theaters. In my dissertation, I will discuss whether the roles I selected to perform provided a healthy regimen and how the preparation and performance of works from different musical periods has required special techniques and posed unusual psychological demands. Also, I will discuss the effect of using two different languages on a singer's voice. It is important to note that this dissertation is not a study of the progression of the soprano voice as it changes from one Fach classification to another through maturity or increased vocal technique. Rather, it is look at singing across several Fach categories and in diverse periodical styles with regularity.Item TRANSCENDING FACH: A SEARCH FOR IDENTITY INSIDE AND OUT OF MEZZO-SOPRANO REPERTOIRE(2006) Han, Seung-Hee; Ziegler, DeloresThe German Fach system is a tool to classify voices in classical singing. This dissertation comprises three different programs that reflect my search for identity as a mezzo-soprano and my desire to transcend the limitations of Fach. The three programs, all presented at The Clarice Performing Arts Center, contain repertoire written for male and female voices thus allowing me to explore areas outside of the mezzo-soprano Fach, gain a better understanding of the Fach system and guide me as I strive to become a more mature performer. In my first program, I sang the role of Sesto, a role that was composed originally for a castrate, in the opera La Clemenza di Tito by W.A. Mozart. The Maryland Opera Studio production took place April 30, May 2,4&6,2003. Performing this gender-bending role provided an experience of physical behavior from the male view point along with the demands of coloratura singing. Program two (November 30,2004) contained the song cycle Dichterliebe by Robert Schumann and songs by Ludwig van Beethoven, Franz Schubert and Felix Mendelssohn, which are usually sung by male voices. This program experimented with extended range, tessitura and a gender-bending performance in the art song arena. 8 In program three (April 21 &23,2005), I sang the contralto role of Cornelia from Giulio Cesare in Egitto by George Frederic Handel. The role of Cornelia is psychologically complex, expressing emotions such as love, melancholy, rage, malice, joy and fear. To convey these emotions a voice needs warmth and darkness of quality. Although the range is close to that of the mezzo-soprano, Handel wrote Cornelia for contralto voice because he wanted a dark timbre and this role allowed me to develop my lower register and manage suitable ornamentations. The programs are documented in a digital format available on compact disc and are accompanied by the oral presentation at the defense of this dissertation.Item COMPOSITIONS FEATURING THE PIANO IN FANTASY FORM: 1820-1920(2006) Wu, Kuei-I; Rodriquez, SantiagoThe Fantasy form offered a composer the freedom to create a work without concerns for fitting into the current stylistic and traditional structures. The flowering of the form seems to be concentrated from 1820-1920 since the composer started to use it as a way to convey a personal idea or to portray a special spirit. This dissertation is comprised of three recitals with fantasies in different genres and styles. Through performing these diverse fantasies, I have been inspired to connect with the imagery and spirit of the compositions in order to capture the unique sentiments of each piece. Also, in order to keep the audience absorbed in the music that is without structure, I have focused on expanding my technical abilities to vary color, sonority, and phrasing. Program one (April 26,2004) includes Fantasie, Op. 17 and Piano Concerto, Op. 54 (assisted by Ya-Hsin Wu) by R. Schumann. Program two (December 10, 2004) includes Three Fantastic Dances, Op. 5 by D. Shostakovitch, Fantasy "Sonataecossaise ", Op. 28 by F. Mendelssohn, Sonata No.2 "Sonata-Fantasy", Op. 19 by A. Scriabin and Fantasie for Piano and Violin, D 934 by F. Schubert with violinist, TaoChang Yu. The last program (November 1, 2005) includes Fantasia baetica by E. de Falla, Morceaux de Fantaisie, Op. 3 by S. Rachrnaninoff, Fantaisie, Op. 49, Impromptu No. 4 '%h.ntasy-hpromptu", Op. 66 and Polonaise-Fantaisie, Op. 61 by F. Chopin.Item FROM POST-CLASSICISM TO ROMANTICISM IN SELECTED CELLO REPERTOIRE OF FELIX MENDELSSOHN AND ROBERT SCHUMANN(2006) Choi, Young Ji; Eising, EvelynThe early 19th century was a transitional period of Western European music history between the Classical and Romantic styles: new ideas and styles of music writing and performances were infused with a spirit of independence and personal freedom that arose all across Europe. Emphasis shifted from the restraint and formal discipline of the Classical point of view to the emotionalism and individualism of the Romantic. Many composers in that period had various styles and differing philosophies of their own music writings. I chose two representative Romantic composers, Felix Mendelssohn (1 809-1 847) and Robert Schumann (1 8 10-1 856), to compare the characteristics of their music and also to show how differently they approached their music in the environment of post-Classical and Romantic style. Mendelssohn was significant among many other contemporaries during the early 19Ih century because his music was somewhat distinct from the high Romantic style. He had a certain conservatism, an emotional inhibition. His music is certainly Romantic in its treatment of the orchestra and the quality of its imagination, but they were always skillful and controlled with polite gestures and never allow extra musical inspiration to disturb the musical balance. In contrast, Schumann, the leading exponent of musical Romanticism, was the first of the completely anti-Classic composers and forms as they previously existed. Mood, color, suggestion, allusion - these were important to Schumann, much more than writing correct fugues, rondos, or sonatas. I gave two recitals of each composer: Mendelssohn and Schumann. The first recital comprised of two works by Mendelssohn: Sonata No. 2 in D Major, opus 58 and Piano Trio No. 2 in c minor. opus 66. Both of these pieces are good examples of typical classical form such as sonata form and rondo. The second recital, I performed the highly romantic late works of Schumann: Five Pieces in Folk Style, opus 102, Adagio and Allegro, opus 70 and Concerto in a minor, opus 129.Item The feminine soul: love, courage, and sacrifice in three centuries of vocal repertoire(2006) Kim, Eun Hee; Mabbs, LindaMusic is a unique form of communication. It sings from soul to soul, touching each of us in uniquely different ways. While researching the life of Clara Schumann, I became intrigued with the idea that feminine qualities, as expressed by her music, could be found in other composers work for the soprano voice. I explored this possibility in a lecture recital and followed up this work by performing two operatic roles and a recital.Item The Nature of Music(1987) Signell, KarlEthnomusicologist Karl Signell proposes a fresh approach to thinking about music. In twelve half-hour programs originally heard on National Public Radio (USA), The Nature of Music series offers new ideas from the experts, from musicians such as violinist Yehudi Menuhin, from scholars such as Harvard psychologist Howard Gardner, and from people in the business such as record producer Amy Horowitz. It attempts a grand synthesis of old truths and recent discoveries about music, from psychoacoustics to biomechanics, from poetry to philosophy. By searching for universals, The Nature of Music asks what it means to be human.Item Music of the New Lusitania: The Impact of Humanist Thought on Polyphony in Sixteenth-Century Portugal(2006-05-07) Vicente, Victor Amaro; Wexler, Richard; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Cosmopolitan, politically influential, and wealthy, Portugal experienced its "Golden Age" in the sixteenth century. Though science and the arts reached their apogee during this era, polyphonic music in Portugal does not seem to have flourished to any great extent before the seventeenth century. The few extant examples of secular court polyphony, in particular, demonstrate a predominantly homorhythmic style possibly cultivated by amateur composers. This aesthetic favoring simpler musical textures likely developed from the humanist notion that music must serve the text. Italian humanism, in fact, had a profound impact on Renaissance Portugal, which claimed its ancient Roman name, Lusitania. In literature and art the influence is quite apparent, but the case for music requires a more detailed study that is sensitive to broader social factors. This study argues that the composition and performance of Renaissance Portuguese court music is best understood within the context of the Counter-Reformation and Christian humanism.Item String Quartet no. 2(2006-04-26) Arbury, David Bryant; Gibson, Robert; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)String Quartet, no. 2 is an original composition for standard string quartet that was completed in March 2006. While the piece is intended primarily as a stand-alone creative work, I approached it as something of a culmination of my compositional work to date as well as a look forward into the next phase of my career. As such, the quartet is something of a transitional work, combining elements from my own past technique with a more recent and unified sense of my own style. The quartet is divided into four movements. During my time at the University of Maryland, a frequent topic in my lessons was that of sectionalism in music composition, which is to say the aesthetic of juxtaposition of different musical elements as opposed to composition using a unified texture or a gradual transformation between ideas. As a result of these discussions, one of my first choices in beginning work on this quartet was to choose a unified approach versus a sectional approach. The four movements are organized as follows: a thematic fast movement composed of short elemental themes, a slow movement centered around two canons (one atonal and one modal), a dance movement that uses the baroque menuet and trio as a template, and a dramatic, texture-driven finale. In this way, the macro-structure serves as a kind of homage to classical tradition, an appropriate approach since the piece occasionally serves as an homage to older elements in my own style. However, the classical model only applies to this macro-level of the composition. Most elements within each movement depart significantly from traditional classical forms, just as my own style has macro-elements of classical form and technique that dissipate upon closer scrutiny.