Music
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Item Powerful Structures: The Wind Music of Ida Gotkovsky in Theory and Practice(2019) Wacyk, David Michael; Votta, Michael; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Ida Gotkovsky is a French composer whose style has emerged as a unique voice in the wind repertoire of the late twentieth century, while retaining stylistic traits of earlier French composers. As a product of the Paris Conservatory (where she was also a professor), she is part of a heritage that reaches back to Debussy and Ravel, and more significantly to her teachers Olivier Messiaen and Nadia Boulanger. Having published more than twenty-two works for wind orchestra, Gotkovsky’s output for the medium has been continuous and impressive in scope. Her work represents bridges twentieth century French musical styles such as impressionism, modernism, and the avant-garde. Her music has codified these styles into a cohesive voice throughout her career. This style relies on traditional instrumentations to present distinctive arrangements of color, shape, and form. Despite her pedigree and widespread recognition of her works in Europe during the last quarter of the twentieth century, Gotkovsky’s music remains generally unknown to American conductors, due in part, to a lack of detailed scholarship or analysis of her life and work. The purpose of this writing is to explore Gotkovsky’s work, and to discover points of connection between her and her French musical heritage, specifically Olivier Messiaen. Using all available resources, this paper provides a more thorough portrait of the composer’s career and music than heretofore. Focusing on her works for wind orchestra, this writing explores Gotkovsky’s education and inspiration, provides an analysis of her overall compositional style, and a detailed analysis of her monumental work, Concerto pour grand orchestra d’harmonie.Item Representative Works from the Italian, French, and American Schools of Double Bass Playing(2016) Saunders, Ian S.; Stern, James O; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Each successive stage in the double bass’s history required the instrument to adapt to shifting musical aesthetics and technical demands. As a result, arrays of interesting (and sometimes disparate) approaches have emerged in the form of schools, intellectual traditions governed by playing concepts, and national aesthetics. The emergence of each of these various schools contributed to the history and development of the instrument, yet scholarship on the matter is exiguous. By studying and understanding different schools, one becomes aware that generations of pedagogues contributed to the foundation of modern-day mastery. Furthermore, an appreciation of contextual aesthetics and innovations brought forth by these intellectual traditions can inform modern renditions of pieces from these distinct schools. This dissertation focuses on three schools: the first international school created by the Italians, the lost significance of the French school, and the evolution of the American school. Music associated with each school was featured in three recital programs. The first two recitals were performed in the Smith Lecture Hall, and the third in the Ulrich Recital Hall, all at the University of Maryland. A re-recording of George Onslow’s String Quintet No.26 in c minor, Op.67 from the second recital took place on April 4, 2016. Recordings of all three recitals can be found in the Digital Repository at the University of Maryland (DRUM).