Doctor of Musical Arts, The Ohio State University, 2019, Music

This document is an outgrowth of my strong desire to gain a deeper understanding of Debussy's musical style, as well as Jake Heggie's, and to create a new connection in the existing literature. A recent arrangement of Trois chansons de Bilitis by Jake Heggie creates a vehicle which allows this study to connect the two geniuses. The first chapter is an introduction on the subject, followed by two chapters on Debussy's, and Louys' lives, where simple yet thorough biographies are established. The fourth chapter is focusing on the collaboration between Debussy and Louys, and the birth of Bilitis. Chapter five is an interpretation guide exposing compositional elements including, but not limited to, diction, primary sources, harmony, melody, rhythm, text, and formal structure, including topics most pertinent to performance practice. Chapter six is dedicated to Jake Heggie. The final pages of the document include a full musical score, Eugene Fromont's first edition, with interpretation markings, suggested breaths, complete International Phonetic Alphabet, and an English translation. Also included is a lexicon, and, with Jake Heggie's kind permission, a sample page of his arrangement of Debussy's song cycle, published by Bent Pen Music. This document is intended to aid artists in the preparation of an informed performance of Trois chansons de Bilitis, the song cycle with piano or string quartet.

Committee: Scott McCoy (Advisor); Alan Green (Committee Member); Edward Bak (Committee Member) Subjects: Music; Performing Arts

Master of Music (MM), Bowling Green State University, 2009, Music Performance/Voice

Welsh art songs borrow many ideas from Welsh folk songs, and there are many societies in Wales that devote their resources to the promotion of Welsh music and art. The musical characteristics of Welsh folk songs can be seen in the composition of Welsh art songs. The subject matter in folk songs and in art songs is similar, with the same basic subject areas accounting for the majority of texts set to music. The songs also use similar tonalities, rhythms and meters. Modal tonalities and mixed meter are common in both folk songs and art songs. It can be clearly seen that the art music of the current time develops directly out of the folk music of the country. The art music of Dilys Elwyn-Edwards illustrates the influence of Welsh folk songs on Welsh art songs and shows the progression from folk song, to twentieth century art song, to new music of the twenty-first century.

Committee: Jane Schoonmaker Rodgers DMA (Advisor); Vincent Corrigan PhD (Committee Member) Subjects: Composition; Fine Arts; Music

DMA, University of Cincinnati, 2013, College-Conservatory of Music: Composition

Thoughts, a poem by Ella Wheeler Wilcox, embodies mystical and metaphysical properties with beautifully imaginative imagery that elevates one to another place. This text reveals the mysterious qualities of thoughts and the influence thoughts have on peoples’ actions. Even though the text was written in the early 20th Century, her philosophy of positive thinking remains relevant to contemporary society, supporting many peoples’ belief that American culture is too steeped in negativity. This piece sweeps through various states of mind via episodes of stylistically different musical material. Soloistic woodwind passages interweave with motor-like motivic string passages. Although the solo soprano line functions as the center of attention when it conveys text, there are also moments when the soloist sings timbrally and texturally rather than textually driven lines, blending amidst the orchestral sonorities. An important structural moment occurs during a brass feature, before the first statement of “love.” This passage of text details the power of love and how even unspoken love can increase the world’s light. Wilcox’s text is reminiscent of a Biblical passage in John 1: “Lux lucet in tenebris” [Light shines in the darkness]. While these texts hail from differing spiritual points of view, they share philosophical and symbolic associations concerning the essence of thoughts, words, life, love, and light. This literary connection is represented musically through the use of quotation; the chords stated in the horn soli are quoted from a children’s chorus statement of “Lux lucet in tenebris!” in George Crumb’s Star Child. The placement of these chords parallels the literary association in that Crumb’s music often addresses themes of light and dark.

Committee: Mike Fiday Ph.D. (Committee Chair); Joel Hoffman D.M.A. (Committee Member); Douglas Knehans D.M.A. (Committee Member) Subjects: Music

Master of Music (MM), Bowling Green State University, 2020, Music History

When Swedish soprano Jenny Lind (1820-1887) came to the United States in 1850, the ecstatic craze surrounding her arrival belied a larger trend which was taking root among the American press and public: a fascination with the lives of celebrity opera singers. One of the Lind enthusiasts was a college student named George P. Upton (1834-1919), who later became the music critic for the Chicago Tribune. In his work over the following decades, Upton continued to take a vivid interest in the lives, careers, and personalities of prima donnas, writing about them with an intensely personal style that was common in newspapers of his time. As journalists for the Tribune provided news about opera stars to their readers in Chicago, they not only shaped the public images of these singers but also promoted the appreciation of classical music as a cause for civic pride in their relatively young city. In this study I examine how George P. Upton and other journalists published in the Chicago Tribune wrote about two star sopranos of the mid to late nineteenth century: Adelina Patti (1843-1919) and Clara Louise Kellogg (1842-1916). I bring together newspaper articles from the years 1860 through 1876 and use secondary literature to place the critics' approach in context. In each case study, I delve into historical perspectives reflected in this music criticism to trace how journalists articulated concepts of celebrity, genius, nationalism, and gender. I especially draw from scholarship on prima donnas by Hilary Poriss, Kristin Turner, and Katherine Preston as I explore how music critics of the time used the lenses of the nineteenth century to observe the light of these bright musical stars and reflect on American society.

Committee: Eftychia Papanikolaou (Advisor); Ryan Ebright (Committee Member) Subjects: American History; Journalism; Music

Master of Music (MM), Bowling Green State University, 2019, Music Performance/Voice

There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide.

Committee: Christopher Scholl (Advisor); Kevin Bylsma (Committee Member); Eftychia Papanikolaou PhD (Committee Member) Subjects: Music; Music Education

DMA, University of Cincinnati, 2017, College-Conservatory of Music: Composition

Her em Iteru serves as the culmination of my studies into Egyptological musicology and archeological composition. The materials borrowed from Ancient Egyptian sources include the text, from the Papyrus of Ani, otherwise known as the Book of the Dead, from 1500-1400 B.C.E. and the Egyptian enharmonic scale, recorded by the Ptolemaic Greeks in a method that has since been translated and deciphered. Other materials reflect more closely my personal style as a composer, including a propensity for atmospheric slow movements emphasizing sevenths, and faster movements or sections containing a “groove” or ostinato. While the translations are provided, the piece is sung entirely in the Ancient Egyptian language. The first poem speaks of plowing one's fields on the banks of the Nile, both worldly and in the afterlife where the rewards may be reaped. The second setting includes many utterance of the word “Ankh,” Egyptian for life. It paints the perspective of a mother after childbirth, thanking the Gods that both she and the newborn live. The opening and closing sections of this movement utilize notes from the only extant scale of Egyptian antiquity, to which ancient harps were tuned. These five notes make up the first chord played on the harp, evoking an atmosphere from thousands of years past. The third movement depicts both celebration and fear at the flooding of the Nile, a yearly event upon which Ancient Egyptians depended for successful harvest. Movement four serves as an interlude, with no vocal part, introducing much of the pitch and timbral materials of the final movement. The last of the set alludes to the Makhent boat, on which the Sun God Ra was said to ferry souls to the afterlife at day's end. The ostinato evokes a slow barge flowing down the river, with its major seventh interval borrowed from the second, and mirror technique from the third movement. This intervallic mirror corresponds to a vowel palindrome seen in the words “Ra auaait.”

Committee: Michael Fiday Ph.D. (Committee Chair); Mara (Margaret) Helmuth D.M.A. (Committee Member); Douglas Knehans D.M.A. (Committee Member) Subjects: Music

Master of Music (MM), Bowling Green State University, 2017, Music Composition

The Seasons is a 30-movement work for mezzo-soprano, baritone, and Pierrot ensemble (flute, clarinet in b-flat, violin, violoncello, and piano). The text for the work consists of 30 haiku written by the composer — seven haiku for each of the four seasons, plus a pair of transitional poems between summer and autumn, then autumn and winter. There are seven songs in each season— a nod to the father of the Pierrot ensemble, Arnold Schonberg, and his love of numerology. The seasons slowly infect each other as they progress, paying tribute to their natural evolution. While each section of The Seasons is unique, bearing its own characteristics and signatures, certain elements recur and reference one another. A descending gesture, most salient in “Winter II” and “Interlude I,” evokes precipitation — one of the shared characteristics, in various forms, between seasons. The tittering of birds and other animals is heard in fragmentary figures and trills throughout the entire piece. As haiku mirror and refer to one another, the music does the same. The equinoxes, “Spring III” and “Autumn V,” begin with a prayerful duet between the voices. “Autumn III” appears as a more frantic, darker version of “Spring I.” The flurry of activity as the world awakens from Winter becomes the frenzied preparation for hibernation and dearth. The most explicit connection between movements is the link between Spring VI, Summer V, Autumn IV, and Winter III. Each is based on the same tone row as expressed in the voice, is rhythmically identical, and is harmonized according to the predominant scale of each season.

Committee: Marilyn Shrude (Advisor); Christopher Dietz (Committee Member) Subjects: Music

Doctor of Musical Arts, The Ohio State University, 2014, Music

Beginning in the middle of the twentieth century, Taiwanese musicians began to preserve the musical culture of the Taiwanese aboriginal tribes. A few composers started to arrange music based on aboriginal music and more and more pieces have been composed throughout the years; Nan-Chang Chien is one of the pioneer composers. Although Taiwanese musicians have begun composing and performing these works, few studies have been done which has left this music still mostly unknown to the world. This document aims to contribute to the study of Taiwanese composers by offering an introductory study guide for the Taiwanese composer, Nan-Chang Chien, and for his unpublished work, Four Aboriginal Lieder for Soprano and Orchestra. This study begins with a discussion of Taiwanese music history. It includes a brief investigation of the colonial history in Taiwan beginning in the seventeenth century and colonialism's effect on the musical culture. Furthermore, it seeks to describe some of the different characteristics and influences in Taiwanese music that have been influenced by Taiwanese aboriginal music, traditional Chinese music, and western music. The document then continues with a brief study of the life and work of Nan-Chang Chien. Finally, the document concludes with a thorough analysis and interpretation of the Four Aboriginal Lieder for Soprano and Orchestra, and interviews with the musicians who premiered this set of songs. A list of Nan-Chang Chien's compositions, a chronological discography, and vita have been included as appendices for the purpose of providing more information on the composer.

Committee: Robin Rice (Committee Chair); Scott McCoy (Committee Member); Alan Green (Committee Member); Joseph Duchi (Committee Member) Subjects: Music

Master of Arts (MA), Bowling Green State University, 2014, Popular Culture

In this thesis, I examine intertextuality present between The Sopranos and Mad Men, particularly in regards to each show's protagonist. Tony Soprano and Don Draper are complex characters, each with their own conflicts, neuroses, and supporting characters, yet both men address a similar question: what does it mean to be a man in 21st century America? Both men deal with complex identities due to their pasts, exacerbated struggles due to their jobs, and most importantly, equally complex women who challenge their authority. While addressing issues of gender, I discuss the linkages present between each show's creator, David Chase and Matthew Weiner, which speaks to the broader thematic overlap between the two dramas. Intertextuality, partially stemming from Weiner's time in the Sopranos writing room under Chase, can help to interrogate television's own auteur, the showrunner. I also analyze the white male antihero archetype as a whole, which has been popular on American television in the past fifteen years, as I trace the major conflicts to Robert Warshow's formulation of the gangster as a tragic hero. For Warshow, though, the gangster ultimately worked as a straightforward morality tale - in these shows, the message of the antihero is deliberately muddled, crafting an intimate portrait of masculinity in crisis. Ultimately, Tony and Don fail to hold on to their past identities and masculinities in the face of their antiheroism, which may help to explain the appeal of the white male antihero archetype.

Committee: Becca Cragin (Advisor); Esther Clinton (Committee Member); Jeremy Wallach (Committee Member) Subjects: Film Studies; Gender; Gender Studies; Mass Media

DMA, University of Cincinnati, 2010, College-Conservatory of Music: Composition

This document consists of three-musical landscapes totaling seventeen minutes in length. The music is written for a combination of mezzo-soprano, Bb clarinet, percussion and tape. One distinguishing characteristic of this music, apart from an improvisational quality, involves habituating the listener through consistent dynamics; the result is a timbrally-diverse droning. Overall, pops, clicks, drones, and resonances converge into a direct channel of aural noise. One of the most unique characteristics of visual art is the strong link between process and esthetic outcome. The variety of ways to implement a result is astounding. The musical landscapes in this document are the result of an interest in varying my processes; particularly, moving mostly away from pen and manuscript to the sequencer. The term "exhibition" implies that consideration be given to how subsequent performances of this work are presented. I conceived these movements in the order they are presented in this document; however, just as any visual artist might base her exhibit on context, the same principle can be followed with this music. Each landscape can be selectively presented. The scores contained within are labeled as such: (1)Williams Mix 2, (2)Automatic Story Telling, (3)Familiar. The tape parts are available upon request from the author.

Committee: Mara Helmuth DMA (Committee Chair); Joel Hoffman DMA (Committee Member); Mike Fiday PhD (Committee Member) Subjects: Music

DMA, University of Cincinnati, 2010, College-Conservatory of Music: Voice

Japanese composer Minoru Miki (b. 1930) uses his music as a vehicle to promote cross-cultural awareness and world peace, while displaying a self-proclaimed preoccupation with ethnic mixture, which he calls konketsu. This document intends to be a performance guide to Miki's Sohmon III: for Soprano, Marimba and Piano (1988). The first chapter provides an introduction to the composer and his work. It also introduces methods of intercultural and artistic borrowing in the Japanese arts, and it defines the four basic principles of Japanese aesthetics. The second chapter focuses on the interpretation and pronunciation of Sohmon III's song text. The first part of Chapter 2 introduces and analyzes source poetry taken from the Man yoshu, giving special consideration to topics of intercultural and artistic borrowing, as well as identifying and explaining the use of Japanese poetic devises, such as makurakotoba and kakekotoba[epithets and homonyms]. The remainder of Chapter 2 provides general rules of Japanese diction, focusing on their application in Sohmon III. The third chapter provides musical examples of influence from traditional Japanese music upon Sohmon III. Similarities arise between the formal structure of Sohmon III and that of the instrumental ensemble genre of gagaku. The vocal and instrumental parts of Sohmon III also show influence from jiuta and nagauta traditional song styles, as well as from the folk song styles of warabeuta and shoka. The latter portion of Chapter 3 discusses Miki's compositional desire for konketsu and compares it with the terms “synthesis” and “fusion,” which have appeared in contemporary musicological studies of cultural hybridity. Additional materials include three appendices: Appendix A: An IPA Transcription of Sohmon III, Appendix B: A Glossary of Japanese Terms, and Appendix C: A Compilation of Miki's Vocal Works.

Committee: Jeongwon Joe PhD (Committee Chair); William McGraw MM (Committee Member); Barbara Paver MM (Committee Member) Subjects: Music

Doctor of Musical Arts, The Ohio State University, 2009, Music

Vignettes: Ellis Island is a twenty-six piece song cycle by American composer Alan Louis Smith. Crafted as a genuine portrayal of the human spirit, it was initially meant to be a single song written as a birthday gift for mezzo-soprano and friend, Stephanie Blythe. The composer, however, was so compelled by this topic that he set a musical backdrop that chronicled American immigration in the early 20th century, through the stories of twenty refugees. A fortuitous meeting between Alan Smith and Paul Sigrist, Jr. (former director of the Ellis Island Oral History Project), resulted in a collaboration that became the catalyst for this song cycle. Mr. Sigrist supplied over 100 pages of quotations, taken from interviews he conducted with the Ellis Island Oral History Project, which then were carefully abridged by the composer to create Vignettes: Ellis Island. This document chronicles the development of this cycle, discussing its origins, influences, historical relevance, and performances. It also provides a biography on the composer, and details interviews conducted from July-October 2008 with Alan Louis Smith, Paul Sigrist, Jr. and Stephanie Blythe. Finally, it serves as a performer's study on the musical and dramatic interpretation of the work, as coached by the composer.

Committee: Loretta Robinson (Advisor); C. Patrick Woliver (Committee Member); Karen Peeler (Committee Member) Subjects: Music

Doctor of Musical Arts, The Ohio State University, 2006, Music

This document is meant to serve as a study guide of twenty-five works for the dramatic soprano voice with orchestra. Criteria used for inclusion include range, tessitura, orchestral scoring, dramatic intensity, and cultural diversity. There are examples of works dating from 1787 through 2004, and include song cycles, monoperas, monodramas, scena and arias, symphonic rhapsodies, cantatas, symphonic cycles, and lyric tragedies. Adhering to the basic requirement of the piece being suitable for the dramatic soprano voice, the chosen works are eclectic in language, style, ethnic origin, and musical period. A cursory definition of the dramatic soprano voice is included. Information is provided for each listing, including a brief biographical sketch of the composer and the work's history and lyrics.

Committee: Robin Rice (Advisor) Subjects: Music

Master of Music, The Ohio State University, 1980, Music

Committee: Thomas Wells (Advisor) Subjects:

Master of Music (MM), Bowling Green State University, 2010, Music Composition

Life Above the Permafrost is a composition for soprano vocalist, flute, B-flat clarinet, violin, cello, piano and percussion. This single-movement work is based on the poem “Life Above the Permafrost” by Alice Fulton and is approximately eleven minutes in length. “Life Above the Permafrost” is a romantic poem in which the presumably female speaker juxtaposes visions of nature and changing seasons with that of herself and her lover in bed. The poem's vivid imagery evokes a variety of moods through a number of textual themes. These themes, including the recurring elements of seasons, birds, trees, beds and color, provided ample material for text painting and motivic development throughout the work. The poem also established the framework for the structure of Life Above the Permafrost, which is comprised of five main sections matching the stanzas of the poem as well as an introduction and short interludes between sections. Melodic and harmonic pitch material was derived from a primary pitch-class set (6-Z19 [013478]) and its complement (6-Z44 [012569]), which furnish the basic intervallic content for the majority of the work. 6-Z19 can most strongly be heard as the result of one of a variety of transpositional combinations of subsets, many of which are rather consonant in nature. In contrast, its complement, 6-Z44, contains more dense intervallic content. Five of the six pitch-classes in this set are contained within a range of interval-class 6, providing more dissonant possibilities. The vocal melody was composed first, employing pitches drawn from these primary sets. The ensemble's music was then constructed around the vocal framework using derivative material from the vocal line and new material from manipulations of the aforementioned sets. Inspired by the vibrant imagery of the text, the wide timbral palette of the ensemble is utilized in colorful ways, drawing inspiration from works by the likes of Joseph Schwantner and Steven Stucky, among others.

Committee: Dr. Elainie Lillios (Committee Chair); Dr. Mikel Kuehn (Committee Member) Subjects: Composition; Music

Master of Music (MM), Bowling Green State University, 2009, Music Composition

Correspondances, a work for soprano voice, viola, percussion, and live electronics, explores the intricate timbral relationships that are possible between the human voice, acoustic instruments, processed sounds, and real­time electroacoustic processing. A poem of the same title by Charles Baudelaire comprises the text, which appears in the original French and in the English translation. Baudelaire's poem emphasizes themes of adventure, imagination, and the richness of nature, which allowed for exploration of a variety of musical characters. The work lasts approximately twelve minutes and contains aleatoric sections, counterpoint, and live electronics. Formally, Correspondances is one continuous movement containing an introduction, through­composed sections determined by the poem's stanzas, and a closing section. The introduction contains spoken text, aleatoric elements, and a large­ scale crescendo. The through­composed section features the stanzas of text and instrumental and electroacoustic interludes. The closing section recapitulates the opening by presenting similar aleatoric elements and a large­scale decrescendo ending with the vocalist whispering the final lines of text. Melodic and harmonic material is derived from synthetic scales. Melodic gestures and contrapuntal interplay emphasize specific melodic intervals including major sevenths, major sixths, tritones, and minor seconds. The soprano part features extended performance techniques including sotto voce techniques, whispers and speech. The percussion instrumentation includes vibraphone, bass drum, suspended cymbal, tam tam, log drum, and a mounted rainstick. Its timbral palette is enhanced through the use of soft mallets, brushes, and snare sticks. The percussionist controls the electroacoustic portion of the work with a foot pedal. Electroacoustic material is derived from various sources including percussion and environmental samples such as sounds of water, wind, and fire. Alo (open full item for complete abstract)

Committee: Elainie Lillios (Advisor); Mikel Kuehn (Committee Member) Subjects: Music

Master of Science (MS), Bowling Green State University, 2009, Communication Disorders

The purpose of this study was to describe the acoustic and aerodynamic characteristics of diatonic scale singing at different tempi in a professional female soprano. The classically trained singer sang ascending-descending ninth scales on /a/ in the F# major key at five different tempi – slow, moderately slow, moderately fast, fast, and fastest. All scales were performed with a moderate loudness level and with a pre-determined metronome marking. Tempo was controlled in order to determine whether differences existed between scales that were sung at a comfortable tempo and scales that were sung at an uncomfortable tempo. The slow (1 note = 104 beats / minute), moderately fast (2 notes = 92 beats / minute), and fastest (4 notes = 92 beats / minute) tempi were designated as comfortable because they were typically performed with integer multiple vibrato cycles per note. The moderately slow (2 notes = 72 beats / minute) and fast (4 notes = 69 beats / minute) tempi were designated as potentially uncomfortable because the note durations were not integer multiples of the singer's typical vibrato cycle period. There were a total of 5 ascending-descending scales analyzed in this study, one for each tempo. The results of the study strongly suggested trends in the acoustic and aerodynamic measures when tempo and scale direction were controlled. The following observations were noted: 1)mean fundamental frequency (F0) was higher in the descending notes than the corresponding ascending notes, 2)average F0 vibrato extent decreased as tempo increased, 3)mean note intensity was greatest at the highest notes and lowest at the lowest notes of the scale, 4)secondary intensity peaks were observed at the third (A#4) or fourth (B4) notes of both the ascending and descending portions of the scale, 5)airflow was greatest at the lowest notes of the scale and lowest at the highest notes of the scale, and 6)average airflow vibrato extent decreased as tempo increased. Distinctive trends were not (open full item for complete abstract)

Committee: Ronald Scherer PhD (Advisor); Jane Rodgers DMA (Committee Member); Laura Dilley PhD (Committee Member); Roger Colcord PhD (Committee Member) Subjects: Speech Therapy

Master of Music (MM), Bowling Green State University, 2007, Music Composition

Transcendence toward Paradiseis a thirteen-minute, five-movement piece for mezzo-soprano, flute, harp, and viola. The selected text was excerpted from an Italian sonnet written by Michelangelo Buonarroti (1475-1564), which was set in its original language. William Wordsworth provided a beautiful poetic translation, which I chose to guide my text setting. Dolce e ben quella in un pudico core, che per cangiar di scorza o d'ora estrema non manca, e qui caparra il paradiso. In chaste hearts uninfluenced by the power of outward change, there blooms a deathless flower, that breathes on earth the air of paradise. The text appears in its entirety only in the last movement, with earlier movements exploring a gradual reconstruction of the text from its component parts. To accomplish this, the text was deconstructed into various syllables represented in the score with the International Phonetic Alphabet (IPA). The first movement's text contains only the shortest durations of syllables, denoting the highest level of text abstraction. As each subsequent movement progresses, the abstract syllables gradually merge together and expand to form words and phrases of the text. The thematic material for Transcendence toward Paradiseoriginates from the fifth movement of the piece. Salient characteristics from the last movement were shaped into variations based upon these features, which also reflect the evolving characteristics of the text setting. This was accomplished through variation techniques including motivic and rhythmic deconstruction, augmentation, diminution, and registral displacement, among others.

Committee: Elainie Lillios (Advisor) Subjects: Music

Master of Music (MM), Bowling Green State University, 2006, Music Composition

Magnificat for mezzo-soprano and chamber ensemble is a setting of the Canticle of Mary lasting approximately twelve minutes. It contains three main sections, surrounded by interludes, an introduction and coda. The work is scored for flute, B-flat clarinet, bassoon, C trumpet, trombone, two percussionists, violin, viola, violoncello, double bass and mezzo-soprano. The main sections contain text taken from Luke 1:46-55. The work's material emulates periods of music history from Gregorian chant through the contemporary time by using methods of texture, rhythm and orchestration rather than any reliance on harmonic or melodic style. The melodic lines are based on pitch-class sets. While the sets may combine to form scales, they were not used to imply functional harmony. The harmonies are mostly a byproduct of the linear aspects of the piece. The piece is rhythmically complex, with interior rhythms reflecting on the work's larger-scale formal structure.

Committee: Elainie Lillios (Advisor) Subjects: Music