DMA, University of Cincinnati, 2021, College-Conservatory of Music: Composition

Tides Within explores the ebb and flow of ocean tides as a natural metaphor for the wash of thoughts and emotions that sweep over all of us. Beginning with a pensive woodwind introduction, the musical intensity rises and falls, gradually building to new heights with each wave. Driven by the inexorable pulse of the percussion, brass fanfares and melodies crest over swirling woodwinds, sweeping Tides Within to a tumultuous conclusion. A performance of Tides Within lasts approximately 21 minutes. It is composed in one continuous movement. Tides Within may be performed as a standalone work of concert music or with a simultaneous silent video projection which is intended to complement a live performance. The projection is comprised of abstract digital video art and divided into ten overlapping segments. Each segment can seamlessly transition from the preceding segment at any point, allowing the otherwise fixed video projection to adapt to shifts in tempo or navigational errors during a live performance. The projected video art was created by collaborating digital artist Jedidiah Knight, who worked in response to the composition with input from the composer. Tides Within was commissioned by the Wind Studies Department at the University of Cincinnati College-Conservatory of Music for the CCM Wind Ensemble. It is dedicated to Dr. Terence G. Milligan, Professor Emeritus of Music, who conducted its premiere on April 24, 2019 at CCM.

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

Master of Music (MM), Ohio University, 2020, Music History and Literature (Fine Arts)

This thesis describes mechanical improvements made to the bassoon and how they influenced solo compositions for the instrument in the 17th and 18th centuries. By focusing on bassoon concertos by three leading composers, the study provides a deeper understanding of the idiomatic perceptions and tendencies that characterized the approaches to the bassoon as an instrument with distinctive tone color, and to the concerto as a preferred genre in the Baroque, Galant, and Classical style eras. The concertos analyzed are Antonio Vivaldi's Concerto for Bassoon in Bb Major, RV 503, Johann Christian Bach's Concerto for Bassoon and Orchestra in Bb Major, and the Concerto for Bassoon K191 by Wolfgang Amadeus Mozart. Each concerto has three movements in what had become the standard fast-slow-fast format for the genre. All three concertos are in Bb Major, allowing comparisons of range, interval preference, and melodic material, among other features. The three concertos retain elements of “ritornello” procedure, initiated by earlier composers, notably Torelli. While these commonalities will be discussed, our emphasis is primarily on the structure of the instruments used by the composers. The bassoon Vivaldi knew was likely a four-keyed instrument. This instrument will be described then compared to the bassoons in use at the time of J.C. Bach and Mozart. Citing treatises and other sources published prior and contemporary with these concertos, developments in the bassoon's design will be noted and related to features in the concertos that reflect the developments. Especially important to the following study has been Simon McVeigh and Jehoash Hirshberg's The Italian Solo Concerto. Analyses are based upon scores in the collected editions, and Akos Fodor's edition of the J.C. Bach Concerto . My analysis follows the methodology outlined by William Marvin's introduction to writing musical analytical essays and Richard J. Wingell's Writing About Music: An Introductory Guide. Dona (open full item for complete abstract)

Committee: Richard Wetzel PHD (Advisor); Matthew Morris DMA (Committee Member); Phillips Mark (Committee Member); McClure Robert (Committee Member) Subjects: Fine Arts; History; Music

Master of Music (MM), Bowling Green State University, 2018, Music Performance/Instrumental Performance

Traditionally, oboists have learned and performed standard oboe concerti by European composers. While learning these concerti is important to understand the foundations of the instrument, it can be a great benefit to classical music and the performer to begin to perform lesser-known concerti. This document may provide a resource for oboists to discover and locate concerti written by American composers. Information will be provided on how to locate the sheet music and recordings as well as ranking the difficulty of these concerti and providing program notes written by the composer.

Committee: Nermis Mieses DMA (Advisor); Susan Nelson DMA (Committee Member); Elizabeth Menard Ph.D. (Committee Member) Subjects: Music

M.M., University of Cincinnati, 2015, College-Conservatory of Music: Music History

The piano concerto in the late-eighteenth and early-nineteenth centuries was a vehicle for the composer of performer to display his virtuosic skill in a concert setting: Ferdinand Ries (1784-1838) was one such composer/performer. Ries was a student and friend of Ludwig van Beethoven for many years; a young Ries in fact made his concert debut performing Beethoven's C minor concerto, much to the composer's approval. In the Piano Concerto No. 3 in C minor, Op. 37 and the two following concertos, Beethoven expanded and developed the concerto as a genre by increasing the piano's activity in the melodic development and interplay with the orchestra. This development of the piano concerto's form inspired Beethoven's contemporaries--including Ries, who wrote eight concertos for the piano--to increase movement length and privilege the virtuoso more. In this thesis, I seek to situate Ries as a contributing composer in the development of the concerto from Mozart to Schumann. I first establish Beethoven's concerto form through formal analysis based on Stephan D. Lindeman and Leon Plantinga's work on the subject. I then examine the general trends in concerto composition in the early nineteenth century: the soloist's increased involvement in thematic material, a more exotic harmonic plan, and an increase in virtuosic solo material. I concentrate mainly on changes to the first movement approach by several prolific composers of the period--Dussek, Hummel, and Moscheles. Finally, I establish Ries's concerto style through comparison to Lindeman's trends and Beethoven's changes to the concerto genre. The availability of all eight of Ries's concertos in full score allows me to identify similarities and differences between Ries and Beethoven's piano concerto style by using form, thematic content, and solo-orchestra interaction.

Committee: Jonathan Kregor Ph.D. (Committee Chair); Steven Cahn Ph.D. (Committee Member); Mary Sue Morrow Ph.D. (Committee Member) Subjects: Music

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

This study will focus on the Double Concerto style of Bologna, Italy, in the seventeenth century. Comparing various works from the basilica of San Petronio will show how the double concerto evolved. Keeping the research focused primarily on a specific area and church will provide a consistent analysis between styles of works and articles and books about San Petronio, Maestri di Cappella and other musicians will provide source material. Through this approach, this paper will determine whether the basilica, outside composers or the local musicians' technique influenced the composer of each work. This project will shed light on the large number of double concertos created and performed at San Petronio. This study will help one understand the music in Bologna and its influence on Bologna composers.

Committee: Vivian Montgomery D.M.A. (Committee Chair); Mark Ostoich D.M.A. (Committee Member); Alan Siebert M.M. (Committee Member) Subjects: Music

DMA, University of Cincinnati, 2024, College-Conservatory of Music: Violin

Sergei Prokofiev's two violin concertos, composed eighteen years apart, reflect the composer's stylistic changes and the introspection of his musical ideas over the years. The First Violin Concerto highlights the bold and experimental compositional style of his youth, while the Second Violin Concerto is a transformation after more experience and reflection. On the whole, Prokofiev's music features a strong contrast—inheritance and innovation, classical and modern, elegant and bizarre—the coexistence of these contradictions contributes to the irony of the music and the sense of absurdity. In order to distinguish the differences and similarities between these two works, and observe how Prokofiev's compositional characteristics play out in each movement, Chapter I will begin with an account of Prokofiev's life and career, especially those concerning the two violin concertos, then Chapter II will illustrate and compare their musical forms and other basic information. Moreover, Chapter III will explore Prokofiev's similar or different styles in these two works and the characteristics of his compositional style, including his “five lines” and “new simplicity”, giving examples of how they are applied. I expect that my research will provide a reference for those who play Prokofiev's two violin concertos, helping them better understand Prokofiev's compositional style and make more appropriate interpretations.

Committee: Kurt Sassmannshaus M.M. (Committee Chair); Alexandra Kazovsky (Committee Member); Kristin Lee M.M. (Committee Member) Subjects: Music

Doctor of Musical Arts, The Ohio State University, 2022, Music

The following document discusses Katherine Hoover's Clarinet Concerto (1987), while setting the Concerto in context with the rich history of women in classical music, jazz, and feminist theory. It traces the intersection of history, feminism, and genre, discussing feminist theory and its application to music. Flutist and composer Katherine Hoover (1937-2018) was a world-renowned composer, known for her elegant and intense style for wind instruments, primarily the flute. Her repertoire for clarinet is not only versatile, but virtuosic, and explores a wide variety of genres, from jazz to Greek folk song. The Clarinet Concerto (1987), written for jazz clarinetist Eddie Daniels, is a powerful work, which presents challenges both with traditional performance and jazz-based improvisation. An in-depth biographical sketch of Katherine Hoover is provided, documenting her development from a young student with limited music education, into a world-renowned artist and composer. Also included is a brief history of women composers and performers in both classical music and in jazz, along with biographical sketches of historic jazz clarinetists and their impact on the genre. Finally, the Clarinet Concerto is explored as a performance guide, including tips on improvisation for those who might be uncomfortable with the medium. The Clarinet Concerto is promoted herein for clarinetists, not only for its invaluable musical elements that blend jazz and classical sounds, but for its reflection of a feminist work that has helped to shape music today.

Committee: Caroline Hartig (Advisor); Russel Mikkelson (Committee Member); Karen Pierson (Committee Member); Graeme Boone (Committee Member) Subjects: Music; Womens Studies

Doctor of Musical Arts, The Ohio State University, 2021, Music

Ulysses Kay (1917 – 1995) wrote his “Concerto for Oboe and Orchestra” as a graduate thesis in his last semester at the Eastman School of Music. After the premier performance, the assignment was never published. This prevented the work from becoming publicly available for the oboe players of today's time to study and perform. The purpose of this document is to offer a new, critical edition of Kay's Concerto and expand the available oboe concerto repertoire. Within this document is the history of Kay as a Black neoclassical composer followed by the historical background of the Concerto. An analysis of the Concerto as well as a detailing of the editorial process include the most important elements that were addressed in the preparation of the 2021 edition. This new edition is based on three editions of source material: two sets of unpublished manuscripts obtained from the Rare Book and Manuscript Library at Columbia University and an unpublished oboe part obtained from the Sibley Music Archives at the Eastman School of Music, a branch of the University of Rochester. In a time where diversity, equity, and inclusion are finally receiving the attention they need in the classical music world, resurfacing a work like Kay's oboe concerto is another step towards giving underrepresented composers the attention they deserve.

Committee: Robert Sorton (Advisor); Karen Pierson (Advisor); Caroline Hartig (Committee Member); Marc Ainger (Committee Member) Subjects: Music

DMA, University of Cincinnati, 2015, College-Conservatory of Music: Violin

Henryk Wieniawski (1835–1880), a Polish concert virtuoso and composer, ranked among the most significant violinists of the nineteenth century. Wieniawski published two violin concertos, Op.14 and Op.22; composed about ten years apart, their respective styles are distinct from one another, reflecting both Wieniawski's experience as a touring virtuoso and the influences of earlier and contemporary leading violinist-composers such as Viotti, Kreutzer, Rode, Paganini, Lipinski, de Beriot, Ernst, Vieuxtemps, and Joachim. Referencing other influential violin concertos of the time and developments in the virtuosic concerto genres, this document explores the stylistic differences between Wieniawski's two concerti through comparative study of form, musical content and technical aspects. Issues and debates based on available sources relating to the formal study of the two concertos are discussed; ultimately, this document attempts to reconcile the various interpretations in a comprehensive composite guide. This research thus presents a fuller understanding of Wieniawski's concerti within the larger context of how the genre of virtuoso concertos was developed and established in the Romantic era.

Committee: Piotr Milewski D.M.A. (Committee Chair); Lee Fiser (Committee Member); Christopher Segall Ph.D. (Committee Member) Subjects: Music

DMA, University of Cincinnati, 2023, College-Conservatory of Music: Composition

Turbulent Mind is a four-movement concerto for piano and orchestra. It was commissioned by the CCM Concert Orchestra and premiered by them at the Cincinnati College-Conservatory in April 2022, with Michael Delfin, piano soloist, and Brett Scott, conductor. I started to write this piece during the most threatening time of COVID-19 in 2020, when I had just moved from Boston to Cincinnati. However, a monotonous lifestyle under the pandemic could not stop my spiritual world, and that's how I decided to write this piece, in which I used music to express my turbulent mind. The four movements are written chronologically from the beginning of the pandemic till the Russian invasion of Ukraine, expressing what I witnessed and felt. The first movement, Predictable Pattern, introduces the pitch set [0157] and the pitch center "E," which runs through the entire concerto. The second movement, Turbulent Mind, is a fast-paced scherzo that serves to highlight the pianist's virtuosity. I enjoy the explosive timbre produced by striking the piano's lowest register. This movement was written mostly at the Tanglewood Music Center in 2021. Prior to leaving for Tanglewood, I had already lived in my tiny apartment without any social life for a year, and upon arriving at Tanglewood I couldn't stop working on this movement even though I was now freed from my four walls. The third movement, Back to Normal is quiet and lyrical. While composing this movement, I experienced a wealth of complex emotions. My sorrow and happiness are directly reflected in the piano's melodic material in this movement. I composed the last movement, titled Air Raid Siren, after hearing the tragic news of the war in Ukraine. It features glissandi in many different instruments to imitate the sirens I heard in the many devastating videos of the war in Ukraine. I hope to send my blessing to the people who are suffering from the war and emphasize the importance of world peace.

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

DMA, University of Cincinnati, 2023, College-Conservatory of Music: Piano

Dmitri Shostakovich's Concerto for Piano, Trumpet and Strings, Op. 35 (1933) is a brilliant, lively work written during a politically unstable and increasingly repressive time in Russia. Shostakovich quotes Haydn and Beethoven, uses a variety of topics and styles in the manner of Mozart's opera buffa, and creates a sonata-concerto form that is simultaneously traditional yet ambiguous in its delineations. The myriad of styles, alterations of form, and tonal language present difficulties in analyzing and conceptualizing the work using only one current theory of analysis. Thus, in this document, I will present a two-point theoretical analysis of the concerto using Hepokoski and Darcy's Sonata Theory and aspects of Topic Theory to show how the piece builds from traditions of form and style. Then, I will present the incongruities of styles, topics, and form to elucidate multiple interpretations through the perspective of humor, irony, satire, and parody. This document synthesizes current theoretical knowledge to present individual, research-based, interpretative options for performers of the work.

Committee: David Carson Berry Ph.D. (Committee Chair); Andy Villemez (Committee Member); Christopher Segall Ph.D. (Committee Member) Subjects: Music

PHD, Kent State University, 2023, College of the Arts / School of Music, Hugh A. Glauser

Part I of the dissertation is comprised of a multi-movement composition featuring the erhu, and string orchestra. "Concerto for Erhu and String Orchestra" is influenced by my interest and continuous study of musics of the world. As a pupil of both ethnomusicology and composition, I seek the confluence of these disciplines as a result of my research, and therefore many of my works are influenced by non-Western music. The concerto follows this path. It takes influence from traditional and contemporary erhu repertoire, merging these influences with my own experience in Western music and creates an intercultural composition. This work not only features music of Chinese origins, but also features musical elements of African, Eastern European, Korean, Indonesian, and Brazilian music, as these are areas that I have focused on during my studies. My music is deeply influenced by my study of music from these different cultures and subtly weaves together references to these musics through my use rhythmic patterns, melodic tendencies, and harmonic relationships. Part II: We live in a globalized time in which there is a high degree of exchange of information and a rapidly increasing sense of collision of cultures, identities, and meanings. One arena where this is visible is new pieces commissioned from Indonesian composers by the Bandung Philharmonic, the first professional orchestra created in Bandung, Indonesia in 2015. The very nature of this project entails a high degree of consciousness on the part of the composers, who are aware of their Indonesian-ness and that they are writing for a historically Western ensemble. To what degree and how do these composers express their Indonesian-ness in their works and to what degree do they assimilate Western music and identity? The purpose of this document is to define a way of conducting intercultural analysis. This approach is sensitive to the emic meanings from each culture, but that eventually offers an etic readin (open full item for complete abstract)

Committee: Adam Roberts (Committee Co-Chair); Gustav Medicus (Committee Member); Jennifer Johnstone (Committee Member); Joshua Albrecht (Committee Co-Chair) Subjects: Asian Studies; Composition; Cultural Anthropology; Ethnic Studies; Multicultural Education; Music; Music Education; Pacific Rim Studies; Performing Arts

MA, Kent State University, 2022, College of the Arts / School of Music, Hugh A. Glauser

"The Strands of Time" is my concerto for percussion and orchestra. The piece takes the listener through an ever-changing cascade of ideas and blurring the lines between different facets of time, all while maintaining a sense of forward direction and bringing back recognizable ideas through the swirl of sound.

Committee: Adam Roberts (Advisor); Joshua Albrecht (Committee Member); Jungho Kim (Committee Member) Subjects: Composition; Music

Doctor of Musical Arts, The Ohio State University, 2020, Music

The music of Luigi Boccherini has experienced a slow and steady revival over the last half century, yet few of his twelve cello concertos are widely published. This document presents a newly engraved edition of Boccherini's ​Cello Concerto in D major G. 478,​ including solo parts and full score. I use carnal musicology to support a historically informed editorship of the cello part. In doing so I critique the anachronistic ways in which Boccherini's music has been edited and published, particularly by Friedrich Grutzmacher in his late 19th century Boccherini concerto mash-up. Grutzmacher's widely accepted version compromises the techniques that would have been implicit in Boccherini's music, such that these inventions are lost in modern cello pedagogy and performance. My approach offers a new way of teaching and historicizing music that is faithful to Boccherini and caring toward the cello playing body. This project provides resources for the well-being of musicians and their bodies through a musicology that re-centers practice as community rather than isolation. The primary historical contributions I make to what we know of Boccherini are embodied and transcribed into the performance edition itself. This carnal musicology serves as the connective framework between history and embodied feeling, such that musicians and students can feel both the music and the history. The practice guide develops an analytical teaching methodology toward mastery of Boccherini's unique musical style and technical inventions. The ​Concerto G. 478 s​ erves as a case study by which I teach historical performance using contemporary research methodologies of formal and harmonic analysis, topic theory, and carnal musicology. I offer insight for feeling, interpreting, and translating these components of text and history through the sound of the cello. I invent practice strategies that engage the student in technical and musical inquiries of the ​Concerto​ that allow them to take ownersh (open full item for complete abstract)

Committee: Mark Rudoff Prof. (Advisor); Kristina MacMullen Dr. (Committee Member); Juliet White-Smith Dr. (Committee Member); David Clampitt Dr. (Committee Member) Subjects: Music

PHD, Kent State University, 2019, College of the Arts / School of Music, Hugh A. Glauser

The Sleep Symphony is a four-movement orchestral work approximately twenty- seven minutes in length. The musical composition is modeled upon scientific data from an electroencephalogram showing the sleep cycle of a normal, healthy toddler, aged 12- 24 months old. In conjunction with the sonification of scientific data, the composition incorporates thematic, melodic, and rhythmic material from childrens nursery rhymes and songs. The work is organized into four movements; the movements are named Stage One, Two, Three and REM. Each movement highlights unique features of each sleep stage by using the musical elements of tempo, rhythm, instrumentation, and orchestration to sonify the EEG data. The musical content is inspired by a graph from an electroencephalogram (EEG) published by the American Academy of Sleep Medicine showing heart rate, brain waves, and breathing. The graph data is used to generate rhythmic patterns and motives, dictate changes in tempo, generate melodic/rhythmic contour, and establish instrumental ranges and combinations. Christopher Rouse's Flute Concerto is a highly expressive piece of music that conveys many intense emotions focusing around the loss of a child to whom the composer pays tribute. To reproduce these emotions musically, this work runs the gamut of many of the stylistic musical developments of the nineteenth and twentieth centuries. Some of these techniques include varying degrees of functional tonality and total chromaticism, textural density as orchestration ranges from monophony to complex polyphony, and repetitive ostinati against virtuosic elasticity in the solo flute. The use of post-tonal theoretical techniques such as set theory and quasi-schenkerian reductions serve not only to uncover the compositional process but also to show how the composer incorporates varying musical styles to contrast tonality with dense chromaticism. Lastly, the concerto is highly organized and exhibits symmetry on multiple hierarchical leve (open full item for complete abstract)

Committee: Richard Devore (Committee Co-Chair); Frank Wiley (Committee Co-Chair) Subjects: Composition; Fine Arts; Music; Music Education; Performing Arts

MA, Kent State University, 2019, College of Fine and Professional Arts / School of Music

Lahkam N-nan is multiple movements of Piano Concerto Composition. The title is named in Kachin Language, which mean: New Step.

Committee: Adams Roberts (Advisor) Subjects: Composition

PHD, Kent State University, 2019, College of the Arts / School of Music, Hugh A. Glauser

Part One of this dissertation is a fifteen-minute work, Concerto for Percussion Quartet and Wind Ensemble. The three-movement concerto features four percussionists playing a combined total of 32 instruments accompanied by wind ensemble. The first movement begins with driving rhythms from the percussion delivered in alternating meters. These patterns are supported and enhanced by the addition of secondary themes from the winds. The second movement is tranquil and ethereal in its properties. The ensemble is called upon to utilize extended techniques including finger snaps, key and valve clicks, spoken word, and mass improvisations as well as standard techniques. The closing movement is built upon three collections of pitches and three rhythmic motives ultimately closing with themes from all three movements present. Part Two of the dissertation is a related study of the 2014 work Luminosity Concerto for Wind Orchestra by Joseph Schwantner, written for four percussionists and wind ensemble. In this study the large-scale structures in Luminosity's three movements are analyzed through the study of rhythmic patterns, pitch organization, and motivic material. The study finds pitch material derived from multiple iterations and subsets of two primary pitch-class sets and built around eight rhythmic motives delivered through compositional techniques found to be common in Schwantner works. This research was influential in the development of the work in Part One.

Committee: Richard Devore (Committee Co-Chair); Frank Wiley (Committee Co-Chair); H. Gerrey Noh (Committee Member); Jesse Leyva (Committee Member) Subjects: Composition; Music; Performing Arts

DMA, University of Cincinnati, 2019, College-Conservatory of Music: Violoncello

This document is a comprehensive study of the five complete solo cello repertory by Sergey Prokofiev, featuring cello with piano or orchestra— the Ballade, Cello Sonata, Cello Concerto, Adagio from Cinderella, and Sinfonia Concertante. The study combines compositional background, musical analysis, and performance practice. In the compositional background section, I relate Prokofiev's life events, his diary, scholarly research, and the political influences to his cello compositions. In the musical analysis section, I categorize the themes and show the motives of each of Prokofiev's solo cello works in charts, and I compare these to Prokofiev's own cello compositions. The musical examples, excerpts, and tables illustrate each work's form. The performance practice section includes an examination and discussion of technical issues as well as the highlights of each piece. In the document, I chronicle Prokofiev's cello solo repertory. Chapter 1 tells the stories about Prokofiev's cello compositions—solo and ensemble, how the music aligns with his life stages, and the influence of Mstislav Rostropovich, Prokofiev's cello friend and partner. Chapters 2 and 3 provide recent scholarly discoveries of Prokofiev's solo cello works, particularly the Ballade and the Adagio from Cinderella. Chapter 3 also includes my research on why Prokofiev preferred composing much of his music in C Major. Chapter 4 discusses the Sonata and its motivic connections with his Ballade. Chapter 5 discusses the two concertos, the Cello Concerto and the Sinfonia Concertante, through Prokofiev's compositional background and personality. I expect my research will contribute an inclusive guide that can deepen both performers' and readers' understanding of Prokofiev's cello repertory, and I hope to contribute to the recognition of the value of Prokofiev's cello music.

Committee: Yehuda Hanani M.M. (Committee Chair); James Bunte D.M.A. (Committee Member); Jeongwon Joe Ph.D. (Committee Member) Subjects: Music

DMA, University of Cincinnati, 2019, College-Conservatory of Music: Composition

I had reached a crossroads in my artistic journey as a composer where I began to contemplate how my work would be a reflection of the times I lived. I sought to establish a firm purpose as an artist, unafraid to make bold statements that would inspire others to create change for the greater good. My goal was to create a culturally enriching work that takes a hard look at the current state of American society in the 21st century. The creation of the work is cultivated by the long history the nation has experienced on the course to realizing its ideals of freedom and equality for all its citizens. It is a deep reflection of the triumphs as well as the many impediments that have shaped our current outlook on the future of American life. I chose to look inward to create this work, exploring all the various cultural and musical attributes that American society has had on my compositional aesthetic. This led me to the selection of the Hammond organ as the catalyst for this piece. Musically and stylistically, it is one of the most culturally affluent and consistent musical instruments in American music. It bridges the gap between several musical genres; gospel, jazz, RnB, rock/soul, and many others. Within these styles exists many culturally unique sound worlds, cultivated by a rich variety of perspectives. The piece is divided into 3 movements: a rhapsody, threnody, and gospel praise break. The first movement, Rhapsody is an exploration of American sound. It is a celebration of the many cultural influences that make the United States such a unique place. In a nutshell, it is everything we continue to strive for; fluid cultural integration. I send the soloist and orchestra through a whirlwind of genres. There's Latin flavor, modern jazz, hard rock, all thrown into a contemporary sound block. The second movement, Invocation presents a lot of hard truths that concern the well-being of our nation's people. Unfortunately, even in this current day and age (open full item for complete abstract)

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

DMA, University of Cincinnati, 2018, College-Conservatory of Music: Double Performance Major

The double concerto and its variants, such as concerti grossi, was a popular genre in the Baroque era; in the Classical era, however, most composers shifted their focus to the composition of concerti for solo instruments. The double concerto reappeared in the Romantic era, now written for two soloists with orchestra. A notable contribution to this repertoire is the Double Concerto for clarinet and viola in E minor, Op. 88 (1911) by the prolific German composer Max Bruch (1838-1920). The Double Concerto was transcribed for violin and viola as well. This document will serve as a performance guide for Bruch's Double Concerto as it pertains to the violin and viola transcription. I will broadly describe performance practice for the piece within the context of the German Violin School developed by Louis Spohr (1784-1859), addressing technical issues such as phrasing, portamento, vibrato, and tempo rubato according to Spohr's `fine style'. By presenting Bruch's Double Concerto as an example of the German School, this document will illuminate how best to perform the work in an authentic German Romantic style.

Committee: Won-Bin Yim D.M.A. (Committee Chair); Catharine Lees D.M.A. (Committee Member); Kurt Sassmannshaus M.M. (Committee Member) Subjects: Music; Performing Arts