DMA, University of Cincinnati, 2020, College-Conservatory of Music: Violoncello

Until the twentieth-century, there does not exist the same kind of repertoire for solo cello and especially unaccompanied cello as for other instruments. Bach's cello suites, written between 1717 and 1723 were the exception to this rule, and these works and this genre have had a strong influence on composers writing for solo cello in the last century. Max Reger took Bach as an example and fused Baroque elements with contemporary ones in his three cello suites. After Reger, the twentieth-century saw a significant increase of solo cello compositions and many composers wrote cello suites as well as other genres for the instrument. Bach's influence on this literature is substantial. This document explores selected solo cello suites of twentieth-century composers: Max Reger (Three suites, Op.131c, 1915), Gaspar Cassado (1926), Ernest Bloch (Suites 1 and 2, 1956, Suite 3, 1957), Benjamin Britten (Op. 72, 1964, Op. 80, 1968, Op. 87, 1972), Hans Gal (Op. 109b, 1982). These pieces will be examined for their connections to Bach's Cello Suites and influences of style, techniques, and other characteristics will be explored.

Committee: Samuel Ng Ph.D. (Committee Chair); Rachel Calin M.M (Committee Member); Amit Even-Tov (Committee Member) Subjects: Music

DMA, University of Cincinnati, 2001, College-Conservatory of Music : Flute

The purpose of this document is to present the history of extended techniques for the flute and examine their potential as a teaching tool. This study will trace the development of the flute's technique and range of musical expression with special emphasis placed on early innovations, significant composers and flutists, and research that ultimately resulted in new effects and sonorities. It is also necessary to catalog the established extended techniques by discussing, defining, and illustrating these effects through musical examples. Furthermore ,these devices will be discussed in reference to studio teaching and will be illustrated by exploring the benefits of, and the implementation of these techniques in the young flute player's musical education. The paper will conclude with four orchestral excerpts for flute, each approached from an extended technique standpoint.

Committee: Bradley Garner (Advisor) Subjects: Education, Music; Music

DMA, University of Cincinnati, 2007, College-Conservatory of Music : Piano

This document's primary function is to trace the twentieth-century stylistic elements present in Robert Starer's music, including lyricism, rhythm, atonality and technique. It includes the discussion and grading of the four pedagogical sets, Games with Names, Notes and Numbers, Sketches in Color-Set One, Sketches in Color-Set Two and At Home Alone, providing a resource in selecting repertoire for the National Music Certificate Program. Three advanced works, Excursions for a Pianist, Twilight Fantasies, and Sonata for Piano, No. 3, are discussed, outlining their formal design and structure. The document draws together the selected compositions by Starer, tracing the stylistic elements common in the elementary, intermediate, and advanced works.

Committee: Dr. Michelle Conda (Advisor) Subjects: Music

Doctor of Philosophy, The Ohio State University, 2003, History

By the declaration of the armistice on November 11, 1918, the United States had mobilized and deployed millions of soldiers to France helping to break German resistance and end the war. The expansion of American capabilities that contributed to the decision on the Western Front was astounding. The agencies responsible for equipping and supplying forces had increased their operations several hundred-fold as the army expanded from 290,000 to over four million men in 19 months. However, for all its achievements, the American mobilization had been a close run thing. For a time, the obstacles seemed so great that many doubted whether the United States would propel sufficient force overseas to contribute to the war before German victory in Russia or Franco-British exhaustion led to Allied defeat. In the winter of 1917, a crisis arose that led Congress to investigate and the administration to reorganize the War Department. This work examines the targets of the investigations and public distress: the five War Department supply bureaus. The Engineer, Medical, Ordnance, Quartermaster and Signal Departments were the nucleus of the system to support the troops in the field, develop equipment, and purchase necessary items for the Army. These bureaus, which reported to the Secretary of War and assisted his administration of the Army, provided the resources that allowed the Infantry and Artillery to operate in peace and war. Critics at the time pointed to the five supply bureaus as the cause of the War Department's inability to manage the mobilization effort. What caused the near collapse of the United States' mobilization program in 1917? In their analyses of the War Department's supply bureaus, nearly every historian attributes the collapse of the Army's industrial mobilization effort to some combination of four fatal flaws. They suggest that the bureaus and their chiefs opposed coordination that endangered their autonomy, regularly went around the War Department hierarchy to se (open full item for complete abstract)

Committee: Allan Millett (Advisor) Subjects:

Bachelor of Arts, Wittenberg University, 2020, English

1950's author, Shirley Jackson, wrote of the daily housewoman's life with a Gothic turn. Beginning with domestic life magazines and later extending her works to the international press, Jackson wrote of the familiar and sometimes welcoming image of domesticity in a way that demonstrates the complex and ambiguous relationship women hold with their domestic roles. Though for some her writing inspired the breaking away from the housewife image, for many it brought a desire to embrace the housewife identity with writings that shared their experiences and made light of their domestic roles. Feminist readers debated whether women could truly be happy in these domestic roles or if the attempt to make light of the household duties was a denial of the limitations placed on them by a patriarchy. In Jackson's writing, there is a combination of support for the agentic housewife and the belief that domesticity brought personal destruction. Through this essay, it is shown how Jackson's literature, including her penultimate work, We Have Always Lived in the Castle, provides insight into the historical questioning behind the domestic woman, simultaneously showing the positive and negative components of domestic life.

Committee: Unknown (Advisor) Subjects: American Literature; Gender Studies; Literature; Modern Literature; Womens Studies

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

The purpose of the document is to advocate for the appreciation and application of the common nineteenth-century practice of improvised preluding. After studying Clara Wieck Schumann's compositional process based on her eleven notated preludes and selected twentieth-century pianist-composers' approaches to preluding, I provide three preludes based on their prelude sketches, styles, and transcriptions. Because I am an advocate of historically informed performance practice, my goal is to delve further into historical piano recordings and the artists who left their legacies through live performances and studio recordings. I endeavor to preserve some of their preluding attempts by way of transcribing them from the selected recordings. The document is organized in three main parts. Chapter one presents Clara Wieck Schumann's training and influences, preluding practices, and her notated eleven preludes. Chapter two provides the transcriptions of the selected twentieth-century pianist-composers' preluding from the recordings of studio and historical live performances, comparing and contrasting their approaches to preluding. Chapter three contains my own transcriptions of performed preludes. The first two preludes are modeled after Einfache Praeludien fu¨r Schu¨ler, and the last prelude will be on my own. All relate to Schumann's concert program on December 14, 1854.

Committee: Steven Cahn Ph.D. (Committee Chair); Michael Chertock M.M. (Committee Member); Stephen Meyer Ph.D. (Committee Member) Subjects: Music

Master of Arts in History, Cleveland State University, 2018, College of Liberal Arts and Social Sciences

White nationalism has played a critical role in shaping United States politics for over 150 years. Since the Reconstruction era, whites have fought to maintain their power and superiority over minorities. They influenced U.S. politics by attempting, and in some cases succeeding, to prevent minorities from voting. Moreover, politicians began to help them. This became most evident in the 2016 U.S. presidential election when Republican Donald J. Trump appealed to racist white voters, gained their support, and won the election. Those voters, who united as the Alt-Right, supported Trump because he appealed to them by playing on their fear of becoming a minority in their country. This thesis traces white nationalism back to Reconstruction. It analyzes the memberships of separate groups such as the Ku Klux Klan, Neo-Confederates, and Citizens' Councils to show how and why those various groups united as the Alt-Right to support Trump in the 2016 election. This study examines the writings of various white nationalists, including their Twitter accounts, to identify their goals and how they spread their ideology. This work also analyzes race as a political concept and identity by investigating how politicians appealed these groups. Ultimately, this thesis illustrates the presence and significance of white nationalism in United States politics and how it culminated in Donald Trump's 2016 presidential campaign.

Committee: Thomas Humphrey Ph.D (Advisor); Robert Shelton Ph.D (Committee Member); Karen Sotiropoulos Ph.D (Committee Member) Subjects: American History; American Studies; History; Modern History

Master of Arts (MA), Ohio University, 2017, Art History (Fine Arts)

Forging reputations as the greatest women artists of their generation, Mary Cassatt and Cecilia Beaux embodied the autonomous, ambitious, and complex characteristics that came to represent the New Woman at the turn of the nineteenth century. Their comparable levels of success as well as their conflicting ideologies concerning the role of feminine expression in art resulted in a personal and professional rivalry. Shifting the debate away from which of these women was the superior artist, scholars have begun to dispute the social and symbolic implications of their work in an effort to determine which artist proved to be the exemplary feminist. Utilizing inferences drawn from autobiographical and primary sources, secondary sources, and iconographic and semiotic analysis, this study explores the divergent impact of Mary Cassatt and Cecilia Beaux's work as visual manifestations of the New Woman, their diverse but equally significant contributions to the equal rights movement and the professionalization of the late-nineteenth and early-twentieth century woman artist.

Committee: Jody Lamb (Advisor); Marilyn Bradshaw (Committee Member); Sara Harrington (Committee Member) Subjects: Art History

Doctor of Philosophy, Miami University, 2016, English

Mediums and Their Material investigates how late-nineteenth and early-twentieth century women mediums interrupt and re-contour discourses of the body—biologically, medically, textually—through their representations of technological and spiritual contact. Recent critics have regarded women as particularly suited for mediating communication, be it through technological devices such as the typewriter or telegraph, or spiritualist practices like the seance or automatic writing. What made these women's bodies so viable for these ends, scholars have noted, was the ubiquitous perception at the turn of the century that the female body possesses “natural” feminine qualities: passivity, moral refinement, spiritual superiority, and sympathy. Developed out of the supposed weakness of the female body, this critical attention on the social construction of femininity and women's mediation has, to this point, eschewed any discussion of mediums' actual bodies and the agency those bodies might express. Where most critical discussions of mediation explore the gender lines that qualify, or circumscribe, the female medium's agency and the vulnerability afforded her by her passive qualities, my project takes a material feminist approach to develop an alternative reading of female mediation that retrieves the female body from paternalistic, patriarchal, and racist constructions, and demonstrates how female mediums' bodies and their organic function operate as powerful sites of agency. Contributing to both material feminist conversations and the fields of Victorian and Modernist studies more generally by looking closely at the materiality of the bodies employed in spiritual and technological mediation, Mediums and Their Material imagines women mediums and their technological and spiritualist experiences as working in their own time to promote their economic and political development—through authorship, women's rights movements, and other systems of knowledge conveyance.

Committee: Mary Jean Corbett (Committee Chair); Madelyn Detloff (Committee Member); Erin Edwards (Committee Member); Gaile Pohlhaus (Committee Member) Subjects: Gender; Gender Studies; History; Literature; Spirituality; Technology; Womens Studies

Master of Arts (MA), Bowling Green State University, 2016, American Culture Studies

At the turn of the twentieth-century Americans across the nation were theorizing about diet; what diets were best, what diets could lead to individual and national degeneration, which diets could solidify white American superiority, and how the eating habits of individuals reflected the character of America more broadly. I describe this popular conversation as the diet debate. Although this was not a debate in the sense that there were two individuals or two very distinct camps arguing over a point, I have found patterns in my primary source analysis that reveals an informal debate with various actors expressing contrary opinions on the subject of diet across the nation between 1890 and 1914. This project also specifically looks at the diet debate through the lens of prominent cultural anxieties at the turn of the twentieth-century. Contextualizing the diet debate alongside broader cultural anxieties allows for a nuanced look at turn-of-the-century American culture and the role diet played in identity formation and the negotiation between individual Americans and broader societal fears. The three cultural anxieties explored here are the neurasthenia epidemic, the progressive concerns about poverty, alcoholism, and safe food, and the general anxiety about race deterioration and race relations associated with growing the American empire through immigration and imperialism. This project, by looking at how these general anxieties surfaced in the diet debate, shows how cultural anxieties permeated the diet debate and, conversely, how diet debaters capitalized on those anxieties to stake their claims in both reassuring and inciting ways.

Committee: Timothy Messer-Kruse Dr. (Advisor); Scott Martin Dr. (Committee Member) Subjects: American History; American Studies

BA, Oberlin College, 2016, History

In 1948, the composer Benjamin Britten inaugurated the Aldeburgh Festival of Music and the Arts in the provincial British town of Aldeburgh. My research explores Britten's attempt through the Festival to democratize culture and combat the alienation and consumerism of modernity by creating a vividly human community based upon shared, localized musical experience. Through amateur participation and interpersonal connection, Britten sought to affirm the social value of art in the modern era and make it available to all people, enacting the social ideals of the time in the realm of culture.

Committee: Annemarie Sammartino (Advisor) Subjects: History; Music

Doctor of Philosophy, The Ohio State University, 2015, Germanic Languages and Literatures

The end of the nineteenth century marked the slow shift from home births towards an increased hospitalization of birthing, which became a firmly established practice in twentieth-century German-speaking countries. In this project, I analyze and contextualize representations of birthing, birthing assistants, and the medicalization of the female body in the late nineteenth and early twentieth centuries in Helene Boehlau's Halbtier! (1899), Ilse Frapan's Arbeit (1903), and Gabriele Reuter's Das Traenenhaus (1908). Boehlau, Frapan, and Reuter wrote their novels at the cusp of a new approach to birthing, and their protagonists grapple with the transition from giving birth at home with minimal medical intervention to viewing birth as a pathological condition that requires support from medical personnel. By bringing together theoretical discourses on the body and on medicalization, I examine what effect the restructuring of birthing assistance, and later the development of the medical specialty of obstetrics, had on women in the late nineteenth and early twentieth centuries, and how women perceived these changed birthing conditions. I argue that each of these literary works challenges the medical history narratives that have portrayed medical advances in obstetrics as a positive change for women across the world. Rather, these works take up questions of female agency and the human cost resulting from medical advancements. I identify the three authors' preoccupation with unwed mothers' birthing experiences and the socio-economic and moral factors that influence their patient care and access to health care as a crucial commonality between the works examined. The project begins with a historical overview of the medicalization of birthing in German-speaking countries and of the changing discourses about the female procreative body from the 1750s onwards. The subsequent three literature chapters focus on the portrayal of women's perceptions of the birthing experience, the loc (open full item for complete abstract)

Committee: Barbara Becker-Cantarino PhD (Committee Co-Chair); Katra Byram PhD (Committee Co-Chair); Anna Grotans PhD (Committee Member) Subjects: Germanic Literature

MA, University of Cincinnati, 2012, Arts and Sciences: Spanish

The thesis focuses on defining identity in selected Latin American essays from the nineteenth to mid twentieth century. Thus, my main lines of research are devoted to the complex issues of representation of identity in selected essayistic works in the context of postcolonial Latin America. The first chapter is dedicated to three essayists of the nineteenth century and has three parts corresponding to the selected essayistic works of the Argentinean writer and statesman Domingo Faustino Sarmiento (1811 -1888), the Uruguayan essayist Jos¿¿¿¿ Enrique Rod¿¿¿¿ (1872 -1917), and the Cuban national hero and writer Jose Mart¿¿¿¿ (1853 - 1895). The second chapter is devoted to three essayists of the twentieth century: the Mexican essayist and poet Alfonso Reyes (1889-1959), the Peruvian journalist, political philosopher and activist Jos¿¿¿¿ Carlos Mari¿¿¿¿tegui (1894-1930,) and the great Mexican writer Octavio Paz (1914-1998), who is the Nobel Prize winner for Literature (1990). Our selection of texts consists of selections from Facundo (1845) by Sarmiento, Ariel (1900) by Rod¿¿¿¿, “Nuestra Am¿¿¿¿rica” (1891) by Mart¿¿¿¿, “Visi¿¿¿¿n de An¿¿¿¿huac” (1915) by Reyes, selected parts of Siete ensayos de interpretaci¿¿¿¿n de la realidad peruana (1928) by Mari¿¿¿¿tegui, and El laberinto de la soledad (1950) by Paz. The main research question is how each of these six authors imagine/ represent the identity of their nation and at a higher level of identity in Latin America? My research question is mainly based on the theoretical findings of Benedict Anderson and Fredric Jameson. My question is mostly determined by the definition of “national allegory,” given by Fredric Jameson in his article “Third-World Literature in the Era of Multinational Capitalism.” The main lines of my analysis are dedicated to find and interpret examples in each of the authors of the national allegories through which they represent/imagine their national communities.

Committee: Nicasio Urbina PhD (Committee Chair); Enrique Giordano PhD (Committee Member); Carlos Gutierrez PhD (Committee Member) Subjects: Latin American Literature

DMA, University of Cincinnati, 2006, College-Conservatory of Music : Conducting, Choral Emphasis

Lili Boulanger (1893–1918) composed several significant choral works that deserve recognition in the choral canon. Best known for her Vieille priere bouddhique and psalm settings, Boulanger composed some of her greatest works between bouts of chronic suffering from a variety of intestinal complications now known as Crohn's disease, yet still became the first female composer to win the illustrious Grand Prix de Rome (1913). By addressing these works in a comprehensive manner including formal musical techniques and language solutions, I hope to provide an essential guide for conductors interested in the works of Lili Boulanger. The Conductor's Guide discusses the following items related to each work: text sources, manuscript information, and dedication data; formal stylistic analysis of treatment of harmony, melody, texture, and motivic usage; performance history including discography, and a detailed description of rehearsal and performance issues. I also offer language assistance in a thorough IPA pronunciation guide and an accompanying pronunciation CD or embedded wave files for those reading the electronic version. The works addressed in this guide are: Hymne au soleil, Pendant la tempete, Pour les funerailles d'un soldat, Psaume 24, Psaume 129, Renouveau/, Les sirenes, Soir sur la plaine, Soleils de septembre, Sous-bois, and Vieille priere bouddhique. Deriving conclusions from my analysis of these choral works by Lili Boulanger, I provide a comprehensive Conductor's Guide to assist future interpreters of her works and enable the conductor to make informed decisions regarding interpretation, style and rehearsal procedure.

Committee: Dr. Earl Rivers (Advisor) Subjects: Music

Doctor of Philosophy, The Ohio State University, 2008, English

England has historically conceived of chastity in two ways: 1) virginity prior to marriage followed by continence – i.e., self-restraint from sexual intercourse – within marriage and 2) simplicity of clothing and ornamentation. This dissertation, Fashioning Chastity: British Marriage Plots and the Tailing of Desire, 1789 and 1928, focuses on a time when these two definitions coexisted. British marriage plots typically concentrate on two female characters: one who overvalues fashion and engages in pre-marital sexual activity (only to make a poor marriage or become a fallen woman) and another who favors conservative dress and guards her chaste reputation (for which she is rewarded with an affectionate marriage). While the fallen women's scandalous sexuality attracts critical attention, the marriage plot's heroines – perhaps because they appear to reify orthodoxy – tend to generate less analytical attention. This dissertation examines the latter group: the overlooked, chaste protagonists. By unpacking sartorial motifs in Matthew Lewis's The Monk (1796), George Eliot's Adam Bede (1859), Thomas Hardy's Jude the Obscure (1895), and Virginia Woolf's Orlando (1928), I illustrate how these authors use clothing's symbolic relation to contemporary issues to complicate the appearance feminine, chaste sexuality. Ultimately, this dissertation draws upon and contributes to feminist and sexuality studies by helping us to better understand the complexity of female chastity throughout the long nineteenth century. While Enlightenment thinking led contemporary religious, marital, and sartorial discourses to back away from defining husbands as the undisputed rulers of their households, the Marriage Act of 1753 solidified the importance of female virginity, as verbal spousehoods were no longer legally binding. Concurrently, republican and capitalist belief systems deified the pursuit of happiness in marriage and promoted the interests of the rising middle-class, emphasizing women as the (open full item for complete abstract)

Committee: Marlene Longenecker PhD (Advisor); David Riede PhD (Committee Member); Amanpal Garcha PhD (Committee Member) Subjects: English literature; Literature

Master of Arts, Miami University, 2009, History

On May 16, 1903, Annie S. Peck, a professional mountaineer from the United States, ventured the open-waters of the Atlantic in her quest for the tallest mountain of the Western Hemisphere. Nine years later, on June 5, 1912, her contemporary, Fanny Bullock Workman, made final preparations for an upcoming excursion to the Siachen Glacier of modern-day Pakistan. While following patterns of Victorian female travel, Peck and Bullock Workman displayed distinctive bodily performances of impressive athletic endurance that pushed the bounds of the emerging “New Woman” in terms of physicality and professionalism. Consequently, Peck's and Bullock Workman's lives demonstrate that female mountaineers were very much a part of a Western discourse obsessed with debates of proper gender roles and women's rights during the dawn of the twentieth century.

Committee: Mary Frederickson PhD (Advisor); Kimberly Hamlin PhD (Committee Member); Judith Zinsser PhD (Committee Member) Subjects: American History; Gender; History; Womens Studies

PhD, University of Cincinnati, 2024, College-Conservatory of Music: Theory

This dissertation develops an analytical tool called “the secondary-parameter network” that uses secondary parameters to define sonata form in late-twentieth-century symphonic repertoire. Instead of relying upon tonal inheritance or themes to define sonata form in the symphonies of late-century composers such as Edison Denisov, Lowell Liebermann, Einojuhani Rautavaara, Christopher Rouse, and Isang Yun, the secondary-parameter network uses changes of instrumentation, rhythms, time signature, dynamics, contrapuntal texture, and tempo to identify formal junctures. Essentially, most or all secondary parameters change at formal boundaries. The method developed here differs from those of other scholars of twentieth-century sonata-form repertoire, such as Lofthouse, Perry, and Tarrant, who employ Sonata Theory to account for the works of, respectively, Shostakovich, Prokofiev, and Nielsen. While their recalibration of Sonata Theory accounts for this mid-century repertoire well, first movements of multimovement symphonies by late-twentieth-century composers require a different approach because the idea of rotation is no longer relevant. The secondary-parameter network offers a new reading of sonata form through a ground-up construction of sonata form based on significant changes to secondary parameters.

Committee: Christopher Segall Ph.D. (Committee Chair); Cristina Losada Ph.D. (Committee Member); Samuel Ng Ph.D. (Committee Member) Subjects: Music

Master of Arts (MA), Bowling Green State University, 2024, History

One Nation Under My God studies the issue of Christian Nationalism through the institutional histories and political activism of the United Methodist Church and the Southern Baptist Convention. By looking at these histories, this work argues that Christian Nationalism is not always overt but can be subtle and quiet. The overt support for pro-America ideology from the Southern Baptists and the subtler moralism from United Methodists contrast in these ways. This study also discusses regional identity between North and South in the United States and how religious and political affiliation perpetuates regional division.

Committee: Cheryl Dong Ph.D. (Committee Chair); Michael Brooks Ph.D. (Committee Member) Subjects: American History; Religious History

Doctor of Philosophy (Ph.D.), University of Dayton, 2024, Theology

Katherine Burton (1887-1969) is a forgotten, yet prolific US Catholic writer who wrote for average, middle-class, white women in the mid-twentieth century. From her conversion to Catholicism in 1930 to her death in 1969, Katherine wrote a monthly “Woman to Woman” column in The Sign for thirty-six years, over forty-four biographies and histories of Catholic men, women, and religious communities, and countless articles for other Catholic periodicals. Her books, as well as the Catholic periodicals in which her writing regularly appeared, had a large, nationwide readership. Katherine's words hold significance for religious scholars today seeking to further understand the faith lives of middle-class women in the pews during one of the most turbulent time periods in US history. Examining Katherine's writing provides scholars with a view into how Catholicism and Catholic womanhood were understood and presented by a laywoman to her mid-twentieth century laywomen audience. Katherine's writing is also a compelling example of how intricately an author's personal life is often entwined with their work and how studying the two side by side enriches the narratives they both tell.

Committee: Bill Portier (Committee Chair); Sandra Yocum (Committee Member); Mary Henold (Committee Member); Jana Bennett (Committee Member); William Trollinger (Committee Member) Subjects: American History; Religious History; Theology

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

Composer Joan Tower (b. 1938) is one of the most successful women composers of our time. In an interview, she suggested that performers and scholars try an “energy line analysis” of her post-serialist pieces. As a result, there have been published energy line analyses of her pieces for oboe and for viola. However, publications on her piano works have examined only her compositional style without engaging the energy line concept. Black Topaz for piano and six instruments (1976) is crucial in her compositional metamorphosis, since it is the first work she wrote after she turned away from serialism. Tower creates various timbral effects through the unusual instrumentation of flute, clarinet, trumpet, trombone, percussion, and piano. Also, her rhythmic vitality and high energy are clearly shown in this piece. This document focuses on two aspects of the piece. First, it examines the details of her compositional devices that contribute to its colorfulness. The timbral analysis should assist performers of this work in detecting what to listen to and conductors in balancing the sound. Second, the document proposes a new system to analyze the energy line of Black Topaz and presents such an analysis. Tracking the energy line should help performers to organize the work and pace the performance. By understanding the primary focus of the composer, performers will then be able to communicate her intention to the audience.

Committee: Samuel Ng Ph.D. (Committee Chair); Andy Villemez (Committee Member); Michael Chertock M.M. (Committee Member) Subjects: Music