Music historians have long acknowledged the importance of opera in nineteenth-century Italy. Few musicologists, however, have explored the more intimate genre that also played an important role in Italy's artistic, political, and social sphere – the Italian art song. This study begins with a discussion as to why few scholars have unjustifiably dismissed Italian song in favor of Italian opera – a genre that evidently eclipsed the recognition of Italian song. Although the operas of Rossini, Donizetti, Bellini, and Verdi highlight the century's musical achievements, an examination of primary sources reveals that Italy possessed a rich and active concert life outside the opera house. Yet although most significant opera composers experimented with song, only one would claim international attention in this genre, the Tuscan-born composer Luigi Gordigiani (1806-1860). Beginning with the composer's childhood, a brief biographical sketch of the composer reveals a figure determined to compose for the stage – attempts that mostly met with disappointment. His failed attempts at securing a career as an opera composer, along with financial difficulties, led Gordigiani to compose more intimate works, most importantly his eight collections of Canti popolari toscani for voice and piano. These pieces would lead Gordigiani to the intimate salons and concert halls of Europe, places where he would establish himself among the most elite figures of his day. An examination of primary sources from the period reveals a composer whose circle of friends belonged to the elite of London and Florence, including Queen Victoria, Giuseppe Poniatowski, and Nikolai and Anatole Demidov. His reputation as a song composer among these figures and the public brought him the attention from over fifty publishers across Europe, including firms in France, Germany, Russia, Poland, England, and Belgium. This study also examines the historical context in which Gordigiani composed his songs. Arguably, Italy's political turmoil, excessive tax, and French and Austrian domination, may have spoiled the country's piano industry, resulting in a large number of piano imports from France, Germany, and Austria. Nevertheless, the public's interest for song, whether operatic arias or romanze, brought about an increase in the number of song publications, an aspect that may have stimulated the growth of the piano industry later in the century. The poems and poets of the risorgimento also investigated. From examination of the poets of the period, it becomes evident that Gordigiani was less interested in the works of major Italian figures like Foscolo, Manzoni, and Leopardi; rather, the composer generally looked to local poets who more likely had an affinity toward folk idioms. Gordigiani's choice of poetry also reveals that he not only used song as a form of entertainment, but also as an expression of nationalistic and political sentiments. Finally, this study shows that Gordigiani, unlike many of his Italian contemporaries, assimilated the German Lied tradition. His gift for melody, rich harmonic vocabulary, and clever musico-poetic techniques set him apart from his contemporaries, earning him the nickname "lo Schuberto italiano" – an appellation which begs the question: was Luigi Gordigiani an "Italian" Schubert or an Italian "Schubert"? / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester, 2007. / June 28, 2007. / Florence, London, Italian Song, Schubert, Art Song, Romanza, Canti Popolari, Salon, Folksong, Risorgimento / Includes bibliographical references. / Douglass Seaton, Professor Directing Dissertation; Valerie Trujillo, Outside Committee Member; Charles E. Brewer, Committee Member; Jeffery Kite -Powell, Committee Member; William Leparulo, Committee Member.

The Concerto for Piano and Orchestra is a three-movement work for small orchestra and piano solo. Typical of the genre, the movements are arranged by tempo in a fast-slow-fast configuration. The overarching concept of the piece is a kaleidoscopic view of a single idea; that is, each movement represents the metaphorical twist of a kaleidoscope which is itself always fixed on a single point. That point, stated in musical terms, is the interval of a third (particularly the minor third), and it is prominently re-examined in each movement, both in the orchestral and solo parts. The tonal centricity of the movements is governed by the above rubric as well. The first movement begins with a sustained F-sharp major sonority, the second in G major, and the third in a quasi-A minor, thus tracing the interval of a minor third from F-sharp to A on the largest scale. (In microcosm, the third movement exhibits this phenomenon in reverse, beginning in A, recapitulating in G, and concluding on F-sharp.) Each movement ends with an F-sharp tonal center. The first movement is framed by two expansive sections featuring a wavering minor third in the orchestra, and a sober solo piano line which clashes with the prevailing tonality. Out of this springs a more joyous melody, first in the piano, then in the entire ensemble. Midway through the movement, a fanfare motive (again based on the minor third) emerges, and leads to a developmental passage in which various motives introduced earlier in the piece are juxtaposed and intertwined. A brief cadenza then gives way to a giocoso interplay between soloist and winds that caps off the development and leads to a recapitulation of the opening material. The second movement differs greatly in character from the first, beginning with a semplice, quasi-Baroque G major orchestral tutti. Despite this contrast, important connections remain. The opening motive of the melody is a descending major third, while the closing gesture of this section is a lilting minor third—a transformation of the passages which encapsulate the first movement. Serving as a sort of ritornello, this opening expository material is interspersed with rhapsodic piano interludes. The third and final statement of the ritornello is given at first to the soloist alone, before cascading into a tutti statement of the lilting minor third closing gesture, followed by a brief coda. Finally, the light-hearted third movement introduces a minimalist-inspired ostinato figure, which is present throughout most of the movement and suggests the music's moto perpetuo label. This figure is a series of repeated pitches (accenting groupings of 3+3+2) concluded by a single ascending minor third. This ostinato figure is metrically at odds with the more prosaic and insistent quarter note pulse found in the percussion section. Throughout this movement, the soloist's skills are put on display with fast passagework that requires both quick fingers and a high level of endurance. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2006. / April 3, 2006. / Orchestra, Score, Post-Minimalist, Piano, Concerto / Includes bibliographical references. / Ladislav Kubik, Professor Directing Dissertation; Karyl Louwenaar, Outside Committee Member; Michael Buchler, Committee Member; Clifton Callender, Committee Member.

This qualitative research study explores the notions of identity and musical agency within the Educational and Cultural Association Didá in the city of Salvador da Bahia, Brazil. The organization consists of a school of music for underprivileged women and children within the poor neighborhoods of the city. It is a social project existing in one of the poorest and most conservative cities in Brazil and has had significant success in keeping women and children off the streets and out of trouble. The researcher uses the ideas and educational theory of Paulo Freire to explore the Educational and Cultural Association Didá. Intertwined within this framework, the researcher writes of aspects of identity including gender identity, behavioral aspects of identity, education, racial identity, and social identity. The researcher defines and describes the notion of musical agency and how it is created and reflected within practices of the organization. Two case studies of two adult female members of Projeto Didá are included. The researcher has followed qualitative research methods used by ethnomusicologists including observations, participant observation, journal fieldnotes, interviews, and audio and visual documentation. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education. / Spring Semester, 2007. / March 28, 2007. / Pelourinho, Brazil, Paulo Freire, music education, Sodomo Project, Neguinho do Samba, Projeto Didá, Banda Didá Feminina, female identity, samba reggae, bloco-Afro / Includes bibliographical references. / Clifford K. Madsen, Professor Directing Thesis; Steven N. Kelly, Committee Member; Kimberly VanWeelden, Committee Member.

The purpose of this study is to analyze Dragons in the Sky for horn, percussion and computer-generated tape (1989) by American composer, Mark Schultz (1957-2015). Dragons in the Sky won the 1990 International Horn Society Composition Contest, and has subsequently been performed over four hundred times worldwide and recorded on three music labels: Summit Records, Hard Cor Music, and Sunset Music Australia. Because of the popularity of Dragons, a consortium of horn players commissioned Schultz to orchestrate the work for orchestra (1998) and wind ensemble (1999). Despite its fame, there is little information – published or unpublished – on the composer and his works. It is the intent of this paper to add to the relatively small body of literature on Mark Schultz and his compositional additions to the horn repertoire. Dragons in the Sky is a completely octatonic work and employs technology, in the form of computer-generated sounds, unique to the large mainframe supercomputers of the 1970's and 1980's. Although this paper was not intended as a historical source, the author includes biographical information on the composer. A performer's guide to Dragons in the Sky is included to aid those performing the work. Also, the author has included an annotated bibliography of Schultz's works for horn and a current discography. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester 2015. / October 29, 2015. / Dragons in the Sky, Mark Schultz / Includes bibliographical references. / Michelle Stebleton, Professor Directing Treatise; Patrick Dunnigan, University Representative; Alexander Jiménez, Committee Member.

The purpose of this treatise is to present a survey of the solo guitar works written for Julian Bream and to illuminate their historical significance and lasting importance to the guitar repertoire. For each piece, this treatise provides a brief biographical sketch of each composer, a survey of the relevant literature and, where necessary, a brief theoretical analysis. At the end of each section, a "Performer's Note" has been included, which details the specific difficulties of performing each piece. Hopefully, this treatise will provide guitarists interested in the pieces written for Julian Bream a reference for performance and study. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester 2015. / October 22, 2015. / Includes bibliographical references. / Bruce Holzman, Professor Directing Treatise; Jane Piper Clendinning, University Representative; Benjamin Sung, Committee Member; Melanie Punter, Committee Member.

This treatise examines the importance of the Manual de Vioara, written by Romanian violinists and professors Ionel Geanta and George Manoliu, and its influence for the Romanian violins school during Communist rule. A particular challenge during this time was the political situation of Romania which greatly affected the music scene, inspiring the authors to develop a violin method accessible for beginner violinists. This paper provides a historical background of Romania's situation under the Communist rule, and why the development of such method was necessary and benefited the school of violin. While little information has been written regarding the authors, the development of the Romanian violin school, and the impact of the Manual de Vioara, this survey is meant to be used as a guideline for understanding the method's structure, and its potential. Intended to prepare the beginner student for the intermediate level in his development as a violinist, the four volumes of the Manual de Vioara cover a large variety of violin techniques as well as music history, all presented in detailed, structured lesson plans. Ultimately, this analysis highlights the impact of this method which shaped many generations of violinists in Romania. / A Treatise submitted to the College of Music in partial fulfillment of the Doctor of Music. / Fall Semester 2015. / November 6, 2015. / Includes bibliographical references. / Alice-Ann Darrow, University Representative; Bruce Holzman, Committee Member; Greg Sauer, Committee Member.

John D. Mohler was born October 30, 1929 in Lancaster, Pennsylvania. His earliest teachers include Joseph Leptich, clarinetist of the Lancaster Symphony and Salvadore Colangelo, Principal Clarinetist of the Harrisburg Symphony. After graduating from Litiz High School, Mohler continued his studies at the Curtis Institute of Music in Philadelphia studying under the tutelage of Ralph McLane, and served in the United State Marine Band and Orchestra for four years from 1950-1954 in Washington D.C. He received Bachelor of Music, Master of Music and Doctor of Musical Arts in Clarinet Performance degrees from the University of Michigan under the study of William Stubbins. He served on the woodwind faculty at Drake University in Des Moines, Iowa, for two years before joining the University of Michigan School of Music faculty as an Assistant Professor of Clarinet and clarinetist in the University Woodwind Quintet in 1962. In addition to his faculty appointment as Professor of Clarinet, he served as the University of Michigan School of Music Wind and Percussion Instruments Department Chair from 1979-1994. In 1979, he received the Harold Haugh Award in Excellence and in 1986 received the University of Michigan School of Music Outstanding Studio Teacher Award. Mohler was also awarded the University of Michigan School of Music Alumni Society Citation of Merit in 1992. The John Mohler Clarinet Scholarship was endowed in 1993 to provide annual scholarships for students majoring in clarinet at the University of Michigan. Mohler retired from the University of Michigan in 1994 and the Regents awarded him Professor Emeritus of Music. In 2003, Mohler was presented the Lifetime Achievement Award from the International Clarinet Association. In 2012, Mohler was honored with the University of Michigan Band Alumni Association Lifetime Achievement Award. John Mohler maintains his role as mentor even in retirement and many of his students now hold teaching, performance, and university faculty positions across the country. His ongoing enthusiasm and rapport has affected numerous students and their careers. He possesses the willingness to share his knowledge and expertise in an in-depth and personal manner. John Mohler's biographical and teaching doctrine is underrepresented and recorded, and the personal narrative interviews will help to provide an insight into the life and teachings of John Mohler. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester 2015. / November 10, 2015. / Includes bibliographical references. / Deborah Bish, Professor Directing Treatise; Rodney Jordan, University Representative; Jonathan Holden, Committee Member; Jeffrey Keesecker, Committee Member.

"Beatbox Flute" is a contemporary technique in which a performer creates complex polyphonic percussive effects while playing the flute. Developed in the early 2000s, it has only recently begun to gain widespread acceptance. The current popularity of beatboxing on the flute, especially with the younger generation, can prove to be an effective vehicle for delivering a variety of pedagogical concepts, including support, breathing, rhythm, tone, and compound melodies. In the flute choir setting, it is also a wonderful way to provide interest in an ensemble that is traditionally viewed as old fashioned or "boring" to a younger generation. This document begins with an examination of vocal beatboxing and its transference to flute. Non-lexical vocables and onomatopoeic percussive syllables have long been used in many different musical cultural traditions. Vocal beatboxing expands on these effects by deliberately masking vocal cues and more closely imitates the effects of electronic drum machines (or beat boxes). The use of percussive articulatory effects in flute music is not a new phenomenon, compositions featuring similar techniques have existed for decades. The style of playing that has come to be called beatbox flute has taken these earlier procedures and added to them with the inclusion of bass drum effects and inhaled sounds. Important pioneers in developing the field of beatbox Flute include Tim Barsky and Greg Pattillo; their specific contributions and innovations are discussed throughout this text. The current notated repertoire for beatbox flute is sparse. Background information of the available repertoire and a brief description of these works are discussed in chapter two. Compositions/arrangements examined include those by Randall Woolf, Greg Pattillo, Project Trio, Dirko Juchem, Andrea La Rose, Tilmann Denhard, and the author. In an effort to increase the number of compositions that feature beatbox flute, the appendix includes two new works: an arrangement of Joseph Bodin de Boismortier's Solo Suite no. 5, mov. 4 for solo beatbox flute, and Camille Saint-Saëns Dance Bacchanale from the opera Samson et Dalila for beatbox flute choir. Chapter three focuses on the different beatbox flute techniques and attempts to provide an exact phonetic transcription of all effects currently used in the repertoire. The effects are grouped by the category of instrument that they are intended to represent and each effect is described in detailed prose and is compared to similar effects. All effects are presented in International Phonetic Alphabet (IPA) shorthand and recorded examples are included. As with many extended techniques, there is not a standard way to notate beatbox effects in music. Chapter four compares the different notational systems currently in use by composers of vocal beatbox and flute beatbox works. A compilation of all effects currently in use by different composers/arrangers and their differing notational short-hands is also included. The potential pedagogical uses of beatbox flute within the collegiate curriculum are discussed in chapter five. Increased kinesthetic awareness and increased focus and concentration are emphasized. It can be used to strengthen rhythmic stability and as a solmization system can provide a fun and engaging experience for today's students. When applied to earlier music, beatbox effects can amplify (or reshape) important concepts such as compound melodies or metric hierarchy. Finally, its use within the flute choir setting can serve as a tool for audience development and to provide contrast to the homogeneity of the traditional ensemble. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2014. / April 2, 2014. / Includes bibliographical references. / Eva Amsler, Professor Directing Treatise; James Mathes, University Representative; Patrick Meighan, Committee Member; Deborah Bish, Committee Member; Valerie Trujillo, Committee Member.

Carnival of Souls is a work in three movements with a brief prelude, played without break, approximately eighteen minutes in duration. It is scored for conventional wind band with added low strings, harps, and electronics. The three movements were inspired by the three sections of Dante's Divine Comedy and their respective moods: "Inferno," "Purgatorio," and "Paradiso." The dramatic trajectory of Carnival of Souls is a progression upwards from dark, heavy textures representing spiritual bondage to the bright and lyrical content of the third movement. The relationship between the worldly--even sensual--materials of the beginning and the heavenly apotheosis of the end is more complex than one of simple opposition. As in Dante's poem, the most rarefied spiritual states are tempered by references to lived human experience; the progression toward a reconciliation of the musica mundana and musica humana is exemplified by the epigraphs of the first and third movements (below). Believe me, ill will it go with mortal women in that heaven of which thou speakest if only the spirits be more fair, for their lords will never turn to look upon them, and their Heaven will become their Hell. H. Rider Haggard, She The creature whose substance is bliss is everywhere at home. All sounds, even to the roaring of Lions, the screeching of the nightly Owls, the laments and groans of those entrapped in Hell, are as sweet Musick to her. All odours, even to the foulest stench of Corruption, are to her as the delight of roses and Lilies. All savours, even to the banquettable of the Harpys of heathen lore, are as Sweet loaves and spiced Ale. Wandering at noon through the Waste-Places of the world, it seems to her she is refreshed by Canopies of flocking Angels. . . . Thrust a keen Sword-blade through her and it will seem as a fountain of Divine and Pure pleasure. Jane Lead, The Wonders of God's Creation / A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2003. / March 18, 2003. / Percussion, Harps And Low Strings, A Symphony For Winds / Includes bibliographical references. / Ladislav Kubik, Professor Directing Dissertation; James Croft, Outside Committee Member; James Mathes, Committee Member; Peter Spencer, Committee Member; Michelle Stebleton, Committee Member.

The purpose of this study was to observe people's perception of portrayed emotion in singing, and if emotion intensity influences perception of emotion. Participants, who were undergraduate non-music majors (N = 39), took part in in a music listening study to choose which emotion they heard, and the perceived intensity of the emotion. The participants listened to original music compositions created by the author, referencing previously researched original melodies and using a meaningless, fabricated language used in speech research for the lyrics, recorded by undergraduate music majors. Results indicate that certain emotions, primarily sadness and contempt, are more accurately and readily perceived than other emotions. Other portrayed emotions, joy and love, had a moderately high percent of responses, but were not significantly different than other responses for those portrayals. The intensity of the emotion appears to have a small correlation to the accurate perception of emotion. While further research into emotion portrayal and perception through singing is still needed, the findings suggest that certain modalities of emotion are more easily identified than others. Music therapists working in fields which focus on emotion regulation and perception could use this research to further improve interventions to help patients and clients better to portray their emotions, understand how people interpret emotions differently, and more effective ways to portray emotion. / A Thesis submitted to the College of Music in partial fulfillment of the Master of Music. / Fall Semester 2015. / November 11, 2015. / Includes bibliographical references. / John M. Geringer, Professor Directing Thesis; Clifford K. Madsen, Committee Member; Dianne Gregory, Committee Member.