The goal of this project is to discuss literature not considered part of the standard violin repertoire from 1893 – 1916, through the study of selected works by American composers Leo Oehmler, Clara Rogers, Harry Thacker Burleigh, and Rubin Goldmark. The treatise will showcase these composers’ general biographies, compositional influences, and personal philosophies. In addition to discussing the musical elements of each work, it is my goal to include their potential application in violin pedagogy. This discussion will focus on Oehmler’s Sonata for Violin and Piano, Op. 14; Rogers’s Sonata for Violin and Piano, Op. 25; Goldmark’s Sonata for Violin and Piano, Op. 4; and Burleigh’s Southland Sketches. Through a discussion of the technical and musical aspects required for successful performance, I aim to place these works among their respective counterparts within the violin canon. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2018. / April 3, 2018. / Clara Rogers, Leo Oehmler, Music, Post-Romantic, United States, Violin / Includes bibliographical references. / Shannon Thomas, Professor Directing Treatise; Evan A. Jones, University Representative; Corinne Stillwell, Committee Member; Greg Sauer, Committee Member.

The purpose of this treatise is to explore the musical career and compositions of Kevin McKee. McKee divides his time between freelance performing, teaching, and composing, but is most widely recognized for his body of compositions for trumpet. The compositions that will be examined and described include one work for unaccompanied trumpet solo, three works for trumpet and piano, and three works for two trumpets and accompaniment. This document will explore how McKee depicts the vivid images that inspire each work as well as the associated performance challenges. In addition to exploring McKee’s music, this document will also examine the composer’s philosophy on composition, his path to popularity, his self-made skills as a composer and entrepreneur, and his success in balancing a rewarding career in music. The goal of exploring these facets of McKee’s life is to provide an example to students and professionals alike of what it means to be a successful independent musician in the twenty-first century. It is the hope of the author that understanding Kevin McKee’s success in his career will encourage others to accept that performing in a full time professional ensemble or teaching at an established institution are not the only means to achieving a fulfilling and successful career as a musician. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2018. / March 5, 2018. / Centennial Horizon, composer, Kevin McKee, trumpet, Under Western Skies / Includes bibliographical references. / Christopher R. Moore, Professor Directing Treatise; Steve Kelly, University Representative; Michelle Stebleton, Committee Member; John Drew, Committee Member.

This study discusses the pedagogical value of intermediate solo repertoire for the student trumpeter, utilizing the following solos as a means of discussion: Contempora Suite by Gordon Young, Solo de Concours by Eugene Cools, English Suite by Bernard Fitzgerald, All ‘Antica by Alphonse Goeyens, Aria con Variazioni by G.F. Handel, and Rigel by Hale A. Vandercook. It also explores the place of intermediate solo repertoire in a student’s musical curriculum. In addition to an in depth pedagogical discussion, brief biographical information of each composer, as well as the difficulty level, range, and duration of each solo is included in the study. The solos discussed are featured on required repertoire lists published by state music education associations across the United States. Their overall popularity, yet surprising unavailability in professional recordings, became the foundation for the initial research and pedagogical analysis. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2018. / March 27, 2018. / education, student, trumpet / Includes bibliographical references. / Christopher Moore, Professor Directing Treatise; Steve Kelly, University Representative; Alexander Jimenez, Committee Member; John W. Parks, IV, Committee Member.

The intent behind this treatise is to introduce the Sonata for Violin and Piano (1941) by Roy Harris and the Sonata for Violin and Piano (1945) by Henry Cowell. The first chapter of the document is devoted to Roy Harris, and familiarizes the reader with his background, before an in-depth discussion of his Violin Sonata. The second chapter provides biographical information for Cowell, followed by information about the Violin Sonata. In the third chapter, I explore how the historical context and similar professional experiences of Cowell and Harris, two American composers who fundamentally disagreed about American music, led to the creation of markedly similar sonatas for violin and piano. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2018. / April 2, 2018. / Includes bibliographical references. / Corinne Stillwell, Professor Directing Treatise; Denise Von Glahn, University Representative; Shannon Thomas, Committee Member; Benjamin Sung, Committee Member.

The focus of this treatise is the examination of newer works for the basset clarinet and various techniques composers employed when adapting their compositions for other instruments. While nearly every university-level clarinetist is aware that Mozart's Concerto for Clarinet KV622 was written for the basset clarinet, for many, their knowledge of the instrument remains relatively sparse. Chapters 1 and 2 provide a brief overview of the basset clarinet's history, information on acquiring an instrument, and a comparison of several editions of Mozart's Clarinet Concerto. In chapter 3, special focus is given to newer works written for the basset clarinet that have adaptations for more readily available instruments (A clarinet, B-flat clarinet, basset horn, and bass clarinet). Primary attention is directed toward the composers' methods in transcribing for these instruments. Works discussed are: Enchantment of Venus (Howard Blake), Solistice (Theresa Martin), Duo Sonata (Peter Schickele), Swan Song (Paul Richards), and Nocturne étincelant (Roger Zare). The ultimate goal of this material is for clarinetists to enhance their knowledge of the basset clarinet both historically and as a modern instrument, and provide a starting point to explore the basset clarinet repertoire. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester 2018. / November 13, 2018. / Includes bibliographical references. / Deborah Bish, Professor Directing Treatise; Richard Clary, University Representative; Jeffrey Keesecker, Committee Member; Eric Ohlsson, Committee Member.

This treatise seeks to examine performance practice of electroacoustic percussion music through the exploration of selected works for percussion and electronics, as well as provide a primer for students interested in becoming fluent in the language of music technology. The evolution of solo percussion music in the 20th and 21st centuries closely mirrors that of electronic instruments and audio technology, and several seminal works were composed due to the initially experimental nature of both mediums and the relative ease of their integration. At present, percussion works with electronic elements have all but replaced the piano accompanist for many student percussion recitals; therefore, the need for a performer's guide to the intricacies and performance practice of electroacoustic percussion music through all difficulty levels is paramount as the classical percussion repertoire and curriculum continues to evolve. Chapter One comprises a brief summary of the history of electroacoustic percussion music, including compositional integration of electronic and acoustic elements and how technology affected the composers of these works. Chapter Two offers an overview of current music technology hardware and software required to realize these works. Chapters Three through Six analyze the four different categories of works for percussion and electronics: fixed media, electronic effects, live processing, and MIDI instruments. Suggested technical diagrams/setups, as well as related works, accompany each chapter. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester 2018. / November 8, 2018. / Electroacoustic, Electronic, Interactive, MainStage, malletSTATION, Percussion / Includes bibliographical references. / John W. Parks, IV, Professor Directing Treatise; Richard S. Clary, University Representative; Deborah F. Bish, Committee Member; Christopher R. Moore, Committee Member.

This treatise will detail the artistic career of world-renowned classical trumpeter Philip R. Collins (b. 1948). The aim is to provide a clear depiction of his artistic journey by describing his upbringing, education, professional career experiences and contributions as an educator. The numerous artistic contributions Collins made throughout his career are substantial and valuable to document for current and future generations of musicians. Over a timespan that covered four decades, Collins served as Principal Trumpet of the Cincinnati Symphony Orchestra and Pops Orchestra. As a member of both orchestras, Collins amassed a substantial catalog of more than 100 professional recordings in a wide range of orchestral and pops genres. On several occasions, he soloed with the orchestras in both concerts and recordings. Prior to his appointment in Cincinnati, he was a member of the Cleveland Orchestra, National Arts Centre Orchestra and the Eastman Brass Quintet. His pedigree as a preeminent orchestral musician was guided and developed by world-renowned trumpet and brass educators and performers Melvin Broiles, William Vacchiano, Bernard Adelstein and Arnold Jacobs. In addition to a lengthy orchestral career, Collins is the Adjunct Associate Professor of Trumpet at the College-Conservatory of Music at the University of Cincinnati. His effectiveness as an educator has resulted in several of his students attaining professional orchestra, premiere military band, and collegiate teaching appointments. As an author and composer, he has published several trumpet books that present unique musical styles and approaches to trumpet practice and performance, and has published hymn arrangements for trumpet ensemble. Research for this treatise was done by conducting several e-mail interviews with Philip Collins. The information from these interviews provided a large foundation of original information for the treatise. In addition, several audio recordings were referenced to gain further insight into Collins' artistry. Further information was gathered through various internet sources, including newspaper clippings and journal articles. Finally, a survey was sent to former colleagues, students and friends of Collins with the purpose of providing further insight into his legacy. Philip Collins is one of the most successful orchestral trumpeters and teachers whose influence through preeminent musicianship and professionalism has provided a positive impact on countless aspiring musicians. His exceptional legacy can be heard through hundreds of professional classical and pops recordings, can be studied from his published materials, and is remembered by those who worked with him. Collins' significance to the trumpet and music communities is important to document and share. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester 2018. / November 2, 2018. / Brass, Cincinnati, Music, Orchestra, Philip Collins, Trumpet / Includes bibliographical references. / Christopher Moore, Professor Directing Treatise; Steven Kelly, University Representative; John Drew, Committee Member; Michelle Stebleton, Committee Member.

Source: Dissertation Abstracts International, Volume: 32-04, Section: A, page: 2125. / Thesis (Ph.D.)--The Florida State University, 1971.

Source: Dissertation Abstracts International, Volume: 32-06, Section: A, page: 3358. / Thesis (Ph.D.)--The Florida State University, 1969.

Source: Dissertation Abstracts International, Volume: 30-02, Section: A, page: 0756. / Thesis (Ph.D.)--The Florida State University, 1968.