McLuhan.js is a media art performance platform which engages with the web browser as a source of form and content. The platform enables a new performance scenario: a performer creates live net art actions in the browsers of remote viewers. McLuhan.js contains client-side and server-side tools for creating net art, as well as a live coding performance interface. These tools are designed to remotely control real-time collages of web media, browser windows, and computer art tropes. While the McLuhan.js toolkit is deliberately of its time, it is so because it participates in a tradition of 20th-century artists who reflected on their daily lives by incorporating contemporary communications media into their creative practice. These artists consistently looked outward to found media as sources of inspiration. Empirical and experimental investigations into new media lead these artists to work directly with a mediums raw materialsoften in subversive or unorthodox patternsto create new forms of art from the technological fabric of their era. The Last Cloud, a net art performance using McLuhan.js, reveals a dialogue with this artistic history. Its composition is described herein, along with a description of the McLuhan.js toolkit and a survey of the history it inherits.

<p> Antoniou&rsquo;s work for solo flute <i>Lament for Michelle</i> inspired my research. I will further analyze this piece in order to shape its historical background and the tradition of the lament, which remains vital in twentieth century Greek society. </p><p> Combining musical analysis and biography, I aim to prove how Theodore Antoniou utilized a plethora of nationalistic elements in his works for flute. In addition, I will point out these elements and explain how and why they are considered Greek. Overall, this paper will contribute to the understanding of Greek composers today and hopefully will motivate scholars and performers to do for further research into Greek music.</p>

<p> In Johann Sebastian Bach&rsquo;s Partita No. 3 in E Major BWV 1006, French societal values for gender roles can be found. This report examines such ideals from the perspective of gender and sexuality and the ways it represents power, politics, and human expression. I will observe various Bach and feminist scholars such as Susan McClary and apply their analysis to gender roles in the Baroque era. I will also use analysis of Bach&rsquo;s Partita No. 3 to critique these gender roles and to further develop the concept of women&rsquo;s role in music, thus informing my own interpretation of the piece for my recital performance. These gender roles during the Bach&rsquo;s time reveal women to be limited to mainly the domestic sphere. Ultimately this domestic role reinforces the patriarchal foundation of music. </p><p> By including female roles in the academic discussion of Bach&rsquo;s music, inclusivity is achieved. There is a great deal of research available on gender roles during the Baroque era suggesting that some women were involved in music but were ultimately restricted by the patriarchy. Women and their roles are studied but are often portrayed as an exception, an afterthought, or a side-note within the male narrative. If music is regarded as a medium of expression and freedom, it seems only fair to recognize those who faced oppression in order to uphold music&rsquo;s transcendent and progressive properties. By investigating their roles I intend to broaden historical significance where it is due.</p>

This research explores virtual reality as a medium for live concert performance. I have realized compositions in which the individual performing on stage uses a VR head-mounted display complemented by other performance controllers to explore a composed virtual space. Movements and objects within the space are used to influence and control sound spatialization and diffusion, musical form, and sonic content. Audience members observe this in real-time, watching the performer's journey through the virtual space on a screen while listening to spatialized audio on loudspeakers variable in number and position. The major artistic challenge I will explore through this activity is the relationship between virtual space and musical form. I will also explore and document the technical challenges of this activity, resulting in a shareable software tool called the Multi-source Ambisonic Spatialization Interface (MASI), which is useful in creating a bridge between VR technologies and associated software, ambisonic spatialization techniques, sound synthesis, and audio playback and effects, and establishes a unique workflow for working with sound in virtual space.

<p> <i>22</i> is a series of six programmatic compositions. The extra-musical narrative deals with the fact that twenty-two veterans commit suicide each day, a low estimate by some accounts. The music is written not specifically for veterans but to bring attention to veterans. It is important for all Americans to know the plight of those who have served their country and now are marginalized by the same country they swore to defend with their lives. Many veterans&rsquo; lives have been horrifically changed by war and those battle scars are now internal. Music is the best way that I can explain the complex emotions and story of veterans to a non-veteran audience. This music is intended to inform society of veteran suicides, not make a moral judgment against veterans or civilian society but to bring to light the story as it is. The music is instrumental so the weight of words will not interfere with how the listener interprets the music.</p>

From Distant Shores is a three movement symphony for full orchestra. Each movement follows an ABA form, with an initial statement of important thematic material, followed by a development section, and some restatement of the original material to complete the movement. The composition is divided into the following movements: Adagio, Largo, and Allegro.

<p> This paper is a study of Buddy Collette&rsquo;s improvisatory style on four woodwind instruments: alto saxophone, tenor saxophone, clarinet and flute. Transcription and analysis of Collette&rsquo;s solos provide examples of the vocabulary he generated and used on each of instrument. This paper also includes some of Collette&rsquo;s significant life events, including contributions made to the Los Angeles jazz scene.</p>

Sir Eugene Goossens (1893-1962) was a leading English composer and conductor of the early twentieth century. Though his music is relatively unknown today, at the height of his popularity as a composer in the 1920s and 30s, Goossens music was considered equal to that of British contemporaries Ralph Vaughan Williams, Benjamin Britten, Malcolm Arnold, Arnold Bax, and Gordon Jacob. A public scandal towards the end of his career resulted in his works falling into relative obscurity, with the exception of his oboe concerto. Despite the concertos popularity within the oboe community, few in-depth studies of the work exist. This monograph presents a formal examination of Eugene Goossenss Oboe Concerto in One Movement (1929). Chapter One explores the life and musical journey of Eugene, as well as his brother Léon, a well-known oboist for whom the concerto was written. It also delves into the history of the concerto, including its premiere and significance of the piece within the oboe repertory. In Chapter Two, the concerto is examined through an analysis of the formal structure, unifying elements, and salient aspects of the piece. Chapter Three provides a guide for performing or teaching the piece, focusing on interpretation, technical challenges, and ensemble considerations.

Students who begin music studies with a thorough foundation in musicianship will be better equipped to tackle the challenges of performing at a high level. When actively applying new techniques, however basic, to the goal of musical and artistic expression, the focus will shift from increasing physical technique and skill development to growing as a musician. Therefore, the purpose of this study is to examine the prevalence of musicianship in a setting that seldom receives attention in the musicianship literature: beginning string instrument instruction. This monograph examines string method books, a major deliverer of instruction within the early years of string instrument training, based on their incorporation of musicianship. To document the functional use of musicianship within a sample of beginning string method books, this monograph contains three primary elements: a literature review, a content analysis, and a synthesis of analyses. The content analysis examines the prevalence and use of features of musicianship within five specific methods books published since 2001. Each method is examined primarily for its use of musical variety and for the inclusion of non-technical elements, i.e., non-playing or non-reading activities. The purpose of this monograph is twofold. First, it will help string teachers choose the best method to give students a genuine musical experience, either by drawing from the methods discussed here or by using the criteria outlined to evaluate other methods. Second, it will highlight the shortcomings of specific method books so that teachers may use these books more effectively, adding supplemental materials and experiences when necessary.

This document is a performance guide to Thomas Pasatieris Bel Canto Songs for Voice and Piano. Thomas Pasatieri is a well-known American art song and opera composer, who has also worked extensively as a film score orchestrator for major movie titles. The poet for the text in Bel Canto Songs is English poet, engraver, and artist William Blake, who lived from the mid-Eighteenth century into the Nineteenth century. Chapter One discussed the life and compositional style of Pasatieri. Chapter Two details Blakes life, writing style, and major themes of his work. Chapter Three provides background information on Bel Canto Songs, including its compositional style, dedications, and details regarding the works premiere. Chapter Three also includes analysis of the poetry and music for Bel Canto Songs and musical examples to illustrate significant motives, text-painting, and other important compositional elements. Information provided by the composer for each song is contained herein, and the authors performance recommendations are given. A Conclusion, Bibliography, and Appendices are included. The Appendices include the poetry of Bel Canto Songs and original illuminations by William Blake. A transcription of an interview with Thomas Pasatieri is provided, as well as a list of his solo vocal works and all of Blakes written works, engravings, and other artwork. Letters of permission are also included.