Studies of Alexander Scriabin (1871-1915) have traditionally focused on his middle- and late-period music after 1902. Discussions of his personal philosophy and its impact on his music also concentrate on these two periods. This thesis examines Scriabin’s philosophy and piano music from a sub-section of his early period—1892 to 1897—that I designate his “formative” period. I argue that Scriabin’s eccentric belief in transcendence through music was already developing and influencing his music during his formative period. Evidence to support this theory is found in three areas: context, performance practice and analysis. A contextual evaluation of Scriabin’s formative years is compared against his late ideologies from his opera and the Mysterium. Scriabin’s performance practices, as seen in both first-hand documentation and his piano roll recordings, reveal possible philosophical performance traits. Analyses of selected formative compositions expose philosophical and performance related elements, demonstrating the interaction between composer, pianist and philosopher. / Graduate / 0413 / lauralwhitehead@hotmail.com

Diss. (sammanfattning) Stockholm : Karol. inst., 2005. / Härtill 6 uppsatser.

Thesis (Ed.D.)--Teachers College, Columbia University, 1996. / Typescript; issued also on microfilm. Sponsor: Hal Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 256-262).

Thesis (Ed.D.)--Teachers College, Columbia University, 1996. / Issued also on microfilm. Includes tables. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 123-125).

Thesis (Ph. D.)--University of California, San Diego, 2005. / An examination of the development of performance practice developed in the relationships between performers and composers, with emphasis on three works: Psappha by Iannis Xenakis, Wave/s by Thomas DeLio, and Attitudes--assumptions shattered by Derek Keller. Vita. Includes tape cassette (digital ; 2 7//8 x 2 1/8 in., 3/16 in. tape) with recording of one of the works discussed.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2008. / Includes abstract. Vita. Adviser: John Hill. Includes bibliographical references. Available from Pro Quest Information and Learning.

Thesis (doctoral)--Universität zu Köln, 1989. / Includes bibliographical references (p. 201-208) and index.

In autumn of 2010 the phenomenon of ‘Greek crisis’ was aggressively developed to a new experience of Greece. As a theatre practitioner from Athens, the specific historical time pushed me to question big-scale narratives of identity, home and belonging-ness. I relocated my training outdoors. My aim was to create a site-specific performance process that investigates place as a psychophysical experience and the ways through which it integrates with the cultural practices embedded in situ. The thesis builds around a Geographical/Buddhist framework where a cultural landscape epistemology outlined by Mitch Rose and John Wylie (2006) is realised through the practice of samatha vipashyana. The accounts of Rose and Wylie organise the examination of space as a body-landscape interrelationship. The Buddhist notion of mindfulness (sati) structures the investigation of the experience in space through theatre and dance disciplines in situ. The Buddhist concept of selflessness (anatta) permeates the performance practice in situ as a discipline of presence. Designated as Geopoetics, the practice of thesis applies meditation practices of breathing and walking to explore site through movement, feeling and activity. It further extends such a process via the disciplines of Somatics, Grotowski-based actor training and Dilley’s ‘dance.art.lab’. It employs the notions of ‘story’ from the Six Viewpoints system and ‘living myth’ of Anna Halprin to formulate a devising process of site-specific performance as an enactment of interrelationship between subject(s) and space. Geopoetics creates experiential containers within which the participant/ watcher is enabled to contemplate and re-examine her political, perceptual and emotional present. Based on its methodology of mindfulness (sati) notions of ‘identity’, ‘home’ and ‘sense of belonging’ are seen as individual or collective modes of attachment which altogether co-formulate the event of landscape. The practice of Geopoetics suggests an inquiry of place through the body for site-specific devisers and performers. It also relates to the discipline of architects, geographers and planners as a practice which investigates space’s contextual paradoxes and dynamics through the body.

abstract: The introduction of a new instrumental piece—specifically Taiwanese—into the cello repertoire is as exciting as it is important. Currently, the majority of works for cello and piano include predominantly Western compositions that is repeatedly taught and performed. Reflections, by Taiwanese composer Ming-Hsiu Yen (Ms. Yen) is a response to this saturation. It is a piece that is both demanding for the performers and entertaining for the audience. Brilliantly written by a composer who has intimate familiarity with both the cello and piano, it is highly suitable for scholarly study and performance. This document details ensemble issues, interpretative suggestions for both cellist and pianist, and general concepts about the music. The composer further adds to these concepts and suggestions. Reflections is a programmatic work comprised of four movements, each with a descriptive title: “Gear,” “Tears of the Angel,” “Spintop,” and “Transformation.” Because the composer’s intentions were driven by pictorial ideas and not by a formal harmonic structure, this paper concentrates on ensemble issues and interpretation less than harmonic analysis. Secondly, the project includes the premiere recording of Reflections, as performer by Yu-Ting Tseng, cellist, and Dr. Jeremy Peterman, pianist. This audio documentation provides other cellists and pianists the opportunity of hearing the piece as originally conceived by the composer, as an aid to their own future preparation of this work. This recording, combined with the interpretative analysis, will assist in bringing Reflections into the cello repertoire and public eye. / Dissertation/Thesis / Reflections Recording Movement I Gear / Reflections Recording Movement II Tears of the Angel / Reflections Recording Movement III Spintop / Reflections Recording Movement IV Transformation / Doctoral Dissertation Music 2016

abstract: From the time it was written, the aria "Largo al factotum" from Rossini's Il barbiere di Siviglia has been performed and ornamented in many different ways. The present study is an inventory and analysis of ornaments sung in 33 recordings from 1900 to 2011 and the major differences that they exhibit one from another. The singers in this study are baritones with international careers, who have performed the role of Figaro either at the Metropolitan Opera (New York) or at La Scala (Milan). The study identifies and tracks some of the changes in the ornamentation of the aria by noting common traits and new approaches across the one hundred eleven years of practice illustrated by the recordings. / Dissertation/Thesis / A Spreadsheet of the Artists and Ornaments Analyzed in Largo al factotum / March 6 2014 Andrew Briggs Lecture Recital Presentation / D.M.A. Music 2014