In this treatise, I have transcribed into musical notation seven poems and their accompaniments on flute (collectively referred to as the Jane Poems) written by poet Jessica Hand and flutist/composer Jeana Melilli. Poetry is often set to music, but it is unusual for music to be written as accompaniment to spoken poetry without altering the recitation of the poem itself, so these pieces do not fit easily into any existing genre and are therefore well positioned to begin defining a new genre. As the poet and composer are currently the primary performers of these works, the flute parts have heretofore been written only as annotations in the traditionally-written poetry (see the facsimiles included in section two of this document), and neither part has ever been written in musical and/or rhythmic notation. The transcriptions, which comprise the second section of this treatise, will provide a format in which the text and music can appear together in print publications, and will allow other performers to learn these works without ever having heard them. Each chapter of section two contains an original transcription, preceded by a performance guide, the poem as originally written by Jessica Hand, and a facsimile of Jeana Melilli's original manuscript with her own annotations indicating her accompaniments. The performance guide includes background information on the corresponding poem and flute part, and other relevant details to ensure that performers have a sufficient understanding of the work. The first section of this treatise provides the background and analysis necessary to understand the transcriptions that follow. It begins with a history of the relationship between poetry and music, from Greek lyric poetry through Sprechstimme to rap. Biographical information gives the reader a contextual framework in which to place these pieces. The analysis section examines Hand's semi-autobiographical poems, which are written in free verse, but are not ametrical, from a musical perspective. She uses poetic feet in various combinations to create rhythmic patterns, and her rhythmically-consistent delivery of these patterns creates mixed meters which can be transcribed in musical notation and further analyzed to determine how the uses of mixed meters evoke different emotional responses in the listener. It also examines Melilli's accompaniments, which are written in three primary styles, and the ways in which they impact, highlight, or alter the meaning of the text. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2015. / February 18, 2015. / Flute, New Music, Poetry, Transcriptions / Includes bibliographical references. / Eva Amsler, Professor Co-Directing Treatise; Jeffrey Keesecker, Professor Co-Directing Treatise; Jane Piper Clendinning, University Representative; Deborah Bish, Committee Member.

The music of each country is unique, as it represents their history and people, connecting compatriots through generations and helping to create, over time, a singular identity. In countries that have fought ongoing battles to preserve their borders, folklore is often a direct representation of that struggle. Folk and sacred music in Armenia have helped to develop a national identity, furthering the country's sense of nationalism. Folk music, the duduk, and the clarinet have helped to shape the contemporary musical world of Armenia. For the purposes of this study, I will focus on the works of Khachaturian and Sharafyan. Khachaturian, influenced by the folk music he grew up with, used these sounds to create his own musical aesthetic. His belief in the beauty of sound and the psychological impact that music should convey is supported by his use of folk idioms. Sharafyan, also affected by the sounds of his homeland, uses traditional and Western instruments, allowing him to create a cross-cultural sound: a sound that connects the traditional to the modern, while still maintaining its origins in Armenian folk musical traditions. Starting with the duduk and eventually, the clarinet, Komitas, Khachaturian, and Sharafyan shaped and created music that portrays the experiences of the Armenian people. These composers, while only a small sample of Armenia's rich musical heritage, provide a clear example of music's ability to represent the history and culture of a nation. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2015. / April 14, 2015. / Armenia, Clarinet, Duduk, Folk Music, Khachaturian, Sharafyan / Includes bibliographical references. / Deborah Bish, Professor Directing Treatise; Frank Gunderson, University Representative; Alexander Jiménez, Committee Member; Eric Ohlsson, Committee Member.

Requiem masses have been an important part of classical music literature since the late 15th century and have been used as masses for the dead during funerals. Over the centuries the use of the requiem text has become more common because composers are setting the text more often. However, composers such as Britten, Penderecki, and Forrest use extra-liturgical poems within their requiem masses, as well as the original Latin which is derived from the Liber Usualis. More recently, composers have been writing requiem masses that are untraditional in the sense that they are not just about loss of life, yet still retain solemnity and reverence. Requiem for a Mother is written from the perspective of a grieving mother who is coping with the loss of her child. Requiem for a Mother makes use of a chamber choir, strings (4, 4, 3, 2, 1), harp, and piano, as well as a soprano soloist to tell a story of grief, love, and acceptance. The choir, singing the Latin text, is that of the people who support the family during their time of loss and grief, while the role of the soprano soloist, singing in English, is that of the mother who is trying to understand why her child is dead. The duration of the requiem is about 25 minutes, with a total of nine movements The requiem begins with a prelude, in B minor, that sets up the themes to be used throughout the other movements. Movement II, the first of the soprano solos, depicts the mother reaction to losing her child. As the requiem closes with In Paradisum, the mother comes to terms with her loss and is able to accept what happened and move on. Requiem for a Mother is dedicated to Danny Quinn. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Spring Semester 2016. / April 11, 2016. / Manners, Mother, Requiem, Robert, Soprano, Viola / Includes bibliographical references. / Clifton Callender, Professor Directing Thesis; Mark Wingate, Committee Member; Kevin Fenton, Committee Member.

In this essay I have playfully ventured to rediscover what I might know about art,what has been formed and blended all this time inside my mind, by the sources,influences, readings, references I have come across. Partially to answer to myselfwhere is my trajectory, where is it headed, and in that tracing hopefully, I willprovide a short reading here about what I think is art, and how I approach it.So, one can start from a simple question, at which one does not care to concludewith an answer: "why do we mark/trace a surface? Or for that matter, sculpt, think,animate etc." What is the inclination behind it? And more importantly, why do wecling to a specific preference?” My work consists of two parts: of the one which is here, and of everything whichI have not written. And precisely this second part is the important one.”-Wittgenstein

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<p>Une analyse des écrits de Voltaire se rapportant aux Juifs de son époque et aux Juifs de la Bible afin de tenter de déterminer son attitude advers ces deux groupes.</p> / Master of Arts (MA)

<p>This thesis investigates how modern technology, such as the internet and computer software, has deconstructed the traditional relationship between the music consumer and the music producer/maker. The internet, in particular, has facilitated the production and distribution of music to a potentially world-wide audience without using the traditional avenues offered by the recording industry. Advancements in computer software have also enabled the amateur composer to write and record music without the knowledge, experience and tools utilized by the professional composer or songwriter. The resulting style of music composed by using this software is electronic popular music and many parallels can be drawn to the history of modernist electronic music. To explore this, I have conducted interviews with people from different parts of the world who are currently active in composing and distributing music using the Internet. These amateur composers also use computer software to facilitate the production of their music without using traditional means. Drawing parallels between postmodernist theories and the success of their projects and personal experiences demonstrates the breaking down of the producer/consumer dichotomy.</p> / Master of Arts (MA)

<p>The main points treated in this thesis may be summarised as follows:</p> <p>A study of Camilla indicating her ambivalent nature, her androgynous character and her Amazonian aspect which would consequently appear to be uppermost. Upon a detailed examination, Vergil's Volscian queen would seem to have been composed from various sources in Greek and Italic folklore and history:--Harpalyce, Atalanta, Medea, Cloelia, the various Valeriae, Dido, Amata and, in Vergil's own age, Cleopatra.</p> <p>In order to evaluate the character of Camilla it was necessary to examine heroism and death in other books of the Aeneid in order to introduce comparable behaviour of other heroes for an eventual assessment of character and values. When treating death and funeral rites one needed also to try and trace Vergil's sourced which were Greek, Etruscan and Roman.</p> <p>These findings, together with the dramatic, ritualistic and colourful language of the text would seem to be indicative of Vergil's interests and feelings, his dislikes and reservations, and suggest some possible conclusions.</p> / Master of Arts (MA)

<p>A commentary on Ars Amatoria 1.1-504 is supplemented by excursuses on the composition and structure of the work, Ovid's use of mythological exempla and his attitude towards Augustus in his pre-exilic poetry.</p> / Doctor of Philosophy (PhD)