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Classical guitarists Roland Dyens (b.1955) and Sérgio Assad (b.1952) are widely recognized for their productivity as arrangers, improvisers, composers and performers, and for their experience in jazz and Latin American popular styles. Dyens and Assad, professors at the Paris Conservatory and at the San Francisco Conservatory, respectively, are also important pedagogues of the instrument. A significant part of their creative output consists of arrangements of popular music, jazz and jazz-influenced works for the solo guitar. This study examines Dyens' arrangements of "Misty" and "All The Things You Are," and Assad's arrangements of "Verano" and "Invierno" from Las Estaciones Porteñas by Ástor Piazzolla, and compares them with arrangements by other guitarists (Agustín Carlevaro, Baltazar Benítez and Joe Pass), pointing out innovations in texture and polyphonic writing for the solo guitar. The author employs theories of hybridism and bi-musicality to frame his analysis and situates the works in terms of historical practice, including examples from arrangements by Luís de Narváez, Mauro Giuliani, Miguel Llobet and Léo Brouwer.

In this dissertation spatial arrangement and placement are considered par excellence among the instrumental functions of rhetoric. I unsettle the canon of arrangement in consideration of the spatial turn. Approaching space by way of arrangement brings to bear a different range of phenomena and is a departure from the prevailing practices of existing scholarship on rhetorical memory places. Rhetorical arrangements of space, their deep structure and underlying coherence in public discourse, are contingent and unstable. Arrangements of space widely circulating in public discourse furnish provisional order to orient life, politics, and planning. Arrangements of space have inherent thresholds, limits periodically exposed and contested in public discourse warranting displacement. Despite displacement, traces of past arrangements of space are preserved in public documents and leave lasting impressions on the built environment. Accordingly, space may be viewed as a layered rhetorical document; a work in progress whose surface writing has recorded over imperfectly erased remnants of earlier drafts. Former arrangements of space and their displacement may be uncovered and interpreted by the critic. The methodology I develop in this dissertation, a rhetorical cartography, entails evaluating numerous arrangements and displacements of space across time. I analyze arrangements and displacements of Atlanta’s urban space to demonstrate the methodological import of a rhetorical cartography. Rhetorical invention and (re)arrangement of Atlanta is the city’s most enduring and pronounced characteristic, aggressively made and remade through forms of boosterism that has been labeled the “Atlanta Spirit.” The first chapter details rhetorical invention and arrangement of Atlanta as a regional railroad center, recognized as the “Gate City of the South.” The second chapter introduces pivotal displacement of Atlanta as urban space became centrally rearranged within the logics of race, as the “City Too Busy To Hate.” In the third chapter I focus on arrangements of Atlanta as an “International City,” linked with discourses of global economics and multiculturalism. The fourth chapter analyzes recent rearrangement as “Sustainable Atlanta,” linked to environmental discourses, with ecological and planetary scope. The cartography evinces the rhetorical vitality, multiplicity, and openness of Atlanta’s urban space.

Until such players as Lionel Tertis improved the status of their instrument in the twentieth century, violists have had to rely to a considerable extent on arrangements to help redress the void which exists in viola literature (when compared with the extensive repertory of many other instruments), a gap that is particularly apparent in the eighteenth century. One such example is the arrangement of Mozart’s Clarinet Concerto, K. 622 for solo viola. During the twentieth century, a small number of arrangements were made of this composition for viola; however, among the most interesting is an anonymous arrangement made only eleven years after the composer’s death, in 1802, by the German publishing firm Johann Anton André. This paper identifies the extant sources for the original clarinet version of the work, followed by an examination of the 1802 André arrangement. A comparison of the latter with an arrangement for viola by Lionel Tertis dating from the 1940s will also be made, with each version discussed in light of the culture, techniques and performance practices of its period, alongside a consideration of the overall feasibility of this work for the viola.

Until such players as Lionel Tertis improved the status of their instrument in the twentieth century, violists have had to rely to a considerable extent on arrangements to help redress the void which exists in viola literature (when compared with the extensive repertory of many other instruments), a gap that is particularly apparent in the eighteenth century. One such example is the arrangement of Mozart’s Clarinet Concerto, K. 622 for solo viola. During the twentieth century, a small number of arrangements were made of this composition for viola; however, among the most interesting is an anonymous arrangement made only eleven years after the composer’s death, in 1802, by the German publishing firm Johann Anton André. This paper identifies the extant sources for the original clarinet version of the work, followed by an examination of the 1802 André arrangement. A comparison of the latter with an arrangement for viola by Lionel Tertis dating from the 1940s will also be made, with each version discussed in light of the culture, techniques and performance practices of its period, alongside a consideration of the overall feasibility of this work for the viola.

Thesis (D. Mus. Arts)--University of Washington, 2007. / Vita. Includes bibliographical references (leaves 81-94).

Thesis (D.M.A.)--UCLA, 2008. / Vita. Part II consists of six traditional Greek folk songs transcribed and arranged for mixed chorus and women's chorus. Includes bibliographical references (leaves 81-83) and discography (leaves 84-85).

Thesis (M.M.)--University of Texas at El Paso, 2008. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Thesis (M.A.)--Ohio State University, 1950. / Includes bibliographical references (leaf 78). Available online via OhioLINK's ETD Center.

Thesis (D. M. A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 100-102).