published_or_final_version / Humanities / Doctoral / Doctor of Philosophy

This dissertation offers an approach for analyzing ekphrastic musical works—compositions that take other artworks as their subject matter. It proposes two theoretical models for listener-observers’ engagement with ekphrastic compositions. The first model, termed descriptive representation, refers to musical components that can be considered representational independently from the context provided by the other artwork. It involves a metaphor that the musical piece and the visual image or text have in common. The second model, termed contextual representation, refers to musical components considered representational only in the context of the other artwork. Rather than arising separately from each artwork, it is the product of multitextual listening, in which listener-observers form connections between the ekphrastic piece and the other artwork. Four analytical chapters demonstrate the application of the models to different types of cross-media interaction. The first concentrates on music after painting, including a comparative study of three movements from orchestral compositions— Gunther Schuller’s Seven Studies on Themes of Paul Klee (1959), Peter Maxwell Davies’s Five Klee Pictures (1959/1976), and Tan Dun’s Death and Fire: A Dialogue with Paul Klee (1993)—composed after Paul Klee’s painting Die Zwitschermaschine (1922). Each of the pieces provides a singular interpretive outlook on the painting. Together, the analyses demonstrate the multiplicity of interpretations an artwork can receive through musical ekphrasis. The second analytical chapter concentrates on music and space, examining Morton Feldman’s Rothko Chapel, composed after Rothko’s chapel in Houston. I propose that Rothko Chapel as musical ekphrasis provides a sonic identity for the chapel, allowing it to transcend its physical properties by bringing the space into presence in listeners’ minds even when listening to a performance away from the chapel. The third analytical chapter examines the boundaries of ekphrasis through analysis of Luciano Berio’s 1996 composition Ekphrasis (Continuo II), composed after his Continuo for Orchestra (1989–1991). I argue that Berio’s ekphrasis diverts listeners’ attention from similarity to difference, from presence to absence, helping achieve a broader understanding of contextual representation. Lastly, an analysis of Arnold Schoenberg’s Begleitungsmusik zu einer Lichtspielscene, Op. 34 (1929–1930) compares models of representation in programmatic music to musical ekphrasis. The analyses demonstrate that music becomes representational by virtue of a listener’s activity that treats ekphrastic musical works as multitextual. Moreover, this dissertation provides a framework for interpreting representation in post-tonal music.

Thesis (M.A.)--York University, 2001. Graduate Programme in Music. / Typescript. Includes full scores for the author's 5 compositions (5 lines assembled ; Old ; North ; West ; and Tial) along with their pictorial representations. Includes bibliographical references (leaves [64-68]). Discography: leaf [69]. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ66398

Thesis (Ph. D.)--University of Hong Kong, 2008. / Includes bibliographical references (leaf 242-247) Also available in print.

Thesis (Ph. D.--Music)--University of California, San Diego, 1997. / Vita. Consists of the musical score to a soundtrack for a video piece integrating sounds and images of hands and arms. Musical material is for one mezzo soprano (overdubbed to achieve two primary voices), piano, and tape of electronic and concrete sounds. Also includes color illustrations of how the hands are painted and posed in some of the video sequences. Includes extensive commentary on the piece in English.

No description available.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4028. Adviser: David W. Patterson. Vita. Includes bibliographical references (leaves 270-284) Available on microfilm from Pro Quest Information and Learning.

Thesis (M.F.A.)--Rochester Institute of Technology, 1987. / Typescript. Includes bibliographical references (leaf 44).

<p> The purpose of this study was to investigate principals&rsquo; perceptions of the status of music education in secondary schools in Trinidad and Tobago. The guiding questions were (a) What are secondary school principals&rsquo; perceptions of music learning outcomes as they are currently being met and as they should be met under ideal conditions, (b) What are secondary school principals&rsquo; perceptions of broad educational goals as they are currently being met and as they should be met under ideal conditions, (c) Is there a difference between principals&rsquo; perceptions of current and ideal conditions for the learning outcomes and the educational goals, and (d) What are secondary school principals&rsquo; perceptions about the degree to which eleven selected variables impact music education?</p><p> A descriptive research design was used in which secondary school principals (<i>n</i> = 93) were provided with the survey instrument. The survey is organized into four sections based on the questions that are derived from the research purpose and questions. Cronbach&rsquo;s alpha was used to test for internal consistency of the survey items. Data, related to the first two guiding questions, was fielded via Likert-type scales where the responses represented the principals&rsquo; perceptions of the level of realization of the standards for the music learning outcomes and the broad educational goals. For the third guiding question, data analyses included repeated <i> t</i>-tests and Cohen <i>d</i> value measurements to describe differences between the current and ideal perceived conditions of the realization of the standards for the music learning outcomes and the broad educational goals. A Spearman correlation was used to describe the consistency between the current and ideal perceived conditions of the realization of the standards for the music learning outcomes and the broad educational goals. Chi-squared analyses, on the two open-ended questions presented to the principals, were used to examine the differences in how principals perceive certain factors affect their ability to support music programs.</p><p> Results from the repeated <i>t</i>-tests showed that principals believe there is a difference between how the music learning outcomes and broad educational goals are currently being met and how they should be met, under ideal conditions. Chi-squared analyses revealed that there were moderately positive associations between the current and ideal conditions, with the music learning outcomes yielding <i>r_s</i> = .71 and the broad educational goals yielding <i>r_s</i> = .65.; however, results were statistically significant only for the broad educational goals.</p><p> Chi-squared analyses revealed that there were no significant differences in the ways principals perceived how 11 variables (a) Medium-Term Policy Framework 2011-2014, (b) Students, (c) Parents, (d) Budget/Finances, (e) Scheduling, (f) Standardized tests, (g) School Board, (h) Governing Office/Ministry of Education, (i) Music Teacher, (j) Classroom Teacher, and (k) Educational and Scientific Research were impacting the music programs. Results showed that the principals were mostly inclined to remain neutral about the effects of most of the variables and that they did not consider any of the variables to either strongly positively or strongly negatively affect the music program. </p>

<p> American composer Jake Heggie wrote <i>Camille Claudel: Into the Fire</i> in 2012 for the Alexander String Quartet and mezzo-soprano Joyce DiDonato. As Heggie is known for his operas <i>Dead Man Walking, Moby-Dick,</i> and most recently, <i>Great Scott,</i> it is not surprising that his seven-song cycle about this passionate female French sculptor is of operatic dramaturgical and musical quality. Due to the complexities and bias that surround Claudel&rsquo;s life story, and the relative novelty of Heggie&rsquo;s music within the art song genre, there is a lack of literature regarding the presentation of an authentic performance of this cycle. This project report concentrates on providing the singer with an interpretive framework based on how Heggie&rsquo;s musical influences and tendencies, along with Gene Scheer&rsquo;s historical, first person narrative, reflect Claudel&rsquo;s life, work, and fiery personality. Through a deeper understanding of Heggie&rsquo;s music in correspondence with Scheer&rsquo;s poetry, a singer can effectively embody the unparalleled passion, artistry, and voice of Camille Claudel.</p>