Inaug.-Diss.--Marburg. / Vita. The 2d v. (Anhang) is a thematic catalog. Bibliography: p. ii-iv (1st v. ).

Treatise (D.M.A.) Florida State University, 2005. / Advisor: Jeff Keesecker, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 120 pages. Includes biographical sketch. Includes bibliographical references.

Dissertation (PhD) Florida State University, 2005. / Advisor: André J. Thomas, Florida State University, College of Music. Title and description from dissertation home page (viewed 5-14-2007). Document formatted into pages; contains 187 pages. Includes biographical sketch. Includes musical examples. Includes bibliographical references.

Thesis (D.M.A.)--Ohio State University, 2002. / Includes abstract and vita. Includes bibliographical references.

No description available.

This dissertation presents an examination of the evolution of compositional style of Verdina Shlonsky, based on the analysis of selected piano compositions written in different periods of her life. The work examines the issues of defining Shlonsky’s style with regard to her philosophy, expressed in her numerous essays, concerning with the centrality of content. The central question of the evolution of Verdina Shlonsky’s style is addressed by identifying and listing its key characteristics, and tracing them in the three analyzed compositions, representing three different stages of her life. Shlonsky’s biography is compiled with a special focus on her musical development, and musical and non-musical influences to which she was exposed. Detailed formal and motivic analyses of the selected piano works uncover the formative elements of Shlonsky’s style. Each detailed analysis includes key information on the background of the composition, followed by performance guides addressing performance issues, and editorial sections comparing the Israel Music Institute (IMI) printed editions with the manuscripts. Based on Shlonsky’s written statements, describing her compositional esthetics, and on the analyses of the selected works, my dissertation posits that Shlonsky’s music is polystylistic, deliberately using of a variety of styles as expressive tools, and as ways to create continuity of tradition through dialogue with other composers from the past and present. My analyses also suggest that Shlonsky’s piano music from different periods share similar characteristics of style, presented in different proportions and contexts. The main purposes of this dissertation are to define Shlonsky’s compositional style and its evolution; to help performers to approach this unknown repertoire; to assist scholars in future research of Shlonsky’s legacy; and to disseminate knowledge about Verdina Shlonsky’s life and music to a wider audience.

Thesis (M.M.)--Boston University

Armenian music of today is largely influenced by Armenian folk music. Composers such as Sayat Nova and Gomidas Vartabed have left behind numerous tunes that are still sung today by Armenians whether in Armenia or the Armenian diaspora. This thesis comparatively analyzed piano arrangements of Armenian folk tunes by Armenian composers. The aim of this thesis is bifold: to find elements of piano arrangements that are commonly used by different composers and to introduce the riches of Armenian music to the Czech and International music communities. The comparative analyses revealed the existence of elements such as orchestral simulations, melodic and rhythmic variations, representations, composing introductions, and different accompaniment styles among the arragements of the same folk tunes by different composers or different folk tunes by the same composer at different levels of difficulty. Hence, the first aim of this thesis was verified, with the hopes of the second aim also being met and Armenian music being spread to all musical circles around the world. KEYWORDS Armenian music, folk tunes, arrangements, analysis, composers

abstract: Concert bands as we know them today started in the nineteenth century. The repertoire at that time consisted primarily of orchestral transcriptions penned almost exclusively by people who identified as white male. In the twentieth century, even as the creation of original works for concert band became common place, the rate of compositions written by someone other than a white male was minimal. Composers from other communities were seldom played or introduced into the canon. Today, the instances of concerts including only white male composers are increasingly rare. Diverse and innovative programming have become much more the norm and the opportunities for composers from underrepresented communities have never been greater. This project describes the commissioning and recording process of six new compositions for concert band from composers of traditionally underrepresented communities and backgrounds. And since several of the pieces are playable by public school bands, it also includes a pedagogically-based performance guide for each work. / Dissertation/Thesis / Bahay Kubo for Wind Ensemble by Francisco Javier de Alba / !? (interrobang) by Janet Song Kim / Shearwater for Wind Ensemble by Emily McPherson / Reflections for Concert Band by Cait Nishimura / Allied with Pride for Concert Band by Cody Ray / Incendio for Concert Band by Kristian Rodriguez / Doctoral Dissertation Music 2020

abstract: The purpose of this research is to uncover connections between Chinese composer Shande Ding and Western composers, as found in the development of Ding’s compositional style. Ding’s solo piano pieces are representative of his overall stylistic tendencies. As an innovative composer, Ding’s experiments in combining various and bold musical materials with Chinese traditional styles became the model for contemporary Chinese composers and those of the next generation. There is little research, and few recordings of Ding’s work available in the United States. Most of the research remains in China, including his biography, styles, the analyses of specific pieces, etc. To date, Yuefang Liu has contributed the only dissertation on the merging of Eastern and Western Music Cultures that mentions Shande Ding, and it cites only Ding’s early piano works. Some articles have suggested that Ding may have been influenced by western composers, but there is no actual exploration of the proposition. This paper will offer some pedagogical suggestions by dividing Ding’s solo piano works into different levels of difficulty, along with tips on performance and teaching approaches. Both the connection between piano works of Western composers and Shande Ding, and Ding’s resultant compositional style, will be explored. It is hoped that the project will expand further interest in Ding’s solo piano works. / Dissertation/Thesis / Doctoral Dissertation Music 2020