During the Great Depression, a time when twenty-five percent of Americans were unemployed, and thousands of businesses closed their doors, gospel music publishing companies of the southern United States experienced a boom in production. The first half of the twentieth century was arguably the most robust period for southern gospel music. Despite, or perhaps due to, international conflicts, a plummeting economy, and a massive migration of southerners throughout the United States, these publishing companies sold millions of songbooks each year. More than a repertoire of commercial popular music, the books were an integral part of a participatory religious musical tradition as well as a fan-based musical tradition centered in the South that crossed regional and international boundaries. Publishers produced songbooks, hosted singing schools and conventions, and facilitated gospel newsletters; fan generated, faith-based worship and entertainment allowed Southerners to work out complex issues of theology and perform intersectional identities through musical culture. This dissertation explores these intersectional identities, specifically the roles of migrant, mother, laborer, and white southerner through music, song lyrics, cover images, and discussion in gospel newsletters. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2017. / November 15, 2017. / American Music, Congregational Song, Gospel, Great Depression, Identity, Sacred Music / Includes bibliographical references. / Denise Von Glahn, Professor Directing Dissertation; Suzanne Sinke, University Representative; Frank Gunderson, Committee Member; Sarah Eyerly, Committee Member.

The steelpan was invented in the late 1930s, became the national instrument of Trinidad and Tobago by mid-century, and now enjoys international popularity, especially in countries with large populations of Trinidadian immigrants. However, in Japan, a country with few Trinidadian immigrants, pan constitutes a thriving niche market for music and musicians. Over 30 steelbands have been established since the instrument first made an appearance here in 1960. Notably, some of these groups were formed in the 1990s, during a Golden Age of pan in Japan, but many were created at the turn of the new century as well. In this dissertation, I examine the history of pan in Japan from the pre-pan decade (1950s) through the Golden Age (1990s), and then explore the Japanese steelpan culture from 2000 to present. To construct this timeline, I have drawn from interviews conducted with both Japanese pannists and Trinidadian musicians living in Japan, examined the creation and significance of several major Japanese steelband festivals, and surveyed the ways pan is and has been used for educational purposes. Additionally, I discuss patterns of cultural exchange between Japanese pannists and Trinidadian players during the annual, national Panorama competition in Trinidad and Tobago, including the impact of the murder of Japanese pannist Asami Nagakiya during the 2016 Carnival season. In order to highlight its uniqueness, I propose and present analyses of six important issues related to Japanese steelband culture and its history: gender relations, economic structures, rehearsal spaces, pan tuning, iitoko-dori, and improvisation. Throughout the dissertation, I use iitoko-dori – the tradition of adopting elements from abroad and using them within a Japanese cultural context – as a tool for understanding how the steelpan has been adopted from Trinidad and Tobago and adapted for use within Japanese steelband communities. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2017. / October 24, 2017. / Japan, pan, steelband, steelpan, Tobago, Trinidad / Includes bibliographical references. / Michael B. Bakan, Professor Directing Dissertation; Koji Ueno, University Representative; Frank Gunderson, Committee Member; Margaret Jackson, Committee Member.

The present work consists of a composition for ensemble, Fort/ Da, and a theoretical paper that will provide insights on some of the ideas contained in the music. This work is therefore divided in three sections: concepts and materials, analysis, and the score of Fort/Da. The first chapter presents a reflection on the aesthetics behind the piece, in order to provide an overview of the techniques used in the composition. Among them, the concept of formal process and instrumental synthesis elaborated by Gérard Grisey, and the notion of complex sounds from Tristan Murail are discussed. The second part presents an analysis of the piece, which will consist on a detailed commentary on the music and its elements. The third part of the work is the score of Fort/Da.

The sonata for Violin and Piano in A Major, Op.14 by Leopoldo Américo Miguéz is the first Romantic-period sonata composed in the Brazilian violin-piano literature, and arguably one of the most important sonatas in the genre. The sonata was composed in 1885, one year after Miguéz’s return from a short period of study in Europe. This period saw a prolific output of the most essential pieces of this repertory in the late 19th century—the Brahms, Franck, Strauss, and Fauré sonatas. The Miguéz sonata demonstrates a decidedly European taste, completely lacking the sense of nationalism that Villa-Lobos would later pursue. Miguéz’s compositional style may be best understood being associated with the Wagnerian aesthetic. One of his most significant pieces, the symphonic poem Parisina, Op. 15, (1888), most clearly exemplifies this statement. When specifically examining the sonata, however, we can perceive that this particular work lies outside of the Wagnerian sphere, sharing many similarities with Fauré, Franck, Saint-Saëns, Schumann, Schubert, and Mendelssohn. The sonata also displays thematic transformation and the concept of “developing variations,” especially showing the influence of Brahms. In addition to being a composer, Miguéz was also a violinist. He studied with Nicolau Ribas who was a student of Charles de Beriot, the great icon of the Franco-Belgian violin school, whose influence is notable throughout the sonata. There are currently four recordings of the work, with two editions now available. The purpose of this dissertation is to establish a scholarly approach to the analysis and contextualization of such a significant piece from the Brazilian violin repertory. Additionally, this research aims to further place this piece inside the larger context of violin artistry.

Composer Mieczysław Weinberg (1919–1996) was a Polish Jew who emigrated to Soviet Russia in an effort to escape Nazi aggression during World War II. Also known as Moisei Samuilovich Vainberg, he became a close friend and colleague of the famous Soviet composer Dimitri Shostakovich. His prolific compositional output includes four works for flute soloist: Twelve Miniatures (1945), Five Pieces (1947), Flute Concerto No. 1, Op. 75 (1961), and Flute Concerto No. 2, Op. 148 (1987). The two flute concerti were written for and dedicated to the famous Russian flutist Alexander Korneyev (1930–2010). These four works for flute are experiencing a resurgence in interest in recent years as Weinberg’s music becomes more well-known. This document examines how these pieces fit into Weinberg’s compositional canon and how they were influenced by flute playing in the Soviet Union at the time. It analyzes the works from a theoretical perspective, explores why they have been so seldom played, and assesses how they fit into the modern flute repertoire. This document also examines the Russian school of flute playing, focusing on the Moscow Conservatory, where Korneyev both studied and taught. The Russian school is then compared to American and French traditions. The purpose of this document is to illuminate the contributions of Weinberg and Korneyev, and to introduce this literature to new audiences.

This is a string quartet in three movements: a sonata, a fugue, and a rondo–finale. The approximate duration is 20 minutes.

abstract: This document is a study of Jody Rockmaker’s Character Pieces for viola and piano (2014). The study begins with discussion of the work’s origin, then goes on to describe each of its three movements in some detail. A recording of the work with the author as violist is included. The composer is a former violist and worked with the author on developing Character Pieces. Although the work is demanding, it was written with consideration of viola technique and the instrument’s characteristics and sound. The composition is of approximately 15 minutes’ duration. Each movement is in a different tempo, fast-slow-fast, and with individual expression, though the pitch organization of all three movements is based on one hexachordal set. Rockmaker’s intent was to depict certain personality traits often found among violists. These attributes are evident in the titles of the movements: the Class Clown, the Mellow Fellow, and the Hipster-Intellect. The music, in addition to being intricately organized and technically suited to both instruments, also expressively portrays these character types. / Dissertation/Thesis / Jody Rockmaker's Character Pieces for Viola and Piano(2014): I. Class Clown / Jody Rockmaker's Character Pieces for Viola and Piano(2014): II. Mellow Fellow / Jody Rockmaker's Character Pieces for Viola and Piano(2014): III. Hipster-Intellect / Doctoral Dissertation Music 2019

abstract: Musicians who perform in front of an audience are often familiar with tension and nervousness, whether they are performing on stage, giving a public concert, or practicing on their own. Tension can eventually build up in a musician’s body because of the stress of holding an instrument or performing in an audition or concert. Warm-ups are not guaranteed to reduce stress or pain. However, by warming up, musicians can help expect to prevent possible injuries and reduce stress or pain. In addition, some musicians can expect warm-ups to improve basic skills and the level of their playing overall. To begin, this document will examine several warm-ups which were published by famous flutists. It will reference warm-ups back to the 20th century, when legendary flutist and pedagogue Marcel Moyse published De La Sonorité (Paris, 1934). De La Sonorité is a world-famous warm-up book which emphasizes the importance of flute tone. Many flutists were inspired by this book, and because of its renown, De La Sonorité is the starting point when discussing flute warm-ups. After discussing specific flutists’ warm-up books, the author will add her own warm-up exercises as a final project. Specifically, these warm-ups are intended to improve flutists’ embouchure and flexibility. Embouchure warm-ups can help reduce pain or tightness in the embouchure and help prevent some mistakes caused by stress and anxiety, such as in an audition or performance. / Dissertation/Thesis / Doctoral Dissertation Music 2019

In the United States, Italian, French, German, and English language operas are most often performed, both professionally and in collegiate settings; however, operas by Czech composers such as Leoš Janáček’s Jenůfa, Věc Makropulos (The Makropulos Case), Z mrtvého domu (From the House of the Dead), Bedřich Smetana’s Hubička (The Kiss), Prodaná nevěsta (The Bartered Bride), and Antonín Dvořák’s Rusalka have been performed in major American opera houses over the course of the last decade. The Metropolitan Opera, San Francisco Opera, and Lyric Opera of Chicago, the three largest companies in the country, have mounted Czech productions in previous seasons. Regional companies have delved into this new territory with positive outcomes, such as when the Opera Theatre of St. Louis staged Smetana’s The Kiss in 2013. The Juilliard Opera Center, Seattle Opera, Dallas Opera, Opera Santa Barbara, Arizona Opera, and many others have recently produced Czech operas, as well. Czech opera receives little attention in collegiate voice programs, whether it be the study of the repertoire, the language, or its historical context. Since emphasis is largely placed on English, French, German, and Italian opera, it is reasonable that many voice teachers and vocal coaches may not have expertise in either the repertoire or the language, and as a result, so few selections are performed by young singers, much to their detriment. This dissertation serves as a resource for singers, voice teachers, vocal coaches, and collaborative artists who wish to immerse themselves in Czech operatic repertoire for the soprano. Arias for this anthology have been chosen based on pedagogical considerations within the soprano Fach. Additional elements include brief biographical information about selected composers; synopses of the operas; a guide to explaining the basics of Czech diction (as well as its similarities and differences with English, German, French, Italian, and Russian), International Phonetic Alphabet (IPA) transcriptions of each aria, as well as literal and poetic translations of the text.

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