The sent-down youth movement (1968-1978), an initiative that grew out of the Cultural Revolution in China, mandated that youth from urban centers be reeducated in rural regions in an effort to realize Mao’s idealized vision of a communist society. This thesis investigates how traumatic memory of the Cultural Revolution and the sent-down youth movement is processed through individual narratives from the diasporic “Cultural Revolution generation.” It does so largely in the context of fieldwork-based analysis and interpretation of multiple performances of a particular large-scale work, Ask the Sky and the Earth: An Oratorio Cantata for the Sent-Down Youth, a work which shapes zhiqing (sent-down youth) memories and discourse at both individual and collective levels. My theoretical framework primarily draws from Su Zheng’s analysis of diaspora and Paul Connerton’s work with traumatic memory. Through this examination of zhiqing traumatic memory, I assert that the history and narrative of forced displacement which defines zhiqing identity amplifies the impact of its commemoration in diasporic communities. The performance of this cantata forces members of the “Cultural Revolution generation” to confront narratives outside of their own and to reinterpret their past, revealing a multiplicity of experiences and interpretations that individuals produce, experiences which do not fit neatly into either the national Chinese or resistant diasporic narratives of the movement. Through such investigation, this work contributes in a significant way not only to the ethnomusicological study of Chinese music, but more broadly to the theorization of traumatic cultural memory in contemporary Chinese diasporic culture. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music. / Spring Semester 2019. / April 17, 2019. / Includes bibliographical references. / Michael B. Bakan, Professor Directing Thesis; Margaret Jackson, Committee Member; Frank Gunderson, Committee Member.

I became interested in discovering new clarinet concertos after signing a three-year artist contract with the Mu Phi Epsilon Foundation to present new works. My background and passion for classical, jazz, and new music led me to explore pieces that combined these stylistic influences. Two pieces captured my imagination and became the focus of my research: Daniel Freiberg’s Latin American Chronicles and Frank Proto’s Paganini in Metropolis. This treatise (in conjunction with two lecture recitals presented in Fall 2018 and Spring 2019) will focus on the lives and music of Daniel Freiberg and Frank Proto. My hope is to provide a spotlight for these composers and their works, and the potential of these pieces to break boundaries between jazz and classical styles in the clarinet community. Daniel Freiberg was inspired to write his concerto for the principal clarinetist of Westdeutscher Rundfunk Köln (WDR) Radio Orchestra, Andy Miles. Known in Europe as a crossover artist, Miles has an unusual resume as a saxophonist in rock bands, tin whistler in folk bands, and clarinetist in jazz band and orchestras. At the time he reached out to Freiberg, Miles was making an album titled “Symphonic Jazz with Andy Miles,” with other notable composers Jorge Calandrelli and Jeff Beal. Looking to find more pieces, he reached out to Freiberg. Latin American Chronicles was commissioned in 2015 by the WDR Symphony Orchestra from Cologne, Germany, directed by Wayne Marshall. Comprised of three movements, the work explores classical, jazz, and South American folk music. Frank Proto collaborated with Eddie Daniels, a high school classmate, to write his concerto. Arguably, one of the most influential jazz clarinetists in recent years, Eddie Daniels has had a profound impact on this genre, inspiring composers such as Jorge Calandrelli and Jeff Beal to write jazz-inspired concertos for him. Between 1994 and 2001, Proto explained those years to be the series of “Paganini Pieces.” He had written Capriccio di Niccolo for Doc Severinson in 1994, followed by Nine Variants on Paganini for Francois Rabbath in 2002. While Daniels was on tour, the University of Texas Wind Ensemble led by Jerry Junkin, wanted something new and special to perform, which led to the commission of Paganini in Metropolis in 2002. The premiere was a rousing success, leading to another commission of Paganini in 2003 with the Santa Fe Symphony Orchestra, Eddie Daniels, and conductor David Wroe. This treatise will provide a brief background for Daniel Freiberg and Frank Proto, historical information about each piece, and how they integrate different stylistic elements, ultimately leading to the expansion of the boundaries of classical music. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2019. / April 5, 2019. / Includes bibliographical references. / Deborah Bish, Professor Co-Directing Treatise; Jonathan Holden, Professor Co-Directing Treatise; Richard Clary, University Representative; Eva Amsler, Committee Member.

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A thesis submitted to the Graduate Committee in partial fulfillment of the requirements for the degree of Master of Music.

The final product of this project is a high-quality recording of solo piano works by three living Thai composers; Nat Yontararak, Atibhop Pataradetpisan and Siraseth Pantura-umporn. It also includes two Yontararak’s arrangements of songs by King of Thailand, Bhumibol Adulyadej. This recording consists entirely of solo piano works written and arranged by contemporary Thai composers. As a Thai-born pianist, I believe it is my privilege to promote Thai classical music. All pieces selected for this project demonstrate distinctively Thai characteristics, as well as pianistic techniques that are engaging to both the audiences and performers. The recording features Piano Sonata No. 3 “Siam Sonata” by Nat Yontararak, “Duality” by Atibhop Pataradetpisan, “Bells” by Siraseth Pantura-umporn, “Still on My Mind” and “Love in Spring” by H.M. King Bhumibol, arranged by Nat Yontararak. This recording project aims to archive three generations of composers living in present-day Thailand whose works fit exceptionally well for the solo piano. It is a part of my continuing efforts to open doors to future collaborations. As a Thai pianist, I am excited to be able to help foster a national identity through piano music.

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Among the instruments of the Western orchestra, the bass trombone has experienced the most transformation. Such evolution has included an expansion of the bore and bell diameter, inclusion of initially one and now two valves, and experimentation with variable-bore hand and tuning slides. Consequently, composers of orchestral music and solo bass trombone literature have expanded the demands placed upon the bass trombonist. Various methodologies have been developed to address the ever-expanding musical expectations of the bass trombonist, with some pedagogical aspects having been addressed more than others. One particular pedagogical subject that bears more investigation is the proper usage of valves, and that is the subject area that the following document examines and seeks to address. The author will provide the bass trombonist and his or her teachers with a basic understanding of the history of the bass trombone, including a short discussion about the limitations of the technical capabilities of the valve-less and single-valve bass trombone. The realized method will provide the bass trombonist with the tools to make intelligent decisions about which valve and slide combinations to use and why, to the point that the informed bass trombonist will become the master of the instrument.

This thesis presents a complete scholarly edition of Ignazio Donati's Salmi boscarecci, a collection of Vespers music for multiple choirs composed while Donati was working for the city of Casalmaggiore between 1621 and 1623. Ignazio Donati (c.1568-1638) had a distinguished career that placed him in several important centers of music during his lifetime, including Urbino, Ferrara, Casalmaggiore, Novara and Milan, with his final position at the Duomo of Milan. Donati is regarded as an important composer of the period because of his varied and highly successful career as a maestro, his extensive list of publications, how often his music was reprinted and how he was represented in other collections. His Salmi boscarecciappears to have been disseminated throughout the Italian peninsula and into other parts of Europe, and was valued enough to be reprinted posthumously in 1639. The collection has received greater attention than many contemporary works in current scholarship because of the extensive introduction that outlines different performance configurations. The Salmi boscarecciwere composed for twelve different voice parts plus organ continuo, and Donati wrote an extensive introduction which describes a variety of other performance options. This utilitarian approach allowed the collection to be performed in a variety of ways and with a large range of performing forces. The top six parts are for solo voices. The lower six parts are written for a combination of soloists, ripieno chorus, and instruments. Donati stated that the twelve parts may be split into several different combinations of voices and instruments. For example, the full set of parts could be divided into two, three or four choirs that could also be placed in separate areas of the church. The lower six parts could be performed by soloists, chorus and instruments, or by any group or combination thereof. If using only the top six books, the lower parts could also be transposed into higher ranges to make the collection accessible to nuns. The soprano line could be sung by a tenor if sopranos were scarce. The Salmi boscarecciis discussed in terms of its flexibility, content (how it would be utilized in Vespers services) and performance options. The collection builds upon the extensive traditions passed on by prominent North Italian musicians that composed Vespers music for multiple choirs, such as Giovanni Gabrieli, Ludovica Viadana and Claudio Monteverdi. Thus, Donati's Salmi boscarecciwill be positioned within the larger seventeen-century Vespers traditions. Finally, Donati's life and career are examined, with special attention paid to the time period he served in Casalmaggiore, as he was hired and supported through the collaboration of several confraternities in Casalmaggiore. A complete scholarly edition comprises the second half of the project. The edition includes the complete contents of the Salmi boscarecci: the response Domine ad adjuvandum me festina, settings of ten Vespers psalms (two of which have alternate versions), two settings of the Magnificat in separate tones, and a Mass. It also contains ripieno parts that were meant to be added to a mass in Donati's 1622 Messe.

This thesis is an examination of the choral works for mixed voices of Jaakko Mäntyäjrvi. It includes biographical information about him, an overview of his works, compositional style, and major influences, in addition to a detailed analysis of four of his pieces. The first chapter is devoted to biographical information and the influences that shaped him as an artist, including the composers and musical styles that were most significant in his development. The second chapter includes a detailed examination of salient characteristics of Mäntyjärvi's output, including his compositional techniques, text setting, and elements borrowed from Finnish folk music and musical styles of earlier periods. In Chapter Three, four compositions are examined in detail (Canticum Calamitatis Maritimae, Kosijat, Die Stimme des Kindes, and Ecce Magnus Presbiter), followed by suggestions for further research.

In the second semester of 2012, I had my first opportunity to teach conducting for the music education program at the University of Miyazaki in Japan. My experiences in preparing for the course has made it clear to me that there is no uniform approach to teaching conducting among similar programs at national universities in the country. This essay is composed of two parts. In the first part, I looked at the syllabi of 60 conducting courses offered by music education programs at 44 national universities in Japan. The syllabi have been translated into English. Information drawn from the syllabi is listed in charts and compared in graphs. For the second part of the essay, I interviewed 5 conducting professors to discuss their insights into the current circumstances in which conducting courses are offered in music education programs. I also interviewed former students of the professors above in order to discover what they have accomplished following their study and what challenges they currently face conducting classes and/or ensembles in their schools.