This essay introduces readers to the music of the Venezuelan composer Modesta Bor (1926-1998) and provides a resource for interpretation of her art songs for voice and piano. Bor was an important composer in Venezuela with a successful career in composition, pedagogy, and conducting. However, she is not widely known outside of Venezuela and scholarship on her art song is limited. This study seeks to fill that void by examining Bor’s twenty-nine published art songs for solo voice and piano. These works include the song cycles/collections Tres canciones infantiles para voz y piano, Canciones infantiles, Primer ciclo de romanzas para contralto y piano, Segundo ciclo de romanzas para contralto y piano, Tríptico sobre poesía cubana, and Tres canciones para mezzo-soprano y piano, as well as nine ungrouped songs. Bor’s art songs are notable for her imitation of Venezuelan folk and popular music in the vein of Figurative Nationalism, her sophisticated harmonic language, and neoclassical techniques such as ostinato and motivic variation. This essay aims to help performers begin to understand the allusions to the national music of Venezuela. Her music elevates the llanero, the common rural laborer, and comments on the social issues of her people. This essay provides a brief history of Venezuelan music, a biography of Bor, and brief biographies of the poets used. It also contributes original poetic and musical analyses of her art songs, exploring the areas of form, melody, rhythm, and harmony. Venezuelan Spanish and the lyric diction appropriate for Bor’s songs are discussed. Poetic translations, word-for-word translations, and International Phonetic Alphabet transliterations are included for all of the poetry used.

abstract: The purpose of this research is to assemble a collection of Russian Art song repertoire selected for beginner level training, with an exposition of the criteria for their appropriateness as teaching pieces. This examination defines the scope of vocal, technical, language and interpretive abilities required for the performance of Russian Art song literature. It also establishes the need for a pedagogical approach that is free from Eurocentric cultural biases against Russian language and culture. Intended as a reference for teachers and students to simplify the introduction of Russian Art song into the repertoire of the advanced secondary or beginning undergraduate student, it includes a discussion of learning priorities and challenges particular to native English speakers relative to successful Russian language lyric diction assimilation, with solutions. This study is designed to furnish material for a published edition of songs in the appropriate transpositions for high, medium and low voice including word-for- word and sense translations with IPA transcriptions, along with program notes for each piece. Repertoire is selected from the works of Alyab'yev, Gurilyov, Varlamov, Glinka, Dargomyzhsky, Tchaikovsky and Mussorgsky, as well as a few folk songs. The repertoire is grouped by difficulty and accompanied by English translations, interpretive analyses of the Russian Language poetry, and International Phonetic Alphabet (IPA) transcriptions modified for lyric diction. The degrees of difficulty are determined by vocal registration demands, word lengths and rhythmical text setting, as well as the incidences of unfamiliar phonological processes and complex consonant clusters occurring in the text. A scope and sequence chart is included, supplemented with learning objectives and teaching strategies, which organizes the repertoire according the order in which the pieces are to be taught. A palatalization guide is provided, to provide solutions for common pronunciation problems. Included in the appendices are listings of additional recommended Russian art song titles and recommended listening and viewing. / Dissertation/Thesis / Doctoral Dissertation Music 2014

abstract: Lu Pei (b. 1956) is a celebrated Chinese American composer who currently serves as a composition professor at the Shanghai Conservatory of Music. His work is known for its varied use of Chinese folk tunes. He lived in the United States a long time, which cultivated within him abundant Western musical influences. The sound of multi-ethnic elements is greatly reflected in his own music. Writing an opera has always been his ultimate dream as a composer, and after many years of work, the opera The Third of March was completed and premiered in 2018 in Guangxi. It has received wide acclaim and has been a favorite of younger listeners. Lu Pei aims to bring young people to modern music and the Chinese opera, not only using traditional Chinese musical elements, but also adopts “reinvented” modern Western musical styles, giving a new identity to the Chinese opera is the main foci of The Third of March. To prepare for my performer’s guide to The Third of March, I will discuss Lu Pei’s inspirations from the Guangxi Song Fairs, and the music and culture of the Zhuang people surrounding the date in the Chinese lunar calendar, March Third. For Westerners unfamiliar with Lu Pei’s music, I will briefly introduce the compositional blending of Western and Chinese musical styles with a section about Chinese composers active in the United States, Chen Yi (b. 1953), and Tan Dun (b. 1957). I will also include a brief outline of the history of Chinese opera development, and Lu Pei’s compositional concepts and the background of the opera The Third of March will be discussed. My performer’s guide, the primary focus of this project, will begin by stressing Lu Pei’s adoption of different Chinese folk songs and Western compositional elements. These techniques clearly gave the piece a unique stylistic identity. I will give a brief overview of the Chinese language diction in International Phonetic Alphabet. Finally, the qualities of the main arias in the opera, and some of the Chinese operatic techniques for singers, and their special effects, will be explored. / Dissertation/Thesis / Doctoral Dissertation Music 2020

A single subject, diagnosed as having severe oral apraxia and dysarthria, participated in an eight-week research experiment designed to study the effects of singing on speech articulation. A simultaneous treatment design was used in which the subject participated in both the e xperimental and control conditions. In the control condition spoken words were repeated by the subject, while in the experimental condition the words were sung. The words used were the lyrics to two popular folk songs. Articulatory accuracy (intelligibility) was judged by two graduate level speech therapists, based on audiotape samples of the subject's responses, recorded on a "Language Master" machine. Judges were also asked to rate their degree of confidence about their judgements. Results indicated significantly higher scores at the .05 level for the singing condition than for the non-singing condition. Degree of confidence ratings were similar for both conditions. It was also observed that a significantly greater number of consonant blends were correctly articulated in the singing condition than in the nonsinging condition.

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This dissertation explored the differences in federal budget communication associated with the development and passage of the Federal Budget Resolution for Fiscal Years 1999, 2000, and 2001. A computer-aided (i.e., DICTION) content analysis was completed to explore Executive, Legislature, and Agency budget communication for source-based and party-based differences. Source-based differences were explored using the variables Activity, Realism, Optimism, Commonality, Certainty, Public Interest, Budget Concepts, and Functional Budget Categories. When reviewing the findings as a whole — and taking into account the variables, data, and time period analyzed - a distinct and predominant source-based perspective was not present in the federal budget communication associated with the development of the Congressional Budget Resolution. However, it was possible to identify predominant sources for individual variables Activity, Optimism, Commonality, and Certainty. Party-based differences were explored within seven themes: the use of Lakoff's value language; discussions of campaign actors; coalition building rhetoric; moral virtue and entrepreneurialism rhetoric; language of order, efficiency and unity; public interest; and, accusatory language. Variables included Liberal Language, Conservative Language, Party References, Voter References, Leader References, Commonality, Familiarity, Realism, Human Interest, Rapport, Praise, Inspiration, Liberation, Tenacity, Communication, Denial, Public Interest, Blame, and Pessimism. The analysis of party-based differences revealed that Democrats were more likely to incorporate language associated with the following variables: Liberal Language, Conservative Language, Party References, Voter References, Leader References, Human Interest, Rapport, Liberation, Blame, and Pessimism. Republicans were more likely to incorporate language associated with Familiarity, Realism, Tenacity, Communication, and Denial. This research illustrates that within our political institutions generally, and the budget specifically, there are significant source-based and party-based differences in the goals and values communicated by the actors within the federal budget process. If it is possible to gain a better understanding of how actors within this key process communicate, public administrators will be better equipped to engage each other in an honest dialogue and debate that facilitates agreement and understanding. Until source-based and party-based communication barriers have been broken down, the negative tenor in political communication and the public's apathy and frustration towards the political process will continue. / Ph. D.

Orientador: Martha Herr / Banca: Clóvis Afonso de André / Banca: Luciano Simões Silva / Resumo: Buscou-se neste trabalho a recuperação histórica da pronúncia do português brasileiro cantado, tal como proposta nas normas expostas nos Anais do Primeiro Congresso da Língua Nacional Cantada, de 1938, bem como a realização de uma análise prático-comparativa destas com as normas atuais, publicadas em 2007, destacando os principais pontos que as distinguem e elementos que proporcionam modificações na interpretação de canções em idioma brasileiro. O estudo baseado em documentos históricos e na investigação das circunstâncias que favoreceram a normalização do português brasileiro cantado teve, em sua fase prática, a realização de dois recitais e a gravação de um CD demonstrativo, com a execução de peças cujas pronúncias estão fundamentadas nas normas de 1938 e 2007, buscando evidenciar os elementos de divergência entre elas / Abstract: The aim of this research is to recover the historical pronunciation of Brazilian Portuguese sung as proposed in the standards set out in the Annals of the First Congress of the National Language as Sung (1° Congresso da Língua Nacional Cantada), in 1938, and the realization of a practical-comparative analysis between these and the current norms, published in 2007, highlighting the main points that distinguish them and evidences that provide changes in the interpretation of songs in Brazilian Portuguese. The study, based on historical documents and investigation of the circumstances which furthered the standardization of Brazilian Portuguese as sung, included the of two concerts and the recording of a demo CD with the execution of pieces whose pronunciations are based on norms from 1938 and 2007, seeking evidences of diverging elements between them / Mestre

Partindo da Teogonia e dos Trabalhos e dias de Hesíodo, modelos de poética fundada na verdade, e do conceito de sabedoria humana, como aparece na Apologia de Sócrates de Platão, o presente trabalho estuda a relação entre verdade e poesia nos Idílios de Teócrito fundamento de seu programa poético , e a elocução contenciosa ou competitiva que a veicula. Ao que se segue tradução em verso de todos os idílios hexamétricos autênticos do autor. / Starting from Hesiods Theogony and Works and days, models of a truth-based poetics, and from the concept of human wisdom as it stands in Platos Apology of Socrates, this work focuses on the so-called reciprocal conditioning of truth and poetry in Theocritus Idylls the very basis of his poetic program as well on the quarrelsome or competitive diction which conveys it. There follows a versetranslation of all the true Theocritean Idylls written in hexameters.