Treatise (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of Michigan, 1951. / Vol. 2 contains scores of ten fantasias "based upon the collation of all known manuscripts available." Cf. Foreword. eContent provider-neutral record in process. Description based on print version record. "A list of modern publications of Jenkins' Fantasias": v. 1, leaf 229. Includes bibliographical references (v. 1, leaves 230-242).

Treatise (D. of Musical Arts)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 108-110). Available also in a digital version from Dissertation Abstracts.

Thesis (M.M.)--University of North Texas, 2003. / Chamber piece in oratorio style; chorus (TTBB). Text from Daniel 9:4-19. Duration: ca. 30:00. Includes bibliographical references (p. 43-45).

Thesis (Ph. D.--Music)--University of California, San Diego, 2003. / Vita. For flute and violin with ensemble of clarinet, violin, viola, violoncello, piano, oboe, bassoon, and double bass. Performance instructions precede score.

Combattimento di Tancredi e Clorinda / C. Monteverdi -- On Wenlock Edge / R. Vaughan Williams -- Selections from L'elisir d'amore / G. Donizetti. / text

Sonata for flute in C minor, Wq 132 / C. P. E. Bach -- Etre ou ne pas etre / H. Tomasi -- Serenade / N. Wood -- Suite of Negro spirituals / Traditional -- Csardas / V. Monti. / text

Incline, O Maiden is a large-scale work cast as a dramatic scene for mezzo-soprano and chamber ensemble. It is an exploration of space between music and drama, and the problems inherent in creating a single-character operatic scene. This paper, which serves as an accompaniment to the musical score, is a detailed analysis of the work and focuses on the ways in which form and recurring music motives are used to establish a dramatic conflict with only a single character. The libretto for this dramatic scene is extracted from the play, Faust: A Tragedy, by Johann Wolfgang von Goethe (1749-1832), written in 1808, with English translation by Bayard Taylor (1825-1878). This libretto is centered on the character of Margaret, an original addition to the Faust legend by Goethe, and is a depiction of her inner psychological turmoil as she becomes a willing victim of Faust's seduction. The story begins as Margaret has just met Faust and quickly becomes infatuated with him, and continues through the death of her mother. Composed as a single movement, this piece is divided into two major parts for each of the two sections of action in the libretto. Each major part is further divided into smaller formal sections that are supported and delineated by five major motives that serve as the vast majority of the musical material, and are at the forefront of each formal and dramatic division in the work. Recurring musical motives, sometimes known as leitmotivs, have a long history in opera dating back to Wagner, and in this work, explore how tradition is part of the modern creative process. In Incline, O Maiden, despite the absence of interplay between characters, and given the internal struggle at the heart of the libretto, an indelible link between the drama and music is made meaningful by the unified thematic nature of the music. / text

This thesis is a musical composition featuring solo percussion with wind ensemble. It is in three movements with a cadenza linking the second and third movements. The performance time of this work is approximately 12’ 30”. The work will receive its world premiere in the spring of 2014 by Adam Groh and the Graceland University Symphonic Band. / text

In the mid-1950s, Japan’s Daihachi Oguchi revived the taiko piece Suwa Ikaduchi, which had traditionally been played at the Nagano Prefecture Suwa Shrine. Until then, the song was played by a single male drummer for ritual at the shrine, a common use of Japanese drums throughout history. Oguchi made changes to the music, creating an ensemble of drums that emulated the Western drum kit, resulting in a new musical genre, which we now refer to as “taiko” in English. Nearly 60 years later, this musical form has spread across the globe with great popularity. The main points of this thesis are to clarify the distinct reference to an historic past required to discuss taiko within Hobsbawm’s theory of invented tradition, to present individuals and communities involved in the formalization of taiko, and to consider what can be learned from the ordinary musician. All of these lead to a better understanding of the process of the formalization, or metamorphosis of taiko, which has not previously been examined. Following the Introduction, Chapters One and Two provide background on both the instruments and the music of taiko. A survey of the inception of pioneer taiko groups in Japan and the United States, where taiko developed simultaneously, can be found in Chapter Four. The preceding Chapter Three presents new research regarding the community where the Suwa Ikaduchi score was discovered, and begins to consider the relationship between the taiko ensemble and the community in which it is formed. This connection between the taiko ensemble and community is reinforced by the story of Eitetsu Hayashi in the fifth chapter, a former member of one of Japan’s first professional taiko groups. Taiko is still developing as a music and a performance art, but we are able to draw conclusions about what is special about taiko in considering the relationship between taiko and community throughout these early years of development. The final chapter tells the stories of two non-professional taiko musicians, one in the United States and one in Japan, concluding that the “traditional” roots of taiko helped to develop a musical genre today with a purpose greater than the music itself. Appendix I includes a copy of the Suwa Ikaduchi drum score, instructions on how to read it using taiko’s system of oral transmission, and a chart explaining the basic rhythmic value of the system. A chronology of events in Japanese American history can be found in Appendix II. Appendix III includes figures of the different kinds of taiko, photos of the Osaka region’s danjiri, and newspaper articles printed during taiko’s formative years. / published_or_final_version / Music / Master / Master of Philosophy