In this treatise, I have transcribed into musical notation seven poems and their accompaniments on flute (collectively referred to as the Jane Poems) written by poet Jessica Hand and flutist/composer Jeana Melilli. Poetry is often set to music, but it is unusual for music to be written as accompaniment to spoken poetry without altering the recitation of the poem itself, so these pieces do not fit easily into any existing genre and are therefore well positioned to begin defining a new genre. As the poet and composer are currently the primary performers of these works, the flute parts have heretofore been written only as annotations in the traditionally-written poetry (see the facsimiles included in section two of this document), and neither part has ever been written in musical and/or rhythmic notation. The transcriptions, which comprise the second section of this treatise, will provide a format in which the text and music can appear together in print publications, and will allow other performers to learn these works without ever having heard them. Each chapter of section two contains an original transcription, preceded by a performance guide, the poem as originally written by Jessica Hand, and a facsimile of Jeana Melilli's original manuscript with her own annotations indicating her accompaniments. The performance guide includes background information on the corresponding poem and flute part, and other relevant details to ensure that performers have a sufficient understanding of the work. The first section of this treatise provides the background and analysis necessary to understand the transcriptions that follow. It begins with a history of the relationship between poetry and music, from Greek lyric poetry through Sprechstimme to rap. Biographical information gives the reader a contextual framework in which to place these pieces. The analysis section examines Hand's semi-autobiographical poems, which are written in free verse, but are not ametrical, from a musical perspective. She uses poetic feet in various combinations to create rhythmic patterns, and her rhythmically-consistent delivery of these patterns creates mixed meters which can be transcribed in musical notation and further analyzed to determine how the uses of mixed meters evoke different emotional responses in the listener. It also examines Melilli's accompaniments, which are written in three primary styles, and the ways in which they impact, highlight, or alter the meaning of the text. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2015. / February 18, 2015. / Flute, New Music, Poetry, Transcriptions / Includes bibliographical references. / Eva Amsler, Professor Co-Directing Treatise; Jeffrey Keesecker, Professor Co-Directing Treatise; Jane Piper Clendinning, University Representative; Deborah Bish, Committee Member.

This dissertation is a study of the Deaf hip hop movement in the United States. It examines the trajectories of major figures in the development of this movement who have been brought together by way of their expression of music from a Deaf view of the world -- one that builds on the foundation of hip hop to create a new style based on Deaf aesthetics that expand notions of music to other sensory realms of the body. While this view is informed both by an experience of deafness as well as Deaf culture (a linguistic minority that uses sign language as its primary form of communication), music in Deaf culture is, and has been, in constant dialogue with the larger society in which the Deaf live, one that emphasizes the use of aural elements in expressions of music. Through the formation of the dip hop movement, dip hop artists strengthen a sense of Deafhood and address challenges presented by mainstream constructions of music that have affected the development of music in Deaf culture. Often realized as a cultural product of the hearing, music has not always been recognized or accepted in the Deaf community. After all, with cultural products like headphones with which to listen to music and concepts like "tone deaf," mainstream constructions of music emphasize aural elements that are not valued in the same way in the Deaf community. For those that are culturally Deaf, musical expression and reception is experienced and conceived through other realms of the body, which, in turn, create entirely different realizations of music based on a Deaf view of the world. Despite this, since Deaf culture exists within the context of a larger culture, hearing-centric constructions of music have permeated perceptions of music in Deaf culture, which limit what music is, and can be, for the Deaf based on hegemonic ideologies that ultimately delegitimize Deaf expressions of music and, by extension, Deaf culture. Yet through the work of dip hop artists, this research explores the ways in which the dip hop movement creates a space for artists to express music from a culturally Deaf perspective, breaks down stereotypes of deafness in society, and bridges divides between the hearing and Deaf community. In order to analyze the agency of the dip hop movement in the United States, and the ways artists negotiate a space in mainstream society for the recognition of music in Deaf culture, I employ post structuralist, deconstructionist, and Marxist theories that also function to open new spheres of discourse about music in Deaf culture. Through these and other theoretical perspectives, this work investigates the complex ways Deaf culture exists in society, examines the influence hegemonic productions of music have on Deaf culture, and explores the ways dip hop artists build on foundational elements and the culture of hip hop to create a new style of music that subverts mainstream ideologies of music while providing an outlet of expression for Deaf culture to be heard. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2015. / April 7, 2015. / Deaf, dip hop, hearing-centrism, hip hop, linguistic minority, music / Includes bibliographical references. / Frank Gunderson, Professor Directing Dissertation; Michael Uzendoski, University Representative; Michael B. Bakan, Committee Member; Alice-Ann Darrow, Committee Member.

The purpose of this treatise is to introduce the music of the Soviet composer of Polish-Jewish origin, Mieczysław Weinberg (1919-1996) to a wide audience. Weinberg’s life took place during the very difficult period following World War I through the second world war. Not only did he feel the terrible consequences of the Nazi efforts to exterminate Jews, but he also experienced the terrors associated with being an artist in the Soviet Union under Stalin. Weinberg’s music reflects its historical context and the tragic events that impacted his own life and the lives of so many others. This is one reason his compositions are important and valuable. He also had a close friendship with Dmitry Shostakovich, and they inspired one another’s creative work in many ways. Weinberg’s music reflects a diversity of genres and styles. In addition to the large-scale works dedicated to the heavy themes of war, fascism, and death, he also wrote music for movies, cartoons, circuses, and children. Like Weinberg’s life, his music had a difficult fate, as it was obscured for many years. Fortunately, Weinberg’s music has gained increased attention in recent years, especially in Europe. There have been several festivals dedicated to his work held in Liverpool (UK), Rochester (USA), Bregenze (Switzerland), and Moscow (Russia). Recordings of his compositions have been released by large record labels, including “Olympia” (UK), and "Russkiy disk” (Russia). The Danel String Quartet, a Belgian group, recently made a complete recording of all seventeen quartets written by Weinberg. Several renowned conductors have contributed to the promotion of Weinberg’s music, including Thomas Sanderling, the co-initiator of the International Mieczysław Weinberg Society, and Thord Svedlund. This treatise provides information about the composer’s life, an overview of his work, and style analyses of his Concerto for Cello and Orchestra Op. 43 (1948) and his 24 Preludes for Solo Cello (1960). The Concerto and the Preludes are historically significant and musically engaging additions to the standard cello repertoire. The Concerto consists of four contrasting and highly expressive movements with different characters and moods—lyrical, dramatic, powerful, sorrowful, and triumphant. The diversity in the work, in its melodic features and dramatic qualities, make it accessible to a wide range of audiences. The 24 Preludes is a challenging work that features technical variety and extended techniques. In this collection we see Weinberg demonstrating his musical experience, knowledge, and creativity. Practice suggestions for the Concerto and the Preludes are provided at the end of their respective chapters. / 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 19, 2019. / Includes bibliographical references. / Gregory Sauer, Professor Directing Treatise; Charles E. Brewer, University Representative; Alexander Jiménez, Committee Member; Melanie Punter, Committee Member.

Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and filled out the appropriate web form. / Playwriting / 2999-01-01T00:00:00Z

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The music of each country is unique, as it represents their history and people, connecting compatriots through generations and helping to create, over time, a singular identity. In countries that have fought ongoing battles to preserve their borders, folklore is often a direct representation of that struggle. Folk and sacred music in Armenia have helped to develop a national identity, furthering the country's sense of nationalism. Folk music, the duduk, and the clarinet have helped to shape the contemporary musical world of Armenia. For the purposes of this study, I will focus on the works of Khachaturian and Sharafyan. Khachaturian, influenced by the folk music he grew up with, used these sounds to create his own musical aesthetic. His belief in the beauty of sound and the psychological impact that music should convey is supported by his use of folk idioms. Sharafyan, also affected by the sounds of his homeland, uses traditional and Western instruments, allowing him to create a cross-cultural sound: a sound that connects the traditional to the modern, while still maintaining its origins in Armenian folk musical traditions. Starting with the duduk and eventually, the clarinet, Komitas, Khachaturian, and Sharafyan shaped and created music that portrays the experiences of the Armenian people. These composers, while only a small sample of Armenia's rich musical heritage, provide a clear example of music's ability to represent the history and culture of a nation. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2015. / April 14, 2015. / Armenia, Clarinet, Duduk, Folk Music, Khachaturian, Sharafyan / Includes bibliographical references. / Deborah Bish, Professor Directing Treatise; Frank Gunderson, University Representative; Alexander Jiménez, Committee Member; Eric Ohlsson, Committee Member.

This treatise demonstrates how scholarship can inform performance by exploring various analytical techniques, including a Schenkerian perspective, of Ballade in D major, Op. 10 No. 2, by Johannes Brahms. The application of music analyses seems at times undervalued by performers, but an awareness of music theory and analysis can help guide one's interpretation of a piece for performance. A deeper look at the harmonies throughout a passage, for instance, enables us to discover an aesthetic meaning behind the harmonies that can shape interpretation. Understanding the form of a piece can help in the pacing of it to create a cohesive whole. By way of large-scale perspectives of form, tonal relationships, and fundamental structure, and also by examining motives, texture, and character on a smaller level, this treatise provides a model of how analysis can become a vital key to an informed performance. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2015. / April 16, 2015. / Analysis, Ballades, Brahms, Form, Harmony, Schenkerian / Includes bibliographical references. / Read Gainsford, Professor Directing Treatise; Michael Buchler, Committee Member; Timothy Hoekman, Committee Member; Gregory Sauer, Committee Member.