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The influence of Manuel Ponce (1882-1948) in early 20th-century Mexico serves as a precursor to the emerging nationalistic sounds sought after the 1910 revolution. Despite the challenges posed by Mexico's music education system, Ponce's private tutelage enabled him to achieve European standards, marking a significant progress in the broader efforts of 19th-century Mexican musicians to attain proper musical training. Ponce's method of creating an authentic Mexican sound involved reconstructing folklore music, blending it with European styles, and aligning himself with the Indigenismo movement. His compositional trajectory, marked by trips to Europe and distinct musical periods such as Romanticism, Nationalism, and Modernism, reflects adaptation to historical, social, and cultural events. Upon his return to Mexico, he undertook the reform of teaching methods at the conservatory, adapting European approaches to better suit the learning styles of Mexican students. This study examines Ponce's formative experiences, educational background, and early compositions, emphasizing his integration of folk tunes into classical forms and his role in shaping Mexican musical identity. It highlights the efforts of 19th-century Mexican composers to carve a nationalistic sound and Ponce's pivotal role as a bridge between European traditions and the developing nationalistic movement, ultimately contributing to the construction of Mexican cultural hegemony

The underrepresentation of Mexican art song has left classical singers with few Spanish-language repertoire options. Currently, the music of Spain dominates this scene and Mexican art song has yet to earn a place in academic curricula and concert halls. Manuel María Ponce (1882-1948) retains an important position in Mexican music. However, Ponce's vocal repertoire—consisting of over 150 songs—remained dormant for many decades after his death due to its misclassification by music aristocrats in Mexico that greatly affected their diffusion. Consequently, few copies were published during Ponce's life, making them difficult to find. The need in the singing community for repertoire of this kind has raised many questions not only about its existence and availability, but also about its origins and relationship to the established Art Song canon. To promote the diffusion of this underrepresented repertoire, a style analysis of Ponce's Romantic Mexican Art Song is offered through the lens of his writings about Mexican Song. The analysis includes vital information about the origins, form, style, and subjects of these songs. Tangible examples of these traits are provided from Ponce's Doce Canciones Mexicanas along with historically-informed suggestions for singers and translations of the text with IPA transcriptions.

Thesis (M.B.A.)--Universidad Interamericana de Puerto Rico, Recinto de Ponce, 2007. / Digitized and made available on the World Wide Web by Interamerican University of Puerto Rico, 2007.

Thesis (M.B.A.) -- Universidad Interamericana de Puerto Rico, Recinto de Ponce, 2007. / Digitized and made available on the World Wide Web by Interamerican University of Puerto Rico, 2007.

Doctor of Philosophy / Department of Mathematics / Virginia Naibo / Leibniz-type rules associated to bilinear pseudodifferential operators have received considerable attention due to their applications in obtaining fractional Leibniz rules and the study of various partial differential equations. Generally speaking, fractional Leibniz rules provide a way of estimating the size and smoothness of a product of functions in terms of the size and smoothness of the individual functions themselves. Such rules are helpful in determining well-posedness results for solutions of PDEs modeling a variety of real world phenomena, ranging from Euler and Navier-Stokes equations (which model incompressible fluid flow, such as airflow over a wing) to Korteweg-de Vries equations (which model waves on shallow water surfaces). Bilinear pseudodifferential operators act to combine two functions using their Fourier transforms and a symbol, which is a function that assigns different weights to the functions’ frequency components as they are combined. Thus, Leibniz-type rules associated to bilinear pseudodifferential operators serve as a generalization of fractional Leibniz rules by providing estimates on the size and smoothness of some combination of two functions, for which pointwise multiplication is recoverable by choosing a symbol identically equal to one. A variety of function spaces may be used to measure the size and smoothness of functions involved, including Lebesgue spaces, Sobolev spaces, and Besov and Triebel-Lizorkin spaces. Further, bilinear pseudodifferential operators may be considered in association with different classes of symbols, which is to say that the symbol itself (and possibly its derivatives) will possess certain decay properties. New Leibniz-type rules in two different settings will be presented in this manuscript. In the first setting, Leibniz-type rules associated to bilinear pseudodifferential operators with homogeneous symbols in a certain class are proved, where the sizes of the functions involved are measured using a combination of Lebesgue space norms and norms corresponding to function spaces admitting appropriate molecular decompositions, specifically focusing on the case of homogeneous Besov-type and Triebel-Lizorkin-type spaces. In the second setting, Leibniz-type rules and biparameter counterparts are proved in weighted Lebesgue and Sobolev spaces associated to Coifman-Meyer multiplier operators. All of the new Leibniz-type rules proved in the manuscript yield corresponding new fractional Leibniz rules, which are highlighted as appropriate. Various techniques from Fourier analysis serve as important tools in the proofs of these new results, such as obtaining paraproduct decompositions for bilinear pseudodifferential operators and utilizing Littlewood-Paley theory and square function-type estimates.

Cette thèse est consacrée à la figure de Ponce Pilate et à son remarquable déploiement depuis le XIXème siècle dans la littérature occidentale (francophone, anglophone, hispanophone). Ancrée dans la démarche mythocritique de Pierre Brunel, notre recherche interroge précisément les enjeux de l’évolution d’une telle figure et propose de définir sa place en littérature. Progressivement le juge romain devient un véritable objet d’étude, sujet de fiction à part entière. Si l'on constate qu'il ne correspond pas à la définition du mythe, il en comporte néanmoins certains aspects et va même jusqu'à développer certains mythèmes qui lui sont propres tels que son geste symbolique du lavement de mains ou la présence lumineuse de son épouse. Enfin, si la figure de Pilate appartient à la configuration narrative du procès de Jésus de Nazareth, elle est une figure mythique, et sa réhabilitation partielle ou totale, aux XXème et XXIème siècles, passe nécessairement par l’aspect politique du personnage. Après avoir considéré l’importance prise par Ponce Pilate en littérature, à partir du XIXème siècle, nous nous interrogerons sur son statut mythique et sur la place que lui donnent les écrivains de la modernité, cherchant l’homme sous la légende. Entre romanité et christianisme, la voie de la modernité place Pilate face à son humanité. / This dissertation is dedicated to Pontius Pilate’s figure and to his evolution in Western literature (French, English, and Spanish) from the 19th century. The study examines his role in literature under the light of Pierre Brunel’s mythocriticism, and analyzes how his portrayal developed over time. From his wake to his rise, Pontius Pilate becomes a real object of interest, a fictional subject on his own. This work concludes that he does not correspond to the actual definition of a myth. Rather, he has some aspects of it and even carries some mythemes of his own such as the symbolic gesture of washing his hands or his wife’s glowing presence. Lastly, if Pilate belongs to Jesus of Nazareth’s narrative format, he is then a mythical figure, and therefore his partial or even total rehabilitation must necessarily pass through the character’s political aspect. Modern writers seek for the man underneath the legend. Between Romanism and Christianity, modern time voices place Pilate against his own humanity.

Master of Music / School of Music, Theatre, and Dance / Slawomir Dobrzanski / The purpose of this Master’s report is to analyze the five-piano works at the author’s piano recital on April 8, 2018. The discussed pieces are Ludwig van Beethoven’s Sonata in G major Op. 31, No.1; Fryderyk Franciszek Chopin’s Nocturne Op. 55, No. 2 and Ballade in G minor, Op. 23; Manuel M. Ponce’s Prelude and Fugue on a theme by Handel; and Joaquín Larregla Urbieta’s ¡Viva Navarra! Jota de Concierto. The author approaches the analysis and study of the pieces from the historical, theoretical, and stylistic perspectives.

A dominating theme in current comparative community research is the investigation of changes in the urban structure of developing nations. The central concern is to determine if changes occurring in cities of developing countries are similar in nature to those experienced by cities in presently developed nations, particularly the United States.

Composed in 1927 and dedicated to Segovia, Ponce's Sonata III, one of the staples of the classical guitar repertoire, is the focus of this paper. To put this piece into proper perspective among Ponce's other works, biographical information leading up to the composition of the piece is presented first. Each of the three movements is then analyzed with regard to formal construction as well as harmonic and melodic language. Analysis is an important precursor to actually playing the piece, as Sonata III is a work that departs from Ponce's previous compositional style. The main portion of this paper addresses the preparation and interpretation of Sonata III. The insight gained through initial analysis of the piece is used to arrive at a musically satisfying interpretation of the work. Specific performance suggestions are included. Technical issues are addressed and possible solutions are presented. Alternate fingerings are provided to alleviate some of the common technical challenges the guitarist will encounter. A transcription and discussion of the Segovia revisions are also present. The paper concludes with general suggestions for improving performance that would be applicable to other works for guitar as well. This synthesis of biographical information, analysis, editorial options and performance suggestions, has hitherto never been never been done for this great work.