Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains x, 187 p.; also includes graphics. Includes bibliographical references (p. 180-187).

"Inaugural-Dissertation zur Erlangung der Doktorwürde vorgelegt der hohen philosophischen Fakultät der Universität Leipzig." / "Literatur": p. [7]. "Vollständiges Verzeichnis sämtlicher Werke Rimsky-Korssakows": p. [115]-119.

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 357-366). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. "Publisher's no.: UMI 3018356." Includes bibliographical references (leaves 357-366). Also available for download via the World Wide Web; free to University of Oregon users.

abstract: Nikolay Andreyevich Rimsky-Korsakov’s Concerto for Trombone and Military Band and Georg Philipp Telemann’s Sonata in F minor TWV 41:f1 are two works from contrasting periods written by well-known composers. International Music Company first published the Sonata in 1968 for trombone, edited by Allen Ostrander. Rimsky-Korsakov’s Concerto for Trombone was first published in the United States by Leeds Music Corporation in 1952, edited by Davis Shuman. Both of these compositions contain editorial concerns that detract from each composer’s original music. In most modern editions, Rimsky-Korsakov’s Concerto is accompanied by a piano reduction made by Nikolay Sergeyevich Fedoseyev. Although this reduction is the most commonly used accompaniment today, it is overly difficult for the pianist. The reduction also alters musical gestures within the accompaniment written by Rimsky-Korsakov. This project contrasts modern editions of each composition with their oldest known manuscript. For Telemann’s Sonata, this is the first publication in Der Getreue Music-Meister, published by the composer in 1728-29. For Rimsky-Korsakov’s Concerto, this is a copyist’s manuscript that is currently housed at the library of the Moscow State Academic Philharmonic. The centerpiece of this project is the preparation of new solo parts for each work and a new piano reduction for Rimsky-Korsakov’s Concerto that restores the composer’s original intentions and makes clear editorial changes and suggestions. / Dissertation/Thesis / Doctoral Dissertation Music 2016

The purpose of this thesis is to show through the presentation and analysis of authoritative information, together with opinions drawn from the information and analyses, how the clarinet grew in its function as a member of the symphony orchestra.

abstract: The canon of music performed in recitals by American trombonists contains very few works for trombone by composers from Russia and the Soviet Union. Trombonists in the United States periodically perform trombone solos by Nikolai Rimsky-Korsakov, Alexei Lebedev, Vladislav Blazhevich, Gregory Kalinkovich, Alexander Tcherepnin, and Eugene Reiche. But these works represent a very small percentage of trombone solos performed in recitals in the United States, and compositions written after 1960 by composers in the U.S.S.R. are completely absent from recital programs. The purpose of this project is to identify several Soviet-era compositions for trombonists that are worthy of introduction into trombone recital programs in the West. To support the thesis that Soviet-Russian trombone music has been disproportionally under-represented in American recital programs, a survey of over 3300 trombone recitals given in the United States from 1972 to 2013 was conducted. Once a body of significant works that had previously not been performed on American trombone recitals was identified, they were acquired, analyzed, and several were performed. The following compositions represent a list of Soviet-Russian solos not programmed on any of the 3300 recitals: German Grigoryevich Okunev, Adagio and Scherzo; Gregory Markovich Kalinkovich, Concertino for Trombone; Pavel Davidovich Saliman-Vladimirov, Concertino for Trombone; Vadim Veniaminovich Kulyov, Concertino for Trombone; Vladislav Alexanderovich Uspensky, Concertino for Trombone and Orchestra; Sergei Vasilyev and Vladimir Robertovich Enke, Concerto for Trombone and Orchestra; Sergei Borisovich Chebotaryov, Rondo for Tuba; Victor Nikolaevich Smirnov, Scherzo; Alfred Garievich Schnittke,“Schall und Hall”;and Tatyana Alexseyevna Chudova, Sonata for Trombone. / Dissertation/Thesis / Doctoral Dissertation Music 2015

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Throughout the history of European art music, the desire to portray “Other” cultures has been given voice by composers by way of exoticism. The ability to depict the exotic has, for centuries, held the fascination of listeners and composers alike. In spite of this, the identification and study of exoticism as an aesthetic trend in music has not been given nearly as much attention as it deserves. Drawing from and expanding upon the work of Ralph Locke and Jonathan Bellman, I explore and illuminate some of the deeper issues that undermine the potential study of this aesthetic trend. First, I present a discussion of the problems and difficulties inherent in the study of exoticism in music, some of which I believe are related to the relative lack of study in this area. Because of the nature of how elements of non-European cultures were historically assimilated and appropriated by the Europeans, questions of ethics and terminology are abundant and not easily answered. In some cases, the cultural “Other” is portrayed reverently, almost to be feared; in others, they are portrayed almost comically. But can this portrayal be attributed to the composer alone, or have decades and even centuries of performance traditions influenced certain attitudes towards these works? And are these original attitudes, no matter whether positive or negative, an essential part of understanding these works? How might we amend the language used in discussing this topic so that our own cultural bias (or lack thereof) does not affect it? After addressing the issue of how musical scholars have, until now, discussed these issues, I present my own method of dealing with them: the reorganization of what we have come to define as “musical exoticism” into four categories: appropriative allomimesis, approximative allomimesis, evocative exoticism, and temporally-exotic evocation. Using musical examples, I discuss how these terms might be used in place of simply the term “exotic”, hopefully paving the way for future scholarship on the topic. I believe that with more understanding of the study of the exotic in music and a more erudite manner of discussing it, a greater understanding of the aesthetic and its sociological ramifications might be achieved. By revising the language we use to discuss the exotic in Western music, I hope to provide my readers with a means toward insight into the deeper implications of composers’ choices to portray people from countries, cultures, and places other than their own. My intention is that this will allow and inspire performers and scholars to consider these implications in their studies of these works. / Music Performance

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