A GOLDEN AGE: FRENCH AND SPANISH CELLO MUSIC FROM SAINT-SAENS TO CASSADO

Motivated by both the delicacy of French music, such as La Mer by Claude Debussy, and the exotic atmosphere of Spanish music, such as Zigeunerweisen by Pablo Sarasate, I decided to investigate the characteristics of French and Spanish cello music from Camille Saint-Saens to Gaspar Cassad6. French cello music flourished from the end ofthel9th to the middle of the 20th century because of the innovation of many unprecedented techniques and experimentation with a variety of sonorities. The Spanish were heavily influenced by the French due to the geographical connection. Cello virtuosi like Auguste Tolbecque, August Franchomme, Pierre Fournier, and Paul Tortelier inspired composers of their day, creating a "golden age" of cello music. This dissertation consisted of three recitals in Gildenhom Recital Hall. The first recital was held on May lOth, 2007 at 5:30pm with pianist David Ballena. The second recital was held on October 14th, 2007 at 2pm with collaborators Minna Han, piano and Jenny Wu, violin. The third recital was held on March 301 2008 at 5:30 with pianist Naoko Takao. Here is the program of the recitals: The first recital: Gabriel Faure(1856-1924): Sonate pour Violoncello et Piano Op.109(1917) Gaspar Cassad6 (1897-1966): Suite per Violoncello Solo (1926) Claude Debussy (1862-1918): Sonate pour Violoncelle et Piano (1915) The second recital: Manuel de Falla (1876-1946): Melodia (1897), Romanza (1898) Camille Saint-Saens (1835-1921): Concerto for Cello and Orchestra No.1 in A minor Op.33 (1873) Maurice Ravel (1875-1973): Sonata for Violin and Cello (1920-22) The third recital: Pablo Casals (1876-1973): Song of the Birds (1925) Edouard Lalo (1823-1892): Concerto for Cello and Orchestra in D Minor (1877) Franscis Poulenc (1899-1963): Sonata for Cello and Piano Op.l43(1940-48)

The Emergence of Spanish Impressionism and its Interaction with French Impressionism in Music at the Turn of the Twentieth Century: selections from the solo and collaborative piano repertoire

French Impressionism is a term which is often used in discussing music originating in France towards the end of the nineteenth century. The term Spanish Impressionism could also be used when discussing Spanish music written by the Spanish composers who studied and worked in Paris at the same time as their French counterparts. After all, Spanish music written during this time exhibits many of the same characteristics and aesthetics as French music of the same era. This dissertation will focus on the French and Spanish composers writing during that exciting time. Musical impressionism emphasizes harmonic effects and rhythmic fluidity in the pursuit of evocative moods, sound pictures of nature or places over the formalism of structure and thematic concerns. The music of this time is highly virtuosic as well as musically demanding, since many of the composers were brilliant pianists. My three dissertation recitals concentrated on works which exhibited the many facets of impressionism as well as the technical and musical challenges. The repertoire included selections by Spanish composers Manuel de Falla, Isaac Albéniz, Enrique Granados, Joaquín Turina, and Joaquín Rodrigo and French composers Claude Debussy and Maurice Ravel. The recitals were on April 30, 2013, February 23, 2014 and October 11, 2015. They included solo piano works by Granados and Albéniz, vocal works by Debussy, Ravel, de Falla, Turina and Rodrigo, piano trios by Granados and Turina, instrumental duos by Debussy, Ravel and de Falla, and a two-piano work of Debussy transcribed by Ravel. All three recitals were held in Gildenhorn Recital Hall at the University of Maryland and copies of this dissertation and recordings of each recital may be found through the Digital Repository at the University of Maryland (DRUM).

Identifying the Supports and Challenges of High School Latino English Language Learners

Two out of three English Language Learners (ELLs) graduate from secondary schools nationwide. Of the nearly five million ELLs in public schools, more than 70% of these students’ first language is Spanish. In order to understand and resolve this phenomena and in an effort to increase the number of graduates, this research examined what high school Latino ELLs identified as the major external and internal factors that support or challenge them on the graduation pathway. The study utilized a 32 quantitative and qualitative question student survey, as well as student focus groups. Both the survey and the focus groups were conducted in English and Spanish. The questions considered the following factors: 1) value of education; 2) expectations in achieving their long-term goals; 3) current education levels; 4) expectations before coming to the United States; 5) family obligations; and 6) future aspirations. The survey was administered to 159 Latino ELLs enrolled in grades 9-12. Research took place at three high schools that provide English for Speakers of Other Languages (ESOL) classes in a large school system in the Mid-Atlantic region. The three schools involved in the study have more than 1,500 ELLs. Two of the schools had large ESOL instructional programs, and one school had a comparatively smaller ESOL program. The majority of students surveyed were from El Salvador (72%) and Guatemala (12.6%). Using Qualtrics, an independent facilitator and a bilingual translator administered the online survey tool to the students during their ESOL classes. Two weeks later, the researcher hosted three follow-up focus groups, totaling 37 students from those students who took the survey. Each focus group was conducted at the three schools by the lead researcher and the translator. The purpose of the focus group was to obtain deeper insight on how secondary age Latino ELLs defined success in school, what they identified to be their support factors, and how previous and present experiences helped or hindered their goals. From the research findings, ten recommendations range from suggested policy updates to cross-cultural/equity training for students and staff; they were developed, stemming from the findings and what the students identified.

CROSS-LINGUISTIC TRANSFER OF SPELLING SKILLS IN SPANISH-SPEAKING ADULT ESL LEARNERS

Spelling is an important literacy skill, and learning to spell is an important component of learning to write. Learners with strong spelling skills also exhibit greater reading, vocabulary, and orthographic knowledge than those with poor spelling skills (Ehri & Rosenthal, 2007; Ehri & Wilce, 1987; Rankin, Bruning, Timme, & Katkanant, 1993). English, being a deep orthography, has inconsistent sound-to-letter correspondences (Seymour, 2005; Ziegler & Goswami, 2005). This poses a great challenge for learners in gaining spelling fluency and accuracy. The purpose of the present study is to examine cross-linguistic transfer of English vowel spellings in Spanish-speaking adult ESL learners. The research participants were 129 Spanish-speaking adult ESL learners and 104 native English-speaking GED students enrolled in a community college located in the South Atlantic region of the United States. The adult ESL participants were in classes at three different levels of English proficiency: advanced, intermediate, and beginning. An experimental English spelling test was administered to both the native English-speaking and ESL participants. In addition, the adult ESL participants took the standardized spelling tests to rank their spelling skills in both English and Spanish. The data were analyzed using robust regression and Poisson regression procedures, Mann-Whitney test, and descriptive statistics. The study found that both Spanish spelling skills and English proficiency are strong predictors of English spelling skills. Spanish spelling is also a strong predictor of level of L1-influenced transfer. More proficient Spanish spellers made significantly fewer L1-influenced spelling errors than less proficient Spanish spellers. L1-influenced transfer of spelling knowledge from Spanish to English likely occurred in three vowel targets (/ɑɪ/ spelled as ae, ai, or ay, /ɑʊ/ spelled as au, and /eɪ/ spelled as e). The ESL participants and the native English-speaking participants produced highly similar error patterns of English vowel spellings when the errors did not indicate L1-influenced transfer, which implies that the two groups might follow similar trajectories of developing English spelling skills. The findings may help guide future researchers or practitioners to modify and develop instructional spelling intervention to meet the needs of adult ESL learners and help them gain English spelling competence.

VIOLA MUSIC FROM THE AMERICAS: MUSIC FROM CANADA, UNITED STATES, CUBA, VENEZUELA, MEXICO, AND BRAZIL

The enthusiasm towards writing music for the viola that flourished in the early 1900’s thanks to the efforts of a number of twentieth-century violists and composers rapidly spilled over to North and South America. Viola works by American and Canadian composers have already become cornerstones of the viola repertoire worldwide. On the other hand, compositions from other parts of the American continent remain lesser known outside of their country of origin. This is due in part to the less developed publishing and recording industry in these countries which makes it difficult for performers and programmers from other countries to buy or rent performing materials. As a violist born and trained in Venezuela, performing works by important Latin American composers to new audiences is deeply important to me. This dissertation was completed by performing selected works by Canadian, American, Cuban, Mexican, Brazilian, and Venezuelan composers. Composers from these countries have mixed their rich musical traditions with modern compositional techniques, creating original works that have greatly enriched the viola repertoire. This eclectic mixture of styles makes the music from Latin American composers not only very different from that of American and Canadian composers, but also very different from those of their neighboring countries. Through my three dissertation recitals, I intend to share this music with new audiences and inspire other violists to become familiar with this repertoire. The first recital includes compositions by American composers George Rochberg (1918-2015), Elliott Carter (1908-2012), and Alan Shulman (1915-2002) and Canadian composer Elizabeth Raum (b. 1945). The second recital includes works by Cuban composers Cesar Orozco (b. 1980), and Keyla Orozco (b. 1969), Venezuelan composers Aldemaro Romero (1928-2007) and Modesta Bor (1926-1998), and Venezuelan-Uruguayan composer Efrain Oscher (b. 1974). The third recital includes works by Mexican composers Carlos Chavez (1899-1978), José Pablo Moncayo (1912-1958) and Manuel M Ponce (1882-1948), and Brazilian composers Francisco Mignone (1897-1986) and Brenno Blauth (1931-1993). This music represents a bouquet of a distinctive mixture of styles from different parts of the American continent. Recordings of all three recitals can be accessed at the University of Maryland Hornabake Library.