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).

INVESTIGATING THE POSTWAR DECLINE OF RACE IN SCIENCE

Race as a biological category has a long and troubling history as a central ordering concept in the life and human sciences. The mid-twentieth century has been marked as the point where biological concepts of race began to disappear from science. However, biological definitions of race continue to penetrate scientific understandings and uses of racial concepts. Using the theoretical frameworks of critical race theory and science and technology studies and an in-depth case study of the discipline of immunology, this dissertation explores the appearance of a mid-century decline of concepts of biological race in science. I argue that biological concepts of race did not disappear in the middle of the twentieth century but were reconfigured into genetic language. In this dissertation I offer a periodization of biological concepts of race. Focusing on continuities and the effects of contingent events, I compare how biological concepts of race articulate with racisms in each period. The discipline of immunology serves as a case study that demonstrates how biological concepts of race did not decline in the postwar era, but were translated into the language of genetics and populations. I argue that the appearance of a decline was due to events both internal and external to the science of immunology. By framing the mid-twentieth century disappearance of race in science as the triumph of an antiracist racial project of science, it allows us to more clearly see the more recent resurgence of race in science as a recycling of older themes and tactics from the racist science projects of the past.