Approaching and Executing Premiere, Interpretive, and Historical Works

The spectrum of vocal music spans time, genres, styles, and is infinitely vast. New works are ever evolving and expanding, new artistic ideas are revealed from older works, and interest renewed from the tried and true. As a vocal musician in present day, I aspired to find a common thread amidst the boundless spectrum of works to be performed—whether I was hearkening back to a time of old, dissecting pieces by composers who have opened the door to personal artistry, or learning to sing a new work never performed or heard before. The Mercuriality of Song unearths more differences than commonalities in preparation, despite the fact that my voice remains the constant— differences which were expected, often surprising, but nevertheless new and rewarding in their challenges. Three performances (a world-premiere, a lieder recital, and an early music recital) comprise the basis for my investigation into comparing methods and processes of different periods via program notes, laying the foundation for initial preparation from an historical context. An amalgam of genres and stylistic differences along with performance planning culminate this exploration of vocal discovery and implementation.

TROMBONE MUSIC OF SCANDINAVIA: A STUDY OF TROMBONE SOLO AND CHAMBER WORKS FROM SWEDEN, NORWAY, AND DENMARK

This dissertation project aims to establish Scandinavian trombone solo and chamber works as a major contribution to the trombone repertoire. From the late 19th century to modern day, Scandinavian composers have produced a steady output of trombone works of substantial musical quality. Deep-rooted in the traditions of strong military wind bands, Scandinavia has also produced an unusual number of trombone virtuosos, ranging from those holding positions in leading orchestras, and internationally renowned pedagogues, to trombonists enjoying careers as soloists. In this study I propose that it is the symbiotic relationship between strong performers and traditionally nationalist composers that created the fertile environment for the large number of popular trombone solo and chamber repertoire not seen in any other region besides the Paris Conservatory and its infamous test pieces. I also interpret the selected repertoire through the prism of nationalism and influence of folk music, and convey that the allure of the mystic Nordic folk influences enhances the appeal of the Scandinavian trombone repertoire to world-wide audiences and performers. The dissertation project was realized over three solo recitals, each showcasing the music of Sweden, Norway, and Denmark respectively. For each program, I looked to choose a standard work from the trombone solo repertoire, a work written for or by a native virtuoso, and a lesser-known work that warrants the attention of other performers for its musical qualities. The recital of Swedish music presented Mandrake in the Corner by Christian Lindberg, Subadobe by Frederik Högberg, A Christian Song by Jan Sandström, and Concertino for trombone and strings by Lars-Erik Larsson. The recital of Norwegian music presented Concerto for Trombone op. 76 by Egil Hovland, Ordner Seg by Øystein Baadsvik, Elegi by Magne Amdahl, and Concerto in F major by Ole Olsen. The recital of Danish music presented Rapsodia Borealis by Søren Hyldgaard, Madrigal by Bo Gunge, Romance for trombone and piano by Axel Jørgensen, Concerto for trombone by Launy Grøndahl, and Three Swedish Tunes by Mogens Andresen. Through the performance of works from these three countries, the dissertation establishes Scandinavia as a rich source of solo trombone repertoire perpetuated by nationalist composers and virtuosos, as well as providing a brief survey of Scandinavian trombone works of various instrumentation and difficulty levels to be enjoyed by student, professional, and amateur performers and their audience.

Development of gene expression-based biomarkers of exposure to metals and pesticides in the freshwater amphipod Hyalella azteca

Ecological risk assessment (ERA) is a framework for monitoring risks of exposure and adverse effects of environmental stressors to populations or communities of interest. One tool of ERA is the biomarker, which is a characteristic of an organism that reliably indicates exposure to or effects of a stressor like chemical pollution. Traditional biomarkers which rely on characteristics at the tissue level and higher often detect only acute exposures to stressors. Sensitive molecular biomarkers may detect lower stressor levels than traditional biomarkers, which helps inform risk mitigation and restoration efforts before populations and communities are irreversibly affected. In this study I developed gene expression-based molecular biomarkers of exposure to metals and insecticides in the model toxicological freshwater amphipod Hyalella azteca. My goals were to not only create sensitive molecular biomarkers for these chemicals, but also to show the utility and versatility of H. azteca in molecular studies for toxicology and risk assessment. I sequenced and assembled the H. azteca transcriptome to identify reference and stress-response gene transcripts suitable for expression monitoring. I exposed H. azteca to sub-lethal concentrations of metals (cadmium and copper) and insecticides (DDT, permethrin, and imidacloprid). Reference genes used to create normalization factors were determined for each exposure using the programs BestKeeper, GeNorm, and NormFinder. Both metals increased expression of a nuclear transcription factor (Cnc), an ABC transporter (Mrp4), and a heat shock protein (Hsp90), giving evidence of general metal exposure signature. Cadmium uniquely increased expression of a DNA repair protein (Rad51) and increased Mrp4 expression more than copper (7-fold increase compared to 2-fold increase). Together these may be unique biomarkers distinguishing cadmium and copper exposures. DDT increased expression of Hsp90, Mrp4, and the immune response gene Lgbp. Permethrin increased expression of a cytochrome P450 (Cyp2j2) and decreased expression of the immune response gene Lectin-1. Imidacloprid did not affect gene expression. Unique biomarkers were seen for DDT and permethrin, but the genes studied were not sensitive enough to detect imidacloprid at the levels used here. I demonstrated that gene expression in H. azteca detects specific chemical exposures at sub-lethal concentrations, making expression monitoring using this amphipod a useful and sensitive biomarker for risk assessment of chemical exposure.

EXPLORING VIENNESE TUNING AND ITS BENEFITS FOR THE MODERN DOUBLE BASSIST

The role of the double bass in Vienna during the eighteenth century evolved significantly between 1760 and 1812. During these years, Viennese composers began to view the double bass less as an accompanimental instrument and more as a solo voice. Despite the abundance of music written for the double bass during this time, few of these compositions are regularly performed today. This dissertation serves three purposes. I explore how learning eighteenth-century Viennese compositions in the original tuning can influence modern performances of these works. Secondly, I document the arrangement of a lesser-know work for the modern tuned bass using the manuscript as the source material. Finally, by performing a variety of eighteenth-century bass works, I bring this music to the public's attention. The research for this dissertation has been presented in two forms. The recitals present both solo and chamber works from eighteenth-century Vienna. The repertoire for the three recitals was chosen so that each recital addresses one of the three purposes mentioned above. The research paper presents performance practices of the eighteenth century, challenges the modern double bassist faces when playing this literature, as well as a look into how to arrange one of these works for the modern tuned double bass. The three recitals were performed on the campus of the University of Maryland in the Leah M. Smith Hall, Gildenhorn Recital Hall and the Ulrich Recital Hall, respectively. Recordings of all three recitals can be found in the Digital Repository at the University of Maryland (DRUM).