Reclaiming the Vocal High Ground: Performing Baroque Repertoire in a Modern World

The early music revival of the late twentieth century revolutionized music with the birth of historically lnformed performance. With this revolution came a stereotype of the "early music singing voice" as small, bright, straight-toned, and unfortunately, often inferior techrucally to the mainstream opera singer. An assessment of the validity of this stereotype was made though readings of treatises and modern manuals of performance practice, and through listening to recordings. Sources on ornamentation, recitative, dance rhythm, and baroque gesture were examined, resulting in the finding that these issues are far more important to historical accuracy than are voice timbre and size. This dissertation is comprised of three historically informed performances intended to satisfy both the early music specialist and the mainstream voice teacher. Program One (May 15, 2004) is a performance of The "Peasant" Cantata, BWV 212, by J.S. Bach, with The Bach Sinfonia at the Washington Conservatory of Music. Program Two (January 29, 2005) is the role of Eurilla in a staged production of Antonio Vivaldi's serenata, Eurilla e Alcindo. The performance is a collaboration with the Baltimore-based ensemble, La Rocinante, and is conducted from the keyboard by Joseph Gascho. Program Three (March 14, 2005) is a solo recital entitled, Fairest Isle: Music of Baroque London. All three programs are documented in a digital audio format available on compact disc, with accompanying programs and notes also available in digital format.

IN SEARCH OF THE DIVINE: SPIRITUALITY AND PRAYER IN DIVERSE VIOLIN REPERTOIRE FROM BIBER TO IVES

Composers from all eras and of all ethnicities explore spirituality and prayer by using one or a combination of the following ideas: having a spiritual concept in mind when composing certain pieces, quoting hymns, being influenced by their own personal beliefs, or portraying spiritual figures and ideas in their works. Some musical works are inspired by spirituality; others, as in the case of Bloch's Nigun, even serve as prayers themselves. These recitals gave me the opportunity to approach a wide variety of musical styles while discovering my own mode for expression. The unaccompanied violin works throughout this project trace a distinct lineage from the baroque to the twentieth century. Biber's appendix to the Rosary Sonatas, the Passacaglia for solo violin, is a crucial predecessor to Bach's monumental Chaconne. Eugene Ysaye was inspired to write the Six Sonatas, Op. 27 after he attended a performance of Bach's Sonatas and Partitas given by Josef Szigeti. Ysaye's second solo sonata blatantly quotes Bach's Partita No.3 in E major throughout the first movement. Every movement also contains quotations from and variations on the plainchant Dies Irae. Although each of the solo violin works presented in this project may be viewed as virtuosic concert pieces, each piece allows the performer to transcend the technical hurdles-and perhaps even utilize them-to serve a higher, artistic and spiritual purpose while alone on the concert stage. Each of the sonata works in this project requires a close, equal collaboration between violinist and pianist, rather than displaying the violinist as soloist.

SELECTED AMERICAN VIOLIN WORKS AND THEIR EUROPEAN CONTEXT

For my dissertation, I did a study and performance of American violin works by Charles Ives, Aaron Copland, Leonard Bernstein, and John Corigliano, along with contemporaneous European works by Paul Hindemith, Bela Bartok, Igor Stravinsky, Sergei Prokofiev, and Francis Poulenc. The selected American violin works display the development of a distinctively American style and cover a significant formative period (1914-1963) of American classical music. I intend that the European works form a backdrop for setting in relief any distinctly American qualities possessed by the American works. This is because they cover a similar time period and have significant stylistic affinities and shared influences. My topic stems from a question, "What defines the American Sound?" I attempted to find the answer by looking at the time when American composers consciously searched for their identities, and declared their music to be distinctly American. I found that those distinctive qualities stemmed from three sources: folk music, jazz and hymns. Ives and Copland can be viewed as American in content for their inclusion of such elements, while Bernstein and Corigliano can also be considered as "ideologically American" for their adventurous and eclectic spirit. The simplicity derived from singing a hymn or crooning a popular song; the freedom inspired by jazz; the optimism of accepting all possibilities-these elements inform the common spirit that I found in the music of these four American composers. FIRST RECITAL Sonatafor Violin Solo Op.3112 (1924), Paul Hindemith (1895-1963) Suite Italiennefor Violin and Piano (1932), Igor Stravinsky (1882-1971) Sonatafor Violin and Piano (1963), John Corigliano (b.1938) SECOND RECITAL Second Sonatafor Violin and Piano (1914-17), Charles Ives (1874-1954) First Rhapsody for Violin and Piano (1928), Bela Bart6k (1881-1971) Violin Sonata No.1 infminor (1938-46), Sergei Prokofiev (1891-1953) THIRD RECITAL Nocturne for Violin and Piano (1926), Aaron Copland (1900-1990)Sonata for Violin and Piano, Op. 119 (1942-3, rev.1949), Francis Poulenc (1899-1963)Serenade (after Plato's "Symposium'') (1954) by Leonard Bernstein (1918-1990) The pianists were Sun Ha Yoon (Bart6k) and Grace Eunae Cho (all other repertoire).

FOLLOWING THE TRAIL OF THE SNAKE: A LIFE HISTORY OF COBRA MANSA "COBRINHA" MESTRE OF CAPOEIRA

This dissertation is a cultural biography of Mestre Cobra Mansa, a mestre of the Afro-Brazilian martial art of capoeira angola. The intention of this work is to track Mestre Cobrinha's life history and accomplishments from his beginning as an impoverished child in Rio to becoming a mestre of the tradition-its movements, music, history, ritual and philosophy. A highly skilled performer and researcher, he has become a cultural ambassador of the tradition in Brazil and abroad. Following the Trail of the Snake is an interdisciplinary work that integrates the research methods of ethnomusicology (oral history, interview, participant observation, musical and performance analysis and transcription) with a revised life history methodology to uncover the multiple cultures that inform the life of a mestre of capoeira. A reflexive auto-ethnography of the author opens a dialog between the experiences and developmental steps of both research partners' lives. Written in the intersection of ethnomusicology, studies of capoeira, social studies and music education, the academic dissertation format is performed as a roda of capoeira aiming to be respectful of the original context of performance. The result is a provocative ethnographic narrative that includes visual texts from the performative aspects of the tradition (music and movement), aural transcriptions of Mestre Cobra Mansa's storytelling and a myriad of writing techniques to accompany the reader in a multi-dimensional journey of multicultural understanding. The study follows Cinezio Feliciano Pe anha in his childhood struggle for survival as a street performer in Rio de Janeiro. Several key moves provided him with the opportunity to rebuild his life and to grow into a recognized mestre of the capoeira angola martial art as Mestre Cobra Mansa ("Tame Snake" in Portuguese). His dedicated work enabled him to contribute to the revival of the capoeira angola tradition during the 1980's in Bahia. After his move to the United States in the early 1990's, Mestre Cobrinha founded the International Capoeira Angola Foundation, which today has expanded to 28 groups around the world. Mestre Cobra returned home to Brazil to initiate projects that seek to develop a new sense of community from all that he has learned and been able to accomplish in his life through the performance and study of capoeira angola.

A SURVEY OF FRENCH KEYBOARD MUSIC FROM 1880 TO 1950

French music flourished from the last quarter of the nineteenth century into the early twentieth century, especially in the genres of opera and orchestral music. Although French keyboard music enjoyed less popularity, being overshadowed by these predominant genres, prominent impressionist figures Claude Debussy (1862-1918) and Maurice Ravel (1875-1937) . . brought its revival to the French music. Scholars consider Debussy to be a frontrunner of Impressionism, and his influence had a major impact on subsequent composers. As a result of his popularity, other significant works by French composers seem to be overlooked by pianists and audiences and are not as often performed. Because keyboard works by Debussy and Ravel are a popular performance choice among pianists, I was eager to examine music by other French composers. Through my resea,rch, I found many great works that warranted further study and deserve a place in the keyboard repertoire. This recording project contains works by lesser-known French composers written between the years of 1880 and 1950, namely Emmanuel Chabrier (1841-1894), Gabriel-Urbain Faure (1845-1924), Charles Koechlin (1867-1950), Albert Roussel (1869-1937), Erik Satie (1866-1925), Francis Poulenc (1899-1963), Darius Milhaud (1892-1974), Robert Casadesus (1899-1972) and Henri Dutilleux (b.1916). Since piano repertoire is abundant, it is sometimes difficult to create a performance program. Therefore, it frequently becomes the default to choosing familiar repertoire rather than using the opportunity to expand the repertoire. As a pianist, I feel responsible to search for hidden musical treasures with which pianists and audiences alike are not so well acquainted. This recording project explores nine lesser-known French compositions written between 1880 and 1950. I expect this to be an opportunity to introduce both pianists and audiences to outstanding but unfamiliar works by French composers. This dissertation was recorded on two compact discs in Dekelboum Concert Hall at Clarice Smith Performing Arts Center of the University of Maryland. The recordings are archived in the University of Maryland Library.

The Legacy of Oboist and Master Teacher, Robert Bloom

Robert Bloom (1908-1994) was legendary in the education and performance world. Often hailed as one of the last performers of the Golden Era of classical music and a favorite of conductors ranging from Stokowski to Stravinsky to Shaw, Bloom was an orchestral oboist and English hornist, oboe soloist, chamber musician, teacher (Eastman, Yale, Hartt, Manhattan School of Music, Juilliard and Philadelphia's University of the Arts), composer, conductor, editor of masterworks of the 18th century, and, as a founding member of the Bach Aria group, a seminal influence in the post-WWII revival of Baroque music in America. In The Robert Bloom Collection and the Art of Robert Bloom CD and video archives, we see what his musical ideals were in 1)18th-century performance practices, 2) writing new music for the instrument and commissioning new works, and 3) and transcribing music for the oboe and English horn. As an oboist, I believe it is important that Bloom's teachings, historical performance practices and ideas for expanding repertoire are propagated. Therefore, the works chosen for this dissertation illustrated this legacy. My recitals included 1) some of Bloom's published 18th-century baroque elaborations (his term for ornamentation), as well Baroque works which I have elaborated, 2) works written by him and by other oboists/composers (Labate, Roseman) as well as a flute/oboe duo that I commissioned by Dr. Marcus Maroney and 3) transcriptions by both Bloom and myself (Bach, Donizetti, Mendelssohn, Mozart, Handel, Schumann and Telemann). In these three dissertation recitals, I hope to have illustrated some of Robert Bloom's lasting contributions and impact on the oboe world, and to have demonstrated the potential for carrying forward this legacy by studying his teaching and emulating his example.

Ledroit Park, A Portrait In Black And White: A Study Of Historic Districts, Social Change, And The Process Of Neighborhood Placemaking

This research examines the process of placemaking in LeDroit Park, a residential Washington, DC, neighborhood with a historic district at its core. Unpacking the entwined physical and social evolution of the small community within the context of the Nation’s Capital, this analysis provides insight into the role of urban design and development as well as historic designation on shaping collective identity. Initially planned and designed in 1873 as a gated suburb just beyond the formal L’Enfant-designed city boundary, LeDroit Park was intended as a retreat for middle and upper-class European Americans from the growing density and social diversity of the city. With a mixture of large romantic revival mansions and smaller frame cottages set on grassy plots evocative of an idealized rural village, the physical design was intentionally inwardly-focused. This feeling of refuge was underscored with a physical fence that surrounded the development, intended to prevent African Americans from nearby Howard University and the surrounding neighborhood, from using the community’s private streets to access the City of Washington. Within two decades of its founding, LeDroit Park was incorporated into the District of Columbia, the surrounding fence was demolished, and the neighborhood was racially integrated. Due to increasingly stringent segregation laws and customs in the city, this period of integration lasted less than twenty years, and LeDroit Park developed into an elite African American enclave, using the urban design as a bulwark against the indignities of a segregated city. Throughout the 20th century housing infill and construction increased density, yet the neighborhood never lost the feeling of security derived from the neighborhood plan. Highlighting the architecture and street design, neighbors successfully received historic district designation in 1974 in order to halt campus expansion. After a stalemate that lasted two decades, the neighborhood began another period of transformation, both racial and socio-economic, catalyzed by a multi-pronged investment program led by Howard University. Through interviews with long-term and new community members, this investigation asserts that the 140-year development history, including recent physical interventions, is integral to placemaking, shaping the material character as well as the social identity of residents.

A VOICE OF THEIR OWN: MUSIC AND SOCIAL COHESION IN TURKISH ALEVI LIFE

This dissertation examines the role that music has played in the expression of identity and revitalization of culture of the Alevis in Turkey, since the start of their sociocultural revival movement in the late 1980s. Music is central to Alevi claims of ethnic and religious difference—singing and playing the bağlama (Turkish folk lute) constitutes an expressive practice in worship and everyday life. Based on research conducted from 2012 to 2014, I investigate and present Alevi music through the lens of discourses on the construction of identity as a social and musical process. Alevi musicians perform a revived repertoire of the ritual music and folk songs of Anatolian bards and dervish-lodge poets that developed over several centuries. Contemporary media and performance contexts have blurred former distinctions between sacred and secular, yet have provided new avenues to build community in an urban setting. I compare music performances in the worship services of urban and small-town areas, and other community events such as devotional meetings, concerts, clubs, and broadcast and social media to illustrate the ways that participation—both performing and listening—reinforces identity and solidarity. I also examine the influence of these different contexts on performers’ musical choices, and the power of music to evoke a range of responses and emotional feelings in the participants. Through my investigation I argue that the Alevi music repertoire is not only a cultural practice but also a symbol of power and collective action in their struggle for human rights and self-determination. As Alevis have faced a redefined Turkish nationalism that incorporates Sunni Muslim piety, this music has gained even greater potency in their resistance to misrecognition as a folkloric, rather than a living, tradition.