USE OF VARIATION AND FUGUE IN PIANO MUSIC FOLLOWING THE CLASSICAL PERIOD

The variation and fugue originated from the 15th and 16th centuries and blossomed during the Baroque and Classical Periods. In a variation, a theme with a particular structure precedes a series of pieces that usually have the same or very similar structure. A fugue is a work written in imitative counterpoint in which the theme is stated successively in all voices of polyphonic texture. Beethoven’s use of variation and fugue in large scale works greatly influenced his contemporaries. After the Classical Period, variations continued to be popular, and numerous composers employed the technique in various musical genres. Fugues had pedagogical associations, and by the middle of 19th century became a requirement in conservatory instruction, modeled after Bach’s Well-Tempered Clavier. In the 20th century, the fugue was revived in the spirit of neoclassicism; it was incorporated in sonatas, and sets of preludes and fugues were composed. Schubert's Wanderer Fantasy presents his song Der Wanderer through thematic transformations, including a fugue and a set of variations. Liszt was highly influenced by this, as shown in his thematic transformations and the fugue as one of the transformations in his Sonata in b. In Schumann’s Symphonic Études, Rachmaninoff's Rhapsody on a Theme of Paganini and Copland’s Piano Variations, the variation serves as the basis for the entire work. Prokofiev and Schubert take a different approach in Piano Concerto No. 3 and Wanderer Fantasy, employing the variation in a single movement. Unlike Schubert and Liszt's use of the fugue as a part of the piece or movement, Franck’s Prelude Chorale et Fugue and Shchedrin’s Polyphonic Notebook use it in its independent form. Since the Classical Period, the variation and fugue have evolved from stylistic and technical influences of earlier composers. It is interesting and remarkable to observe the unique effects each had on a particular work. As true and dependable classic forms, they remain popular by offering the composer an organizational framework for musical imagination.

Perceptions of New Principal Mentoring Programs in a Large Urban School District

The principalship has changed significantly over the past 20 years. Today’s principals must be effective instructional leaders, managers of large facilities, and experts at analyzing data to successfully meet the accountability demands of high-stakes testing, along with state, and federal mandates. The primary purpose of this quantitative study was to examine how 43 first- and second-year sitting school principals perceived their mentoring experiences and the degree to which a principal mentoring program—offered by their large urban school district—was effective in building their leadership capacity. A second purpose of this inquiry was to understand these principals’ perceptions of the most beneficial aspects of the mentoring program. The study used quantitative data gathered via an online questionnaire distributed during Fall 2015. The results indicated that respondents perceived that the components of the large urban school-mentoring program were generally effective in training principal mentees to become highly-effective school leaders. This study enriches the literature on mentoring by providing the voices of first and second year school leaders to add depth to the characteristics of successful mentoring programs.

OVERCOMING INTERCULTURAL CHALLENGES IN INTERPRETING: A CASE STUDY ON CHINESE-ENGLISH CONFERENCE INTERPRETING

This exploratory case study examines the role of culture in Chinese-English conference interpreting. Given that there has been a lack of empirical research in understanding the role of culture in conference interpreting through the lens of intercultural communication frameworks, we know relatively little about conference interpreters’ experiences with intercultural communication challenges. This project helps address this research gap by investigating the types of intercultural communication challenges that Chinese-English conference interpreters experience and their strategies in managing those challenges. This study hears the voices of both professionals and postgraduate interpreting students. A total number of 27 participants were recruited for this research. Twenty professional conference interpreter were interviewed and seven interpreting students were organized for a focus group discussion. Grounded theory was used to analyze the participants’ observations and strategies in managing intercultural communication challenges when doing Chinese-English conference interpreting. The data analysis process led to the emergence of two procedural guidelines and one process – Interpreters’ Intercultural Mediation Process. The two procedural guidelines offer guidance for the interpreters to provide the most appropriate and effective service: meet with the clients beforehand and be prepared to offer intercultural insights when consulted. Interpreters are found to follow the Interpreters’ Intercultural Mediation Process to decide when and how to mediate intercultural communication challenges at work. This Process includes four criteria, seven intercultural challenges, and seven coping strategies. This study offers theoretical and applied contributions to our understanding of the role of culture in interpreting. By jointly applying frameworks from intercultural communication and interpreting studies to examine the conference interpreting process, this case study makes great efforts to connect the field of intercultural communication with the field of interpreting studies. This study identifies the types of intercultural differences that would lead to challenges in Chinese-English conference interpreting. It also contributes to the call for a cultural turn in interpreting studies. By learning the two procedural guidelines, conference interpreters can be better prepared for their work. By following the Interpreters’ Intercultural Mediation Process, conference interpreters can better anticipate and manage the intercultural challenges at work. This study also offers guidance on tailoring intercultural communication courses for postgraduate interpreting training programs.

Ready for Transition: Factors that facilitate transfer to undergraduate engineering programs among Black African and American students

This study examines the factors facilitating the transfer admission of students broadly classified as Black from a single community college into a selective engineering college. The work aims to further research on STEM preparation and performance for students of color, as well as scholarship on increasing access to four-year institutions from two-year schools. Factors illuminating Underrepresented Racial and Ethnic Minority (URM) student pathways through Science, Technology, Engineering, and Mathematics (STEM) degree programs have often been examined through large-scale quantitative studies. However, this qualitative study complements quantitative data through demographic questionnaires, as well as semi-structured individual and group. The backgrounds and voices of diverse Black transfer students in four-year engineering degree programs were captured through these methods. Major findings from this research include evidence that community college faculty, peer networks, and family members facilitated transfer. Other results distinguish Black African from Black American transfers; included in these distinctions are depictions of different K-12 schooling experiences and differences in how participants self-identified. The findings that result from this research build upon the few studies that account for expanded dimensions of student diversity within the Black population. Among other demographic data, participants’ countries of birth and years of migration to the U.S. (if applicable) are included. Interviews reveal participants’ perceptions of factors impacting their educational trajectories in STEM and subsequent ability to transfer into a competitive undergraduate engineering program. This study is inclusive of, and reveals an important shifting demographic within the United States of America, Black Africans, who represent one of the fastest-growing segments of the immigrant population.

LISA SERGIO: HOW MUSSOLINI'S "GOLDEN VOICE" OF PROPAGANDA CREATED AN AMERICAN MASS COMMUNICATION CAREER

In 1937 Lisa Sergio, "The Golden Voice" of fascist broadcasting from Rome, fled Italy for the United States. Though her mother was American, Sergio was classified as an enemy alien once the United States entered World War II. Yet Sergio became a U.S. citizen in 1944 and built a successful career in radio, working first at NBC and then WQXR in New York City in the days when women's voices were not thought to be appropriate for news or "serious" programming. When she was blacklisted as a communist in the early 1950s, Sergio compensated for the loss of radio employment by becoming principally an author and lecturer in Washington, D.C., until her death in 1989. This dissertation, based on her personal papers, is the first study of Sergio's American mass communication career. It points out the personal, political and social obstacles she faced as a woman in her 52-year career as a commentator on varied aspects of world affairs, religion and feminism. This study includes an examination of the FBI investigations of Sergio and the anti-communist campaigns conducted against her. It concludes that Sergio's success as a public communicator was predicated on both her unusual talents and her ability to transform her public image to reflect ideal American values of womanhood in shifting political climates.

TRANSCENDING FACH: A SEARCH FOR IDENTITY INSIDE AND OUT OF MEZZO-SOPRANO REPERTOIRE

The German Fach system is a tool to classify voices in classical singing. This dissertation comprises three different programs that reflect my search for identity as a mezzo-soprano and my desire to transcend the limitations of Fach. The three programs, all presented at The Clarice Performing Arts Center, contain repertoire written for male and female voices thus allowing me to explore areas outside of the mezzo-soprano Fach, gain a better understanding of the Fach system and guide me as I strive to become a more mature performer. In my first program, I sang the role of Sesto, a role that was composed originally for a castrate, in the opera La Clemenza di Tito by W.A. Mozart. The Maryland Opera Studio production took place April 30, May 2,4&6,2003. Performing this gender-bending role provided an experience of physical behavior from the male view point along with the demands of coloratura singing. Program two (November 30,2004) contained the song cycle Dichterliebe by Robert Schumann and songs by Ludwig van Beethoven, Franz Schubert and Felix Mendelssohn, which are usually sung by male voices. This program experimented with extended range, tessitura and a gender-bending performance in the art song arena. 8 In program three (April 21 &23,2005), I sang the contralto role of Cornelia from Giulio Cesare in Egitto by George Frederic Handel. The role of Cornelia is psychologically complex, expressing emotions such as love, melancholy, rage, malice, joy and fear. To convey these emotions a voice needs warmth and darkness of quality. Although the range is close to that of the mezzo-soprano, Handel wrote Cornelia for contralto voice because he wanted a dark timbre and this role allowed me to develop my lower register and manage suitable ornamentations. The programs are documented in a digital format available on compact disc and are accompanied by the oral presentation at the defense of this dissertation.

Three Voices in the Wilderness: Foote, Bloch, and Korngold in the Early Twentieth-Century America

Barbara Hanning points out in her book Concise History of Western Music, that "Twentieth-century American music was in large measure an extension of European music" (Hanning 1998, 515). My dissertation/perforrnance project features cello works written by three contemporary composers who lived in America but were connected to the European heritage in different ways; each contributed significantly to the development of American classical concert life, music education, and even popular culture. Programs of my performances are intended to illustrate their unique compositional styles. The first recital consists of five cello compositions of Massachusetts-born Arthur Foote (1853 - 1937): Drei Stucke fur Pianoforte und Violoncello, Op. 1; Scherzo, Op.22; Romanza, Op.33; Aubade, Op.77; and Sonata for Violoncello and Piano, Op.78. Foote was influenced by the German-trained John Knowles Paine at Harvard University; he composed music famous for its extensive chromaticism in both harmony and melodic line, and for clearly-defined formal structure. The second recital explores the music of Swiss-American composer Ernest Bloch (1880-1959): a short Meditation Hebraique, a Suite No. I for Violoncello Solo and the famous rhapsody Schelomo. Born in Geneva, Switzerland, and settling in the United States in 1916, Bloch is a composer deeply influenced by the European late-Romantic tradition and is also well-known for employing "Hebraic" elements into his works. The final performance comprises two other of Bloch's cello works and one cello concerto by the Austrian-American composer, Erich Wolfgang Korngold (1897- 1957). Bloch's Voice in the Wilderness is a symphonic poem for orchestra and cello (accompanied by piano in this performance), consisting of six movements performed without pause. His Suite No.3 for Cello Solo is shorter and has a simpler style than the first Suite. Korngold was recognized as a child prodigy in his native Austria. After a Nazi-induced exile, he immigrated to America and became a film music composer in Hollywood. The Cello Concerto was used in the movie "Deception" (1 946), for which Korngold provided the film score. The impassioned harmonic language and lavish melodic lines inherited from the high-romanticism make this work one of comparative discordant beauty among other compositions of his time.

All This the World Well Knows: a symphonic cantata in Sonnets and Proverbs for mixed chorus, four solo voices, and orchestra

All This the World Well Knows is a 30-minute symphonic cantata for mixed chorus, four solo voices (soprano, mezzo-soprano, tenor, and baritone), and orchestra. The libretto, adapted by the composer, weaves together texts from Shakespeare's Dark Lady sonnets and from the King James Bible's book of Proverbs in a loose narrative of love, betrayal, and reconciliation. The composition's pitch material includes microtonality that arises from the just intonation of sonorities derived from the harmonic series. In passages in which the solo voices express this microtonality, they are amplified in order to allow precise, non vibrato intonation. The modest size of the orchestra, which includes pairs of winds and only two percussionists, makes the composition practical for a wide range of performing groups.