BAROQUE MUSIC FOR TRUMPET: A STUDY OF SOLO AND CHAMBER REPERTOIRE

The trumpet experienced important changes in terms of its musical use during the middle and late Baroque period. Prior to the Baroque, and even in to the first half of the 17th century, the trumpet had historically been used for rather "non-musical" purposes, sometimes as an instrument for battle or as a tool to be used in the town square to announce the arrival of a dignitary. On the whole, the trumpet was most certainly not used as an instrument of melody -that was typically reserved for violins, flutes, and oboes. However, in the late 1600's, composers such as Allesandro Stradella and Henry Purcell began to treat the trumpet differently. They saw the melodic potential in the trumpet and began to feature the trumpet more as an instrument of melody, as opposed to relegating it to only outlining triads and emphasizing harmony. Of course, keyboard, string, and woodwind instruments had long established a significant catalogue of works by the late 17th century. Additionally, even after the trumpet had been established as an instrument of melody, prominent composers of the time still wrote significantly more solo music for these other instrument families than for the trumpet. Consequently, the overall Baroque repertoire for the solo trumpet pales in comparison to that of the other families of instruments. But, much of this Baroque literature not originally written for trumpet can be presented effectively in the form of a transcription, thereby adding greatly to the repertoire of the Baroque solo trumpet. The goal of these three dissertation recitals is twofold: 1) to perform literature that offers music from a variety of countries of origin that span the entire Baroque era and 2) to feature music that has remained relatively unknown in the trumpet world, yet is musically strong. I will also introduce viable "new" music to the trumpet repertoire through Baroque transcriptions originally written for other instruments or voice. The majority of the transcriptions I will be performing have originated from my own listening and study of Baroque music, and I have selected music that I felt would translate well for the trumpet.

VIRTUOSIC ELEMENTS IN THE COLLABORATIVE PIANIST’S REPERTOIRE: SELECTED SOLO, VOCAL, AND CHAMBER WORKS OF RACHMANINOFF AND RAVEL

This dissertation project explores some of the technical and musical challenges that face pianists in a collaborative role—specifically, those challenges that may be considered virtuosic in nature. The material was chosen from the works of Rachmaninoff and Ravel because of the technically and musically demanding yet idiomatic piano writing. This virtuosic piano writing also extends into the collaborative repertoire. The pieces were also chosen to demonstrate these virtuosic elements in a wide variety of settings. Solo piano pieces were chosen to provide a point of departure, and the programmed works ranged from vocal to two-piano, to sonatas and a piano trio. The recitals were arranged to demonstrate as much contrast as possible, while being grouped by composer. The first recital was performed on April 24, 2009. This recital featured five songs of Rachmaninoff, as well as three solo piano preludes and his Suite No. 2 for two pianos. The second recital occurred on November 16, 2010. This recital featured the music of both Rachmaninoff and Ravel, as well as a short lecture introducing the solo work “Ondine” from Gaspard de la nuit by Ravel. Following the lecture were the Cinq mélodies populaires grecques and the program closed with the substantial Rachmaninoff Sonata for Cello and Piano. The final program was given on October 10, 2011. This recital featured the music of Ravel, and it included his Sonata for Violin and Piano, the Debussy Nocturnes transcribed for two pianos by Ravel, and the Piano Trio. The inclusion of a transcription of a work by another composer highlights Ravel’s particular style of writing for the piano. All of these recitals were performed at the Gildenhorn Recital Hall in the Clarice Smith Performing Arts Center at the University of Maryland. The recitals are recorded on compact discs, which can be found in the Digital Repository at the University of Maryland (DRUM).

IMPROVISATION AND THE CONCERT SAXOPHONIST: A SURVEY OF COMPOSITIONAL AND PERFORMANCE TECHNIQUES

Much of the contemporary concert (i.e. “classical”) saxophone literature has connections to compositional styles found in other genres like jazz, rock, or pop. Although improvisation exists as a dominant compositional device in jazz, improvisation as a performance technique is not confined to a single genre. This study looks at twelve concert saxophone pieces that are grouped into three primary categories of compositional techniques: 1) those containing unmeasured phrases, 2) those containing limited relation to improvisation but a close relationship to jazz styles, and 3) those containing jazz improvisation. In concert saxophone music, specific crossover pieces use the compositional technique of jazz improvisation. Four examples of such jazz works were composed by Dexter Morrill, Phil Woods, Bill Dobbins, and Ramon Ricker, all of which provide a foundation for this study. In addition, pieces containing varying degrees of unmeasured phrases are highlighted. As this dissertation project is based in performance, the twelve pieces were divided into three recitals that summarize a pedagogical sequence. Any concert saxophonist interested in developing jazz improvisational skills can use the pieces in this study as a method to progress toward the performance of pieces that merge jazz improvisation with the concert format. The three compositional techniques examined here will provide the performer with the necessary material to develop this individualized approach to improvisation. Specific compositional and performance techniques vary depending on the stylistic content: this study examines improvisation in the context of concert saxophone repertoire.

OPERA IN AMERICA: MUSIC OF, BY, AND FOR THE PEOPLE­: A PERFORMANCE DISSERTATION

Opera in America: Music of, by, and for the people is a study of the relationship between American popular culture and opera in the United States. Four performance projects demonstrate the on-going exchange between the operatic community-including its composer, singers, and patrons-and the country's popular entertainment industry with its broad audience base. Numerous examples of artistic cross pollination between lowbrow and highbrow music will illustrate the artistic and social consequences created by this artistic amalgamation. Program #1, By George! By Ira! By Gershwin!, is a retrospective of Gershwin's vocal music representing a blending of popular and serious music in both style and form. The concert includes selections from Porgy and Bess, a work considered by many musicologists as the first American opera. Program #2, Shadowboxer, is a premiere performance of an opera by Frank Proto and John Chenault. For this newly commissioned work, I serve as Assistant Director to Leon Major. Shadowboxer provides a clear example of opera utilizing popular culture both musically and dramatically to tell the true story of American hero and legendary boxer, Joe Louis. Program #3, Just a Song at Twilight, is an original theatrical music piece featuring music, letters, diaries, and journals of the Gilded Age, an era when opera was synonymous with popular entertainment. Special attention is focused on tum-of­ the-century singers who performed in both opera and vaudeville. Program #4 is a presentation of Dominick Argento's Miss Manners on Music and illustrates the strong relationship that can exist between opera and American popular entertainment. Originally conceived as a song cycle, I have staged the work as a one-act opera sung and acted by soprano Carmen Balthrop. This piece is based on the writings of pop icon and newspaper columnist Judith Martin, otherwise known as Miss Manners. All four performances are recorded in audio and video formats.

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.

The influence of salinity and sea star wasting syndrome on sea star species composition and distribution in Nootka Sound, British Columbia

Senior thesis written for Oceanography 445

Muslims in Public and Media Discourse in Western Europe: The Reproduction of Aporia and Exclusion

This chapter scrutinizes the dominant public discourse in Western Europe. Drawing on examples from the UK, Germany, and France but also from the Netherlands, Denmark and Spain it illustrates the gradual transformation of discourse from an “exotic Islam” to a “threatening Islam” that endangers European values and safety and suggests that the combination of this “securitization” of Islam and the monopoly of the “Muslim voice” by radical Muslim activists leads to a vicious circle of misrecognition and enhancing the aporia of Europe's Muslims.

Principles and proceedings of the inhabitants of the District of Niagara for addressing His Royal Highness the Prince Regent, respecting claims of sufferers in war, lands to militiamen and the general benefit of Upper Canada. --

Cover title.

Principles and proceedings of the inhabitants of the District of Niagara for addressing His Royal Highness the Prince Regent, respecting claims of sufferers in war, lands to militiamen and the general benefit of Upper Canada

Printed at the Niagara Spectator Office

A qualitative study of curriculum and instructional efforts in relation to high stakes federal and district policies in one low-performing elementary school

Les enjeux liés aux politiques éducatives ont considérablement changé au cours des dernières décennies. Ces changements sont liés, entre autres, à l’accroissement de l’imputabilité et de la reddition de compte qui est devenue une caractéristique importante des réformes curriculaires et pédagogiques. Les politiques à enjeux élevés exercent une pression énorme sur les districts et les écoles états-unienne afin qu’ils augmentent le rendement des élèves en utilisant des systèmes de conséquences (Hall & Ryan, 2011; Loeb & Strunk, 2007). Ces politiques envoient de puissants messages sur l'importance de certaines matières scolaires au détriment d'autres - circonscrivant les exigences en termes de compétences et de connaissances. La langue maternelle d’enseignement et les mathématiques sont devenues des mesures centrales sur lesquelles reposent l’évaluation et le degré de performance des districts et des écoles. Conséquemment, les administrateurs de districts et les directions d’écoles ont souvent recours à des réformes curriculaires et pédagogiques comme moyen d'augmenter le rendement des élèves dans les matières scolaires visées par ces politiques. Les politiques contraignent les acteurs scolaires de concentrer les ressources sur les programmes curriculaires et les évaluations, le développement professionnel, et la prise de décision pilotée par les données (Anagnostopoulos & Ruthledge, 2007; Honig & Hatch, 2004; Spillane, Diamond, et al., 2002; Weitz White & Rosenbaum, 2008). Cette thèse examine la manière dont les politiques à enjeux élevés opèrent quotidiennement dans les interactions et les pratiques au sein des écoles. Nous analysons plus particulièrement les différents messages provenant de la politique transmis aux acteurs scolaires sur les manières d'apporter des changements substantiels dans le curriculum et l'enseignement. Nous élargissons l’analyse en prenant en compte le rôle des administrateurs de district ainsi que des partenaires universitaires qui façonnent également la manière dont certains aspects des messages provenant des politiques sont transmis, négociés et/ou débattus et d’autres sont ignorés (Coburn & Woulfin, 2012). En utilisant l’analyse de discours, nous examinons le rôle du langage comme constituant et médiateur des interactions sociales entre les acteurs scolaires et d’autres parties prenantes. De telles analyses impliquent une investigation approfondie d’un nombre d’étude de cas limité. Les données utilisées dans cette thèse ont été colligées dans une école primaire états-unienne du mid-West. Cette étude de cas fait partie d’une étude longitudinale de quatre ans qui comprenait huit écoles dans les milieux urbains entre 1999 et 2003 (Distributed Leadership Studies, http://www.distributedleadership.org). La base de données analysée inclut des observations de réunions formelles et des entrevues auprès des administrateurs du district, des partenaires universitaires, de la direction d’école et des enseignants. En plus de l’introduction et de la problématique (chapitre 1) et de discussion et conclusion (chapitre 5), cette thèse comprend un ensemble de trois articles interdépendants. Dans le premier article (chapitre 2), nous effectuons une recension des écrits portant sur le domaine de l’implantation de politiques (policy implementation) et la complexité des relations locales, nationales et internationales dans les systèmes éducatifs. Pour démystifier cette complexité, nous portons une attention particulière à la construction de sens des acteurs scolaires comme étant une dimension clé du processus de mise en œuvre des réformes. Dans le deuxième article (chapitre 3), nous cherchons à comprendre les processus sociaux qui façonnent les réponses stratégiques des acteurs scolaires à l’égard des politiques du district et de l’état et en lien avec la mise en œuvre d’un curriculum prescrit en mathématiques. Plus particulièrement, nous explorons les différentes situations dans lesquelles les acteurs scolaires argumentent au sujet des changements curriculaires et pédagogiques proposés par les administrateurs de district et des partenaires universitaires afin d’augmenter les résultats scolaires en mathématiques dans une école à faible performance. Dans le troisième article (chapitre 4), nous cherchons à démystifier les complexités liées à l’amélioration de l’enseignement dans un environnement de politiques à enjeux élevés. Pour ce faire, nous utilisons l'interaction entre les notions d'agentivité et la structure afin d'analyser la manière dont les conceptions d’imputabilité et les idées qui découlent de l'environnement politique et les activités quotidiennes jouent dans les interactions entre les acteurs scolaires concernant sur l’enseignement de la langue maternelle. Nous explorons trois objectifs spécifiques : 1) la manière dont les politiques à enjeux élevés façonnent les éléments de l’enseignement qui sont reproduits et ceux qui sont transformés au fil du temps ; 2) la manière dont la compréhension des leaders de l’imputabilité façonne les aspects des messages politiques que les acteurs scolaires remarquent à travers les interactions et les conversations et 3) la manière les acteurs scolaires portent une attention particulière à certaines messages au détriment d’autres. Dans le dernier chapitre de cette thèse, nous discutons les forces et les limites de l’analyse secondaire de données qualitatives, les implications des résultats pour le domaine d’études de l’implantation de politiques et les pistes futures de recherches.