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).

Contrasts: Quartets and Art Songs of the Nineteenth Century

The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Beethoven's Violinists: The Influence of Clement, Viotti, and the French School on Beethoven's Violin Compositions

Over the course of his career, Ludwig van Beethoven (1770–1827) admired and befriended many violin virtuosos. In addition to being renowned performers, many of these virtuosos were prolific composers in their own right. Through their own compositions, interpretive style and new technical contributions, they inspired some of Beethoven’s most beloved violin works. This dissertation places a selection of Beethoven’s violin compositions in historical and stylistic context through an examination of related compositions by Giovanni Battista Viotti (1755–1824), Pierre Rode (1774–1830) and Franz Clement (1780–1842). The works of these violin virtuosos have been presented along with those of Beethoven in a three-part recital series designed to reveal the compositional, technical and artistic influences of each virtuoso. Viotti’s Violin Concerto No. 2 in E major and Rode’s Violin Concerto No. 10 in B minor serve as examples from the French violin concerto genre, and demonstrate compositional and stylistic idioms that affected Beethoven’s own compositions. Through their official dedications, Beethoven’s last two violin sonatas, the Op. 47, or Kreutzer, in A major, dedicated to Rodolphe Kreutzer, and Op. 96 in G major, dedicated to Pierre Rode, show the composer’s reverence for these great artistic personalities. Beethoven originally dedicated his Violin Concerto in D major, Op. 61, to Franz Clement. This work displays striking similarities to Clement’s own Violin Concerto in D major, which suggests that the two men had a close working relationship and great respect for one another. The first recital was performed in Ulrich Recital Hall; the second and third recitals were performed in Gildenhorn Recital Hall at the University of Maryland. All three performances were collaborations with pianist, Hsiang-Ling Hsiao. A Recording of the first program can be found in the Digital Repository at the University of Maryland (DRUM). Recordings of the second and third recitals can be accessed at the University of Maryland Hornbake Library.

Description of a new Tetranychus (Acarina, Prostigmata : Tetranychidae) pest of Musa from French Guiana

A new species of tetranychid mite, genus Tetranychus Dufour, 1832, is described and illustrated herein from neotropical area. Tetranychus musae sp. nov. (Acari, Prostigmata: Tetranychidae) differs from other species in the genus by the combination between the arrangement of leg setae on females tarsus I and the shape of the aedeagus. Tarsus I bears one tactile setae proximal to proximal duplex setae and three tactiles in line or almost in line with proximal duplex setae. The aedeagus knob consists of an acute posterior projection bent ventrally and a larger anterior rounded projection directed anterodorsally. T. musae specimens were collected in French Guiana where they appeared to be a pest of Musa sp. A key to adults of neotropical species of the genus Tetranychus feeding on banana is provided.

Modal functions of future tenses in French

The paper disputes two influential claims in the Romance Linguistics literature. The first is that the synthetic future tenses in spoken Western Romance are now rivalled, if not supplanted, as temporal functors by the more recently developed GO futures. The second is that these synthetic futures now have modal rather than temporal meanings in spoken Romance. These claims are seen as reflecting a universal cycle of diachronic change, in which verb forms originally expressing modal (or aspectual) values take on future temporal reference, becoming tenses. The new modal meanings supplant the temporal, which are then taken up by new forms. Challenges to this theory for French are raised on the basis of empirical evidence of two sorts. Positively, future tenses in spoken Romance continue to be used with temporal meaning. Negatively, evidence of modal meaning for these forms is lacking. The evidence comes froma corpora of spoken French, native speaker judgements and verb data from a daily broadsheet. Cumulatively, it points to the reverse of the claims noted above: the synthetic future in spoken French has temporal but little modal meaning.

Patterns of species diversity in the gastrointestinal helminths of a coral reef fish, Epinephelus merra (Serranidae), from French Polynesia and the south Pacific Ocean

Large-scale patterns of species diversity in the gastrointestinal helminth faunas of the coral reef fish Epinephelus merra (Serranidae) were investigated in French Polynesia and the South Pacific Ocean. The richer barrier reef community in French Polynesia supported richer parasite communities in E. merra than that on the fringing reef. While parasite communities among fish from the same archipelago were similar, differences in potential host species and the distance between archipelagos may have contributed to a qualitative difference in parasite communities between archipelagos. Digenean community diversity in coral reef fishes was greater in the western South Pacific, following similar patterns in free-living species. However, overall species diversity of camallanid nematodes of coral reef fishes does not appear to have been similarly affected.

Rationalization, Kunstwollen and technical means of expressivity. The example of the romantic piano

This article seeks to retrace some of the empirical, historical and sociological elements of Max Weber Sociology of music. Even if he is first and foremost interested in the process of rationalisation throughout western civilisation, his Sociology of music is founded on the idea of the technical medium, which he explores in several different directions. This idea will be examined here by means of several examples drawn from western music, particularly from the romantic piano repertoire.

A Century of Change in Coral Reef Status in Southeast and Central Pacific: Polynesia Mana Node, Cook Islands, French Polynesia, Kiribati, Niue, Tokelau, Tonga, Wallis and Futuna

The Polynesia Mana Node of the southeast and central Pacific contains 7 independent or autonomous countries or territories with only 6,000 km2 of land on 347 islands, but surrounded by 12 million km2 of EEZ. These seas contain 13,000 km2 of coral reefs as the main natural ecosystem providing food resources and opportunities for development, especially for tourism and pearl culture for 500,000 inhabitants. During the 19th and first half of the 20th centuries, there was major exploitation by the colonial powers of mother-of-pearl oysters for the button industry, as well as guano, sandalwood and trepang. The Polynesian people were largely involved in a subsistence economy and all coral reefs and lagoons were healthy. During the last two decades of the 20th, all countries experienced rapid development and urbanization, rising populations, and some increased agriculture. These developments were limited to a few islands of each country (i.e. 15 islands amongst the 347) with resulting degradation of the coral reefs around these sites. The other islands remained mostly uninhabited and pristine, and continued with a subsistence economy. Generally, there was more damage to the coral reefs through natural events such as cyclones and coral bleaching, than by human activities. There is however, an urgent need to combat the threats on some islands from increased sedimentation, over-fishing, dredging and nutrient pollution.