"Double Rainbow," "Appalachiana," and "'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke's Second Symphony"

This dissertation consists of three distinct components: (1) “Double Rainbow,” a notated composition for an acoustic ensemble of 10 instruments, ca. 36 minutes. (2) “Appalachiana”, a fixed-media composition for electro-acoustic music and video, ca. 30 minutes, and (3) “'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke’s Second Symphony”, an analytical article.

(1) Double Rainbow is a ca. 36 minute composition in four movements scored for 10 instruments: flute, Bb clarinet (doubling on bass clarinet), tenor saxophone (doubling on alto saxophone), french horn, percussion (glockenspiel, vibraphone, wood block, 3 toms, snare drum, bass drum, suspended cymbal), piano, violin, viola, cello, and double bass. Each of the four movements of the piece explore their own distinct character and set of compositional goals. The piece is presented as a musical score and as a recording, which was extensively treated in post-production.

(2) Appalachiana, is a ca. 30 minute fixed-media composition for music and video. The musical component was created as a vehicle to showcase several approaches to electro-acoustic music composition –fft re-synthesis for time manipulation effects, the use of a custom-built software instrument which implements generative approaches to creating rhythm and pitch patterns, using a recording of rain to create rhythmic triggers for software instruments, and recording additional components with acoustic instruments. The video component transforms footage of natural landscapes filmed at several locations in North Carolina, Virginia, and West Virginia into a surreal narrative using a variety of color, lighting, distortion, and time-manipulation video effects.

(3) “‘The Invisible Mass:’ Exploring Compositional Technique in Alfred Schnittke’s Second Symphony” is an analytical article that focuses on Alfred Schnittke’s compositional technique as evidenced in the construction of his Second Symphony and discussed by the composer in a number of previously untranslated articles and interviews. Though this symphony is pivotal in the composer’s oeuvre, there are currently no scholarly articles that offer in-depth analyses of the piece. The article combines analyses of the harmony, form, and orchestration in the Second Symphony with relevant quotations from the composer, some from published and translated sources and others newly translated by the author from research at the Russian State Library in St. Petersburg. These offer a perspective on how Schnittke’s compositional technique combines systematic geometric design with keen musical intuition.

(Table 2) Age determination of harp seals (Pagophilus groenlandicus) from the Barents Sea - comparison of methods

Lower jaws (containing the teeth), eyes, and skin samples were collected from harp seals (Pagophilus groenlandicus) in the southeastern Barents Sea for the purpose of comparing age estimates obtained by 3 different methods, the traditional technique of counting growth layer groups (GLGs) in teeth and 2 novel approaches, aspartic acid racemization (AAR) in eye lens nuclei and telomere sequence analyses as a proxy for telomere length. A significant correlation between age estimates obtained using GLGs and AAR was found, whereas no correlation was found between GLGs and telomere length. An AAR rate (k Asp) of 0.00130/year ± 0.00005 SE and a D-enantiomer to L-enantiomer ratio at birth (D/L 0 value) of 0.01933 ± 0.00048 SE were estimated by regression of D/L ratios against GLG ages from 25 animals (12 selected teeth that had high readability and 13 known-aged animals). AAR could prove to be useful, particularly for ageing older animals in species such as harp seals where difficulties in counting GLGs tend to increase with age. Age estimation by telomere length did not show any correlation with GLG ages and is not recommended for harp seals.

Der sterbende Jesus in einer Cantata : à basso solo con 2 hautbois, 2 violini, 1 viola, violoncello et organo

di Telemann

Formless being for flute, clarinet, bassoon, french horn, percussion, piano and string quartet

Thesis (D.M.A.)--University of Washington, 2016-06

Introdução à música contemporânea portuguesa de viola d’arco : um estudo de caso

Esta dissertação baseia-se no estudo da introdução da música contemporânea portuguesa de viola d’arco num grupo de alunos de viola d’arco da Casa Pia de Lisboa, através de composições encomendadas a nove compositores portugueses. Incide também na análise das atitudes em relação à música contemporânea portuguesa por parte de professores de viola d’arco portugueses. Procurou-se ampliar o repertório da viola d’arco através da encomenda de obras didáticas, e o repertório expressivo dos alunos envolvidos. Verificou-se que a introdução tardia da música contemporânea no ensino da música e a desatualização dos programas podem condicionar a atitude dos músicos em relação à mesma, sendo importante uma mudança de paradigma. Parecem não existir dificuldades técnicas na abordagem a estas obras por parte dos alunos. Houve também uma aceitação por parte dos professores em introduzir estes conceitos, tendo existido igualmente uma abertura por parte dos compositores contemporâneos envolvidos, em criar obras didáticas para viola d’arco.

NEW PERSPECTIVES: TRANSCRIPTIONS FOR VIOLA

One must only glance upon Franz Zeyringer’s 400-page, exhaustive Literatur für Viola to understand the error of the familiar but casual criticism of the paucity of the viola catalogue. Examining Zeyringer’s resource, however, we find a trend: while the viola repertoire contains many pieces (over 14,000 works) and does lay claim to many masterworks (Bartok’s Viola Concerto, Hindemith’s Sonatas, Mozart’s Sinfonia Concertante, etc.), many of the pieces originally written for the instrument are not widely recognized compositions and not often considered outstanding achievements. The violist, much like the double-bassist, bassoonist, and hornist, faces a certain challenge when selecting repertoire for a recital: a lack of large, important works that both fit the instrument and challenge the recitalist. This project will aim to expand recital repertoire for the viola through the development of new transcriptions, using the previously transcribed Fantasy Pieces by Schumann (trans. Leonard Davis) and Sonata No. 2 in E-flat, Op. 120 by Brahms (trans. Brahms) as an inspiration and guide. As a result, the catalogue of viola repertoire will not only be increased but the difference in tone and depth of the instrument may unveil previously unnoticed perspectives on the works. With a primary aim to expand the literature of the viola through the development of new transcriptions, this project will also strive to offer new, previously unnoticed perspectives on preexisting works. Through the changing of the instrumentation, listeners and performers will have the opportunity to explore the character of the compositions in a fresh and possibly illuminating way. Perhaps this project will encourage previously unexplored transcriptions to be realized and performed. While the recital repertoire for the viola boasts many and great works, the original transcriptions of this project attempt to infuse the collection with new and interesting possibilities for both study and performance. This dissertation project is comprised of three recitals featuring works transcribed for viola and, in most cases, newly transcribed by myself. All events took place on the campus of University of Maryland, College Park: Recital #1 on November 9, 2014 in the Gildenhorn Recital Hall of the Clarice Smith Performing Arts Center; Recital #2 on May 9, 2015, in Ulrich Recital Hall; and Recital #3 on November 6, 2015, in the Gildenhorn Recital Hall. 

The flute in musical life in eighteenth-century Scotland

All history of the flute in Scotland begins with William Tytler’s 1792 assertion that the flute was unknown in Scotland prior to 1725. Other generally accepted beliefs about the flute in Scotland are that it was only played by wealthy male amateurs and had no role in traditional music. Upon examination, all of these beliefs are false. This thesis explores the role of the flute in eighteenth-century Scottish musical life, including players, repertoire, manuscripts, and instruments. Evidence for ladies having played flute is also examined, as are possible connections between flute playing and bagpipe playing. What emerges is a more complete picture of the flute’s role in eighteenth-century Scottish musical life.

The Effects of World War II on Significant Composers of Music for the Flute

World War II was one of the most devastating events in history, and it profoundly affected European culture and art. I examined the period around World War II, and the effects it had on the lives of composers and their flute music. I investigated who wrote for flute during the war, what they were composing, and what effects, if any, the war had on them and their music. After examining the biographies of nine composers and studying eleven of their works, I found that in some cases the war affected their flute music, but in others the music shows no apparent influences of the war. Interestingly, most of the flute music written by composers affected by World War II was happy and joyful rather than dark and dismal. I performed three recitals during my research. I studied nine composers and performed some of their most important works for flute. Recital One is “Sonatas for Flute.” Recital Two is “Virtuosic Flute Music,” and my final recital is “Emotional Overview of Flute Music During World War II.” I discovered that many of these composers had to change their lives in drastic ways due to the war, but most them wrote music that had did not reflect the horror or destruction of war—perhaps music represented an escape from their horrible circumstances, or an effort to recall better times. I also found that a few of these composers used music to mock the Nazi regime. They used music as an emotional outlet, which could have been dangerous for them during that time. Other composers used music to share their own personal experiences while fighting in the war.

VIOLA MUSIC FROM THE AMERICAS: MUSIC FROM CANADA, UNITED STATES, CUBA, VENEZUELA, MEXICO, AND BRAZIL

The enthusiasm towards writing music for the viola that flourished in the early 1900’s thanks to the efforts of a number of twentieth-century violists and composers rapidly spilled over to North and South America. Viola works by American and Canadian composers have already become cornerstones of the viola repertoire worldwide. On the other hand, compositions from other parts of the American continent remain lesser known outside of their country of origin. This is due in part to the less developed publishing and recording industry in these countries which makes it difficult for performers and programmers from other countries to buy or rent performing materials. As a violist born and trained in Venezuela, performing works by important Latin American composers to new audiences is deeply important to me. This dissertation was completed by performing selected works by Canadian, American, Cuban, Mexican, Brazilian, and Venezuelan composers. Composers from these countries have mixed their rich musical traditions with modern compositional techniques, creating original works that have greatly enriched the viola repertoire. This eclectic mixture of styles makes the music from Latin American composers not only very different from that of American and Canadian composers, but also very different from those of their neighboring countries. Through my three dissertation recitals, I intend to share this music with new audiences and inspire other violists to become familiar with this repertoire. The first recital includes compositions by American composers George Rochberg (1918-2015), Elliott Carter (1908-2012), and Alan Shulman (1915-2002) and Canadian composer Elizabeth Raum (b. 1945). The second recital includes works by Cuban composers Cesar Orozco (b. 1980), and Keyla Orozco (b. 1969), Venezuelan composers Aldemaro Romero (1928-2007) and Modesta Bor (1926-1998), and Venezuelan-Uruguayan composer Efrain Oscher (b. 1974). The third recital includes works by Mexican composers Carlos Chavez (1899-1978), José Pablo Moncayo (1912-1958) and Manuel M Ponce (1882-1948), and Brazilian composers Francisco Mignone (1897-1986) and Brenno Blauth (1931-1993). This music represents a bouquet of a distinctive mixture of styles from different parts of the American continent. Recordings of all three recitals can be accessed at the University of Maryland Hornabake Library.

Sobre música portuguesa para viola d’arco no séc. XX: a influência de François Broos (1903-2002) na criação musical em Portugal

A presente dissertação procura explorar a figura que foi François Broos. Contactando alguns antigos colegas e alunos, procurou-se retratar de forma fidedigna o seu percurso pessoal e profissional, e de que forma a sua vinda para Portugal terá alterado o panorama nacional violetístico, tanto a nível educacional, como artístico. Procurou-se abordar, também, as relações pessoais e profissionais que estabeleceu, tanto no Porto como em Lisboa, com figuras de referência da música em Portugal. Assim, fez-se um breve itinerário pela produção musical para viola no século XX e, de igual forma, uma lista das obras de compositores portugueses para viola e piano ou viola e orquestra, de 1900 a 2000, de forma a verificar se, de facto, houve algum crescimento na produção nacional na música para viola desde que François Broos se instalou em Portugal, e indicar quantas dessas obras lhe terão sido dedicadas. Na segunda parte desta dissertação, e no seguimento do ponto acima mencionado, foram escolhidas duas obras de grande relevância no repertório português para viola, ambas dedicadas ao professor Broos, para serem analisadas do ponto de vista artístico, valorizando os aspetos técnicos da performance, através das respetivas gravações disponíveis.

Effects of gamma and electron-beam irradiation on the individual phenolics of Viola tricolor L. edible flowers.

Edible flowers are being used in culinary preparations to improve the sensorial and nutritional qualities of food, besides improving human health due to the profusion in bioactive compounds [1]. Nevertheless, edible flowers are highly perishable and must be free of insects, which is difficult because they are usually cultivated without using pesticides [2]. Food irradiation is an economically viable technology to extend shelf life of foods, improving their hygiene and quality, while disinfesting insects [3]. The efficiency and safety of radiation processing (using Co-60 or electronaccelerators) have been approved by legal authorities (FDA, USDA, WHO, FAO), as also by the scientific community, based on extensive research [4]. Viola tricolor L. (heartseases), from Violaceae family, is one of the most popular edible flowers. Apart from being used as food, it has also been applied for its medicinal properties, mainly due to their biological activity and phenolic composition [5]. Herein, the phenolic compounds were analyzed by HPLC-DAD-ESI/MS and linear discriminant analysis (LDA) was performed to compare the results from flowers submitted to different irradiation doses and technologies (Co-60 and electron-beam). Quercetin-3-O-(6-O-rhamnosylglucoside)-7-O-rhamnoside (Figure 1) was the most abundant compound, followed by quercetin-3-O-rutinoside and acetyl-quercetin-3-O (6-O-rhamnosylglucoside)-7-O-rhamnoside. In general, irradiated samples (mostly with 1 kGy) showed the highest phenolic compounds content. The LDA outcomes indicated that differences among phenolic compounds effectively discriminate the assayed doses and technologies, defining which variables contributed mostly to that separation. This information might be useful to define which dose and/or technology optimizes the content in a specific phenolic compound. Overall, irradiation did not negatively affect the levels of phenolic compounds, providing the possibility of its application to expand the shelf life of V. tricolor and highlighting new commercial solutions for this functional food.

2016 Concerto Competition Woodwinds/Brass/Percussion/Harp November 21, 2016

Concert Program

Cage & Partch with Luke Fitzpatrick Adapted Viola, Intoning Voice and Violin December 2, 2016

Concert Program