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.

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.

FOLK ELEMENTS IN TWENTIETH-CENTURY HUNGARIAN MUSIC

At the beginning of the twentieth century, composers Béla Bartók and Zoltán Kodály collected thousands of folksongs from the rural regions of Hungary. In an effort to preserve a part of their culture that they feared would be lost, they not only transcribed and catalogued these folksongs, but also incorporated the folk traditions they encountered into their own compositional style. This dissertation deals with violin music written by Bartók, Kodály and their Hungarian contemporaries that have in common the use of rhythms, modes, melodies, figurations and playing techniques sourced in folk traditions. The use of the Hungarian folk idiom in classical music was not exclusive to the twentieth century. From the late eighteenth century until the first decades of the twentieth century, composers utilized aspects of a popular eighteenth-century form of Hungarian folk music called verbunkos. What makes the use of folk music unique in the twentieth century is that, thanks to the work of Bartók and Kodály, composers found inspiration in the more authentic “peasant music.” Unlike the popular, urban verbunkos music, peasant music was the product of the more secluded village-music tradition, largely untouched by the influences of city life. In addition to stimulating a new focus on peasant music, Bartók and Kodály fully assimilated the folk idiom into their compositional toolkits, creating a new style of folk-inspired art music that influenced a generation of Hungarian composers. The new style included characteristic elements of both peasant music and the verbunkos tradition, such as ancient modes and scales, accompanimental and melodic rhythmic patterns, ornamentation, and phrase structures sourced in folk song. To demonstrate the implementation of the folk idiom by twentieth-century Hungarian composers, three recital programs were given at the University of Maryland that included works by Béla Bartók, Sándor Veress, Leo Weiner, Zoltán Kodály, Ernő Dohnányi, Zoltán Székely and György Kurtág. The works can be divided into two main categories: settings or transcriptions of folk material (e.g. Bartók’s Hungarian Folksongs) and compositions using classical forms that include the Hungarian folk idiom (e.g. Bartók’s Contrasts). Recital collaborators include Li-Tan Hsu, Evelyn Elsing, Elizabeth Brown, Shelby Sender and Samantha Angelo.

THE GREAT RUSSIAN PIANO TRADITION: SELECTED REPERTOIRE BY TCHAIKOVSKY, RACHMANINOFF AND PROKOFIEV

This dissertation explores representative piano music by three great Russian composers: Tchaikovsky, Rachmaninoff and Prokofiev. The areas of research include: 1) the short character piece; 2) the Russian piano transcription tradition; 3) the concerto and sonata cycle; 4) extra-musical imagery; 5) the influence of popular and dance music of the period. Perhaps the most important result of this research is learning how the art of incorporating a singing quality at the piano stands at the center of Russian pianistic heritage. The first recital features compositions by Sergei Prokofiev. The Seventh Sonata exhibits rebellious, uncompromisingly dissonant treatment of its musical content. Ten Pieces from “Cinderella” shows an ascetic approach to piano texture - a common characteristic in Prokofiev’s late works. The Third Concerto is Prokofiev’s masterpiece in the genre. One of the 20th century’s most performed concerti, it overflows with pianistic challenges. For my second dissertation recital, I have chosen Peter Ilich Tchaikovsky’s The Seasons. These short character pieces were inspired by literary sources. The text portrays Russian rural life, nature, moments of intimate reflection, and imaginary experiences and impressions. Tchaikovsky’s gift as a melodist and remarkable musical individualist is represented in his two Nocturnes as well as in the Nutcracker Suite, masterfully transcribed by Mikhail Pletnev. The final program features Sergei Rachmaninoff’s Ten Preludes, Op. 23, regarded as a culmination of the turn-of-the-century grand Russian pianistic style. The Fantasy Pieces helped establish Rachmaninoff’s reputation as a pianist-composer, a profoundly lyrical poet of the piano. The three Rachmaninoff transcriptions, the Minuet, the Hopak and the Polka de W.R. preserve the spirit of the Golden Era’s musical salon. These pieces were written to delight and dazzle audiences with their bold character, musical taste, virtuosic tricks and technical finesse. The three recitals comprising this dissertation were presented in Gildenhorn Recital at the University of Maryland School of Music on November 13, 2010, April 11, 2011 and February 27, 2012. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

THE GREAT RUSSIAN PIANO TRADITION: SELECTED REPERTOIRE BY TCHAIKOVSKY, RACHMANINOFF AND PROKOFIEV

This dissertation explores representative piano music by three great Russian composers: Tchaikovsky, Rachmaninoff and Prokofiev. The areas of research include: 1) the short character piece; 2) the Russian piano transcription tradition; 3) the concerto and sonata cycle; 4) extra-musical imagery; 5) the influence of popular and dance music of the period. Perhaps the most important result of this research is learning how the art of incorporating a singing quality at the piano stands at the center of Russian pianistic heritage. The first recital features compositions by Sergei Prokofiev. The Seventh Sonata exhibits rebellious, uncompromisingly dissonant treatment of its musical content. Ten Pieces from "Cinderella" shows an ascetic approach to piano texture - a common characteristic in Prokofiev's late works. The Third Concerto is Prokofiev's masterpiece in the genre. One of the 20th century's most performed concerti, it overflows with pianistic challenges. For my second dissertation recital, I have chosen Peter Ilich Tchaikovsky's The Seasons. These short character pieces were inspired by literary sources. The text portrays Russian rural life, nature, moments of intimate reflection, and imaginary experiences and impressions. Tchaikovsky's gift as a melodist and remarkable musical individualist is represented in his two Nocturnes as well as in the Nutcracker Suite, masterfully transcribed by Mikhail Pletnev. The final program features Sergei Rachmaninoff's Ten Preludes, Op. 23, regarded as a culmination of the turn-of-the-century grand Russian pianistic style. The Fantasy Pieces helped establish Rachmaninoff's reputation as a pianist-composer, a profoundly lyrical poet of the piano. The three Rachmaninoff transcriptions, the Minuet, the Hopak and the Polka de W.R. preserve the spirit of the Golden Era's musical salon. These pieces were written to delight and dazzle audiences with their bold character, musical taste, virtuosic tricks and technical finesse. The three recitals comprising this dissertation were presented in Gildenhorn Recital at the University of Maryland School of Music on November 13, 2010, April 11, 2011 and February 27, 2012. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

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.

Female frequent internet gamblers: a qualitative study of their gambling, its impact and their views on treatment and policy

Aims: to study the gambling history and stories of participants, motivations, impact and helpseeking. Method: Details were advertised on websites and newspapers. 30 frequent gamblers were interviewed over the telephone for approximately one hour. Verbatim transcriptions were analysed using NVIVO and grounded theory. Results/conclusions: Not all women had gambled before. However, internet accessibility meant prolonged periods were spent gambling to the neglect of other life areas. Some were originally motivated by excitement but others gambled to escape from current difficulties. Depression, anxiety, panic attacks and suicide ideation were common. The women were ambivalent towards their gambling and receiving help.

Valoración de impacto ambiental por pesticidas agrícolas.

El uso de agroquímicos en Argentina se ha fortalecido junto con la expansión agrícola. El objetivo de este trabajo es la elaboración de una metodología para calcular el impacto ambiental que los pesticidas causan en el medio ambiente teniendo en cuenta los siguientes factores: "ecotoxicología": categoría toxicológica, toxicidad en abejas, aves y peces; "Toxicidad humana": carcinogenicidad, neurotoxicidad, alteraciones endocrinas, genotoxicidad y capacidad irritativa; "Comportamiento ambiental": la persistencia en el agua / sedimento, persistencia en el suelo y bioconcentración. Estos factores fueron clasificados como bajo, medio, alto o muy alto, de acuerdo con su nivel de toxicidad. Los resultados indican que los plaguicidas más tóxicos son los insecticidas. La mayoría de los pesticidas utilizados son la toxicidad media (43,75%), seguido de baja y alta toxicidad (21,88%) y, los de muy alta toxicidad (12,5%). La metodología propuesta podría ser utilizada como una herramienta de monitoreo, gestión o educación ambiental.

Control estructural de agrietamientos poligonales en la Pedriza del Manzanares (Madrid)

Los agrietamientos poligonales representan una forma común de modelado granítico cuyo origen y evolución continúa en fase de estudio, no existiendo una sistematización de estas estructuras diversas. Algunos autores explican su origen por procesos geodinámicos internos, relacionándolo con movimientos de planos de fractura en estados tardíos de consolidación magmática. Otros autores atribuyen su formación y desarrollo a factores externos relacionados con el régimen climático. La gran variedad de agrietamientos poligonales requiere la utilización de un número mayor de variables para definir los distintos orígenes, y las posibles interrelaciones entre los factores externos e internos, así como para explicar la evolución de dichas estructuras y avanzar en la clasificación de los patrones concretos. Este trabajo pretende contribuir a sistematizar los mecanismos que intervienen en el desarrollo de agrietamientos poligonales. Para ello se estudian únicamente agrietamientos poligonales formados sobre planos de fractura verticales o subverticales. En particular se establecen relaciones entre la presencia de agrietamientos poligonales y la red de fracturación, la altura de aparición, la orientación e inclinación de la pared, la morfología de las placas y la profundidad de incisión de las grietas perimetrales. Por otra parte, establece relaciones entre procesos geodinámicos internos y procesos de meteorización externos.

The Complete Works of John Milton: Volume III: The Shorter Poems (816pp.)

Volume III of the new eleven-volume edition of Milton's Complete Works provides a definitive scholarly edition of all of Milton's shorter poems in English, Latin, Italian, and Greek, as well as his Mask, taken from both published and manuscript sources. It includes his 1645 Poems complete with all prefatory materials, thus illuminating the ways in which author, publisher, and print shop shaped this volume. It then presents all the new poems added in the 1673 edition (with the new Table of Contents), as well as the poems omitted from both editions. A careful collation of textual variants among these sources as well as the 1637 anonymous publication of Milton's Mask is provided. The Bridgewater manuscript of Milton's Mask (probably close to the acting version) and his working copy from the Trinity Manuscript, with its many alterations and additions, are transcribed in their entirety, so that the various versions may be compared and studied. 

A special feature of this edition is a new translation of Milton's many Latin and Greek poems that is both accurate and attentive to their literary qualities. This is augmented by a detailed and comprehensive commentary that highlights classical, vernacular, and neo-Latin parallels. A poetic translation of Milton's six Italian sonnets and Canzone is also supplied. In addition, the Appendices contain all the versions of Milton's shorter poems in all the contemporary manuscript and printed sources, so they may be examined in relation to their specific contexts. The transcription of all the versions of Milton's poems in the Trinity Manuscript allows in several cases, notably 'Lycidas' and 'At a Solemn Music,' for examination of the evolution of these poems as Milton weighed choiced of diction and sound qualities, enabling further understanding of his poetic practices. 

Barbara Lewalski is responsible for text, textual apparatus, and commentary pertaining to the vernacular poems in all sections of this edition including the appendices, and manuscript transcriptions (with the exception of A Maske), as well as the Occasions, Vernacular Poems,and Textual Introductions. Estelle Haan is responsible for text, textual apparatus, and commentary for the Poemata in all sections of this edition,and for the Poemata Introduction. She has also provided all translations from Latin, Italian, and Greek in the Testimonia, Poemata, and associated commentary, and transcriptions of the BL Damon, the Bodleian AdJoannem Rousium, and A Maske from the Trinity and Bridgewater manuscripts. Andrew McNeillie has provided poetic translations for Milton’s Italian sonnets, and Jason Rosenblatt has provided some Hebrew text and commentary pertaining to Milton’s Psalm translations.John Cunningham has transcribed Henry Lawes’ music for Milton’s masque, with commentary (Appendix E). Biblical references are taken from the King James (Authorized) Version.

La evolución de destinos turísticos litorales consolidados. Análisis comparado de Balneario Camnoriú (Brasil) y Benidorm (España)

El objetivo de este trabajo consiste en estudiar la evolución de los destinos turísticos litorales consolidados a partir del análisis comparado entre Balneario Camboriú y Benidorm. Se trata de dos destinos localizados en contextos territoriales y turísticos diferentes, en los que se contrastan de manera empírica los indicadores de evolución de los destinos y se vinculan las dinámicas evolutivas con el modelo territorial-turístico resultante en cada destino. El análisis realizado permite contrastar los postulados de los modelos evolutivos clásicos (Butler, 1980) e incorporar los nuevos planteamientos de la geografía económica evolutiva. La investigación delimita cronológicamente los periodos de desarrollo de ambos destinos para identificar los factores con mayor incidencia en la evolución de los mismos. Una evolución marcada, fundamentalmente, por la ubicación geográfica, la planificación y gestión urbanoturística a diferentes escalas, la dependencia de determinados mercados emisores y la influencia de factores macroeconómicos. Un conjunto de factores interrelacionados que dibujan trayectorias dispares para los destinos analizados.

"They come with multiple morbidities":a qualitative assessment of pharmacist prescribing

This paper presents qualitative findings from a larger sequential mixed methods study which sought to provide an in-depth understanding of pharmacist prescribing from the perspective of pharmacist prescribers, medical colleagues and key stakeholders in Northern Ireland. Transcriptions were analyzed using thematic analysis as the interviews progressed and emergent themes were identified and coded (along with supporting quotes) independently and by consensus of the research team. Three major themes emerged in relation to pharmacist prescribing: the effect on patient care; challenges facing pharmacist prescribers and the importance of the interprofessional team (where two or more different professions with varied, yet complementary experience work together with a common purpose). Pharmacist prescribing may have the potential to reduce the medication burden for patients (as reported by pharmacists) as pharmacists tend to provide a more comprehensive medication review than doctors; the additional time for consultations made this possible. Further research is required on how interprofessional team working can be maximized in the context of pharmacist prescribing, particularly in relation to the management of multi-morbidity.

L'accord sujet-verbe en français contemporain: une étude de variation sociolinguistique

Cette communication a pour objectif de présenter et d’analyser les résultats d’une enquête portant sur l’accord sujet-verbe en français contemporain. Dans le domaine de l’accord sujet-verbe, bien que dans la plupart des cas le locuteur n’ait pas le choix de l’accord – c’est–à-dire qu’il n’y a qu’un accord possible – il existe néanmoins des contextes dans lesquels on peut trouver une variation entre l’accord singulier et le pluriel (cf. Corbett 2006 ; Grevisse 1993 ; Riegel et al 1994). Cette variation est souvent liée à une discordance entre le nombre syntaxique et le nombre sémantique. C’est le cas de certaines expressions de quantité, comme dans les exemples suivants : Singulier : « On a affaire à une minorité qui fait la loi à l’université » (Ouest France, 23-24 mai 2009, p.13) Pluriel : « Un petit millier de producteurs allemands, français et belges se sont déplacés, hier, à Bruxelles […] » (Ouest France, 26 mai 2009, p.3) Cette variation nous offre plusieurs pistes de recherche : dans une perspective linguistique, elle peut nous aider à mieux comprendre comment interagissent les différents facteurs linguistiques qui ont une influence sur l’accord, et dans une perspective sociolinguistique, elle représente un nouveau domaine à explorer pour l’étude sociolinguistique de la variation grammaticale en français, ce qui reste jusqu’à présent relativement peu étudiée. Nous traitons dans cette communication de la perspective sociolinguistique, c'est-à-dire les facteurs externes tels que l’âge, le sexe, et le niveau d’éducation du locuteur qui jouent un rôle dans l’accord sujet-verbe avec les expressions de quantité. Nous considérons en particulier la variation sexolectale : dans un premier temps, nous examinons les résultats de quelques études précédentes de la variation morphosyntaxique en français contemporain par rapport à l’influence du sexe du locuteur. Nous en concluons que les Principes élaborés par Labov (1990) pour décrire la variation sexolectale en anglais semblent être moins valables pour le cas du français de la France ; ou bien, qu’ils ne s’appliquent pas de façon simpliste. Dans un deuxième temps, nous présentons les résultats de nôtre étude, et nous voyons que pour nôtre projet aussi, les résultats pour la variation sexolectale ne s’expliquent pas facilement dans le cadre des Principes de Labov (1990).

L'accord sujet-verbe en français contemporain: une étude de variation grammaticale et sociale

Dans cet article, nous évaluons le rôle du cotexte (les facteurs internes ou linguistiques) et du contexte (les facteurs externes ou sociaux, et la situation de l’interaction) dans l’accord sujet-verbe induit par les expressions de quantité en français contemporain. Dans l’emploi de ces expressions, par exemple la majorité, le reste etc., il existe une variation entre l’accord singulier et le pluriel, qui est liée à une discordance entre le nombre syntaxique et le nombre sémantique de l’expression. Dans un premier temps, nous présentons la méthodologie d’une première enquête dont le but était d’identifier les principaux facteurs internes et externes qui ont une influence sur les accords de ce type. Dans un deuxième temps, nous présentons les résultats pour les facteurs sociaux avant d’en tirer quelques conclusions pour l’étude principale.

UNITALK: a corpus of university classroom talk

This is a dataset of recordings and transcriptions of spoken English collected from a range of university classrooms. UNITALK is a modest-sized untagged synchronic specialized full-text corpus of spoken academic discourse collected from fifteen university classrooms. UNITALK was designed to study the genre of small group teaching contexts across academic divisions and subject disciplines and specifically designed to study those teaching events whose goal is to work on collaborative ideas or tasks. The corpus is over 100,000 words and can be used to investigate academic language use and small group university teaching and learning contexts.