GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

Selected Solo Music for Saxophone by United States Composers: 1975-2005

This dissertation project identifies important works for solo saxophone by United States composers between 1975 and 2005. The quality, variety, expressiveness, and difficulty of the solo saxophone repertoire during these thirty years is remarkable and remedies, to some extent, the fact that the saxophone had been a largely neglected instrument in the realm of classical music. In twentieth-century music, including Jazz, the saxophone developed, nevertheless, a unique and significant voice as is evident in the saxophone repertoire that expands immensely in many instrumental settings, including the orchestra, solo works, and a wide variety of chamber ensembles. Historically, the saxophone in the United States first found its niche in Vaudeville, military bands, and jazz ensembles, while in Europe composers such as Debussy, D'Indy, Schmitt, Ibert, Glazounov, Heiden, and Desenclos recognized the potential of the instrument and wrote for it. The saxophone is well suited to the intimacy and unique timbral explorations of the solo literature, but only by the middle twentieth century did the repertoire allow the instrument to flourish into a virtuosic and expressive voice presented by successive generations of performers – Marcel Mule, Sigurd Rascher, Cecil Leeson, Jean-Marie Londeix, Fred Hemke, Eugene Rousseau, and Donald Sinta. The very high artistic level of theses soloists was inspiring and dozens of new compositions were commissioned. Through the 1960’s American composers such as Paul Creston, Leslie Bassett, Henry Cowell, Alec Wilder, and others produced eminent works for the saxophone, to be followed by an enormous output of quality compositions between 1975 and 2005. The works chosen for performance were selected from thousands of compositions between 1975 and 2005 researched for this project. The three recital dates were: April 6, 2005, in Gildenhorn Recital Hall, December 4, 2005, in Ulrich Recital Hall, and April 15, 2006, in Gildenhorn Recital Hall. Recordings of these recitals may be obtained in person or online from the Michelle Smith Performing Arts Library of the University of Maryland, College Park.

BACH TO BASICS: A PERFORMANCE STUDY OF THE SUITES FOR SOLO CELLO BY JOHANN SEBASTIAN BACH, BWV 1007-1012

This dissertation project focuses on J.S. Bach's Six Suites and explores the ideology of the Suites as etudes versus concert pieces. It is my belief that the evolution of the rank of the Suites in a cellist's repertoire today represents more than just historical coincidence. My premise is that the true genius of the Suites lies in their dual role as !&I efficient teaching pieces and superior performance works. Consequently, the maximum use of Bach's Six Suites as pedagogical material heightens both technical ability and deeper appreciation of the art. The dual nature of the Suites must always be emphasized: not only do these pieces provide innumerable opportunities for building cello technique, but they also offer material for learning the fundamentals of melody, harmony, dynamics, phrasing and texture. It is widely accepted among academic musicians that Bach's keyboard music serves as perfect compositions -- the model for music theory, music form and music counterpoint. I argue that we should employ the Cello Suites to this same end. The order in which the Suites are presented was deliberately chosen to highlight the contrasts in the pieces. Because the technical demands of each suite grow progressively from the previous one, they were performed non-consecutively in order to balance the difficulty and depth of each recital. The first compact disc consists of the Third Suite in C Major and Fifth Suite in C minor (with scordatura tuning), emphasizing the parallel keys. The Second Suite in D Minor and the Fourth Suite in E-flat Major comprises the compact disc. Finally, in the third compact disc, the First Suite in G Major and the Sixth Suite in D Major (composed for the five string cello piccola, but played here on a four-string cello) highlights the progression of the Suites.

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.

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.

SOLO AND CHAMBER CLARINET WORKS BY AMERICAN- BORN WOMEN COMPOSERS: 1990-2005

During the period of 1990-2005, American-born women composers have contributed significantly to the standard clarinet repertoire. Pioneering composers such as Joan Tower, Margaret Brouwer, and Libby Larsen have created staples for clarinet literature. Yet, there is very little scholarly research on women composers of clarinet music, most being concentrated on Joan Tower. Through my research, I have discovered over seventy-five works by more than fifty composers in the following genres: solo clarinet; clarinet and piano; clarinet and voice, with or without piano; and small chamber pieces for up to five players. This performance dissertation project consists of three recitals featuring solo and chamber works by nine living women composers, and program notes containing pertinent biographical and compositional information. My intent is to increase recognition women composers, both prominent and lesser known, who are writing high-quality, accessible clarinet literature. Each woman selected is making a full or partial living from the sales of her compositions, has received recognition through awards, commissions, grants, and frequent performances, and has composed works that are both performer and audience accessible. Recital 1: Trios for Clarinet, Violin, and Piano Commissioned by the Verdehr Trio and Composed by American-Born Women Composers. Composers: Jennifer Higdon, Joan Tower, Margaret Brouwer, and Libby Larsen. Recital II: Programmatic Clarinet Works by American-Born Women Composers. Composers: Andrea Clearfield, Stella Sung, and Karen Amrhein. Recital III: Works for Solo Clarinet, Clarinet and Piano, and Clarinet Concerto Genres by American-Born Women Composers. Composers: Persis Parshall Vehar, Jenni Brandon, Margaret Brouwer, and Libby Larsen.

THEATRICAL MUSIC FOR SOLO PERCUSSION

The act of playing percussion is innately theatrical. The motions by which a percussionist plays his instruments often resemble a carefully choreographed dance. Our bodies are freed from having to hold or blow into an instrument. We are free to move to and from our instruments, to change our facial expressions, and to vocalize. This performance dissertation consists of three recitals featuring theatrical music for solo percussion. The selections are limited to works in which the composer instructs the solo percussion performer to perform in an extra-musical capacity, whether it be by singing, speaking, moving, acting, dancing, or any other action. On all three recitals, I performed established works for solo theatrical percussion. However, on the first recital, I also played the world premiere performance of The Authors, a new work by Stuart Saunders Smith. This half-hour long marimba opera requires the solo performer to speak, sing, and act while playing the marimba. For the final recital, I featured pieces commissioned from two professional composers, John Leupold II and Daniel Adams. Through this series, I hope to both pay tribute to existing great works and to encourage new composition of solo theatrical percussion music.

THE DEVELOPMENT OF THE AMERICAN SOLO TUBA REPERTOIRE

A very good case can be made that no other instrument has experienced as dramatic an increase in artistic solo repertoire as the tuba in the past sixty years. Prior to 1954, the mainstays of the tuba repertoire were trite caricature pieces such as Solo Pomposo, Rocked in the Cradle of the Deep, Beelzebub, and Bombastoso. A few tubists, seeing the tremendous repertoire by great composers written for their brass brethren, took it upon themselves to raise the standard of original compositions for tuba. These pioneers and champions of the tuba accomplished a great deal in the mid to late twentieth century. They structured a professional organization to solidify their ranks, planned and performed in the first tuba recitals at Carnegie Hall, organized the First International Tuba Symposium-Workshop, indirectly created more prestigious positions for tuba specialists at major universities, and improved the quantity and quality of the solo tuba repertoire. This dissertation focuses on the development of the solo repertoire for tuba that happened in the United States because of the tremendous efforts of William Bell, Harvey Phillips, Roger Bobo, and R. Winston Morris. Because of their tireless work, tuba instrumentalists today enjoy a multitude of great solo works including traditional sonatas, concertos, and chamber music as well as cutting edge repertoire written in many genres and accompanied by a variety of mediums. This dissertation attempts to trace the development of the repertoire presenting the works of American composers in varying genres and musical styles from 1962 to present through three performed recitals.

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).

Tracing Neoclassical Influences in selected solo and chamber music for the clarinet

The musical period of Neoclassicism began in the 1920's, between the first and second world wars. It was initiated by French composers and eventually spread to other countries. One of the most important themes to emerge from the movement was to escape from the formless, rather emotional music of the Romantic era and instead, emphasize balance, order, objectivity and clarity in musical form. Many popular clarinet repertoires are enjoyed by performers and listeners because the music is enjoyable to play and easy to listen to. In particular, classically influenced clarinet music is quite interesting because it features musical elements from both the past and contemporary musical styles. For instance, some composers have integrated preexisting, more traditional styles of composition with lighter styles of modern culture such as popular music and Jazz. It is difficult to discover purely neoclassical clarinet repertoires even though many composers created their pieces during the neoclassical era. What we most commonly find are both neoclassical and non-neoclassical influences in compositions from that time period. Thus, I aim to trace the influence of neoclassicism in selected clarinet repertoires that exist today. It is my hope that increased awareness and knowledge about accessible clarinet music may encourage the general public to develop a deeper interest in a wider sphere of clarinet music, beyond what is considered popular today. The works performed and discussed in this dissertation are the following: (Recital I) Duo Concertante by Darius Milhaud; Sonata by Leonard Bernstein; Sonata for Two Clarinets by Francis Poulenc; Duos for Flute and Clarinet, Op. 34 by Robert Muczynski; Dance Preludes by Witold Lutoslawski, (Recital II) Sonatine by Arthur Honegger; Time pieces by Robert Muczynski; Suite for Clarinet, Violin and Piano by Darius Milhaud; Sonate for Clarinet, Flute and Piano by Maurice Emmanuel; Tarantelle for Flute, Clarinet and Piano, Op. 6 by Camille Saint-Saëns, (Recital III) Sonatina by Joseph Horovitz; Suite from L'histoire du Soldat for Clarinet, Violin and Piano by Igor Stravinsky; Contrasts for Clarinet, Violin and Piano by Béla Bartók The recitals that took place on December 1, 2012 and on April 25, 2013 were performed in the Ulrich Recital Hall of the Clarice Performing Arts Center in College Park, Maryland. The recital that took place on November 2, 2013 was performed at the Gildenhorn Recital Hall of the same performing arts center.

La simbiosis entre pastos y hongos endofitos : su impronta aérea y subterránea en distintos contextos agroecológicos

Las plantas integran interacciones con múltiples especies mutualistas y antagonistas. Recientemente, se ha comenzado a considerar a los microorganismos simbiontes y en particular a hongos endofitos como moduladores de otras interacciones y, en consecuencia, de la estructura y el funcionamiento de las comunidades. El objetivo de esta tesis fue evaluar los efectos de la simbiosis entre pastos y hongos endofitos asexuales (Neotyphodium spp., Clavicipitaceae) sobre las comunidades del suelo y las relaciones de retroalimentación planta-suelo. Se postuló que la simbiosis Lolium multiflorum-N. occultans modifica la estructura de las comunidades aéreas a través de cambios en el suelo, y que estos efectos pueden variar con el contexto ecológico. Se realizaron ocho experimentos (en mesocosmos y a campo) en los que se manipuló la proporción de plantas con endofitos bajo distintas condiciones ambientales generadas por el pastoreo o la historia de uso. La presencia de la simbiosis redujo las tasas de descomposición y modificó la estructura de las redes tróficas del suelo, probablemente a través de la actividad radicular de la planta hospedante. La simbiosis generó respuestas de retroalimentación negativa sobre otras especies herbáceas, mejoró la capacidad invasora de L. multiflorum, aumentó la riqueza de especies vegetales y redujo la cobertura de pastos nativos y exóticos. Sin embargo, estos efectos sobre las comunidades aéreas y subterráneas fueron evidentes solo bajo ciertas condiciones dadas por el pastoreo y la historia de uso del suelo. Las interacciones múltiples que establecen las plantas y la historia del ambiente deberían ser consideradas en los modelos que describen los mecanismos que determinan la estructura y el funcionamiento de las comunidades. Esta tesis sostiene que la simbiosis pasto-endofito es más que un mutualismo defensivo ya que modula interacciones múltiples entre componentes aéreos y subterráneos e influye sobre la invasión y el ensamble de las comunidades

Una aproximación mecanística al problema de las enfermedades foliares en el cultivo de trigo

Las decisiones de manejo de enfermedades foliares en el cultivo de trigo se basan generalmente en el uso de umbrales construidos a partir de relaciones empíricas que relacionan el nivel de reducción del rendimiento con el nivel de enfermedad presente en el cultivo en un momento dado. Dichas relaciones no consideran aspectos ecofisiológicos que hacen a la generación del rendimiento limitando la extrapolación de dichos umbrales a situaciones agronómicas distintas de aquellas en las que se construyeron. Comprender como las enfermedades interfieren en los procesos fisiológicos que determina la producción de biomasa y el rendimiento es de relevancia para estimar con mayor precisión y para un mayor rango de condiciones las mermas de producción originadas por las mismas. En esta tesis se exploró el efecto de las principales enfermedades foliares sobre distintos procesos fisiológicos vinculados con la generación de biomasa a partir de la medición en parcelas a campo de variables: i. a nivel de canopeo: índice de área foliar y, eficiencias de intercepción, absorción y uso de radiación entre otras y; ii. a nivel de hoja: fotosíntesis y variables relacionadas. La fotosíntesis del área verde de hojas enfermas solo se redujo bajo condiciones de saturación lumínica pero no ante condiciones de baja irradiancia, no observándose diferencias para tales efectos entre los tratamientos de alta y baja disponibilidad de nitrógeno. Considerando que las hojas de un cultivo se encuentran expuestas a niveles cambiantes de radiación debido a cambios en la incidencia de los rayos solares y a la extinción de luz en el canopeo es esperable que la reducción observada a altas irradiancias se diluya a nivel de canopeo. De hecho, las reducciones de biomasa a nivel cultivo se debieron principalmente a reducciones en la intercepción y absorción de radiación sin efectos claros sobre la eficiencia de uso de la misma. Los resultados obtenidos demuestran que aspectos tales como el nivel de cobertura foliar, la posición vertical del canopeo afectada por las enfermedades y la arquitectura del cultivo, junto con la cuantificación del nivel de enfermedades deberían ser considerados a la hora de tomar decisiones de control químico y como base para generar modelos de tipo funcionales que apoyen la toma de tales decisiones.

Efecto interactivo de la defoliación del estrato herbáceo y la cobertura del estrato arbóreo sobre el crecimiento del estrato herbáceo en sistemas silvopastoriles

El crecimiento demográfico y las actuales y futuras consecuencias del cambio climático hacen necesario maximizar la eficiencia productiva y ambiental de los sistemas de producción agrícola. Los sistemas silvopastoriles forman parte de las prácticas agroecológicas que permiten cumplir con este objetivo a partir de la sinergia lograda al complementar la actividad ganadera con la forestal a nivel de predio. La diversificación productiva provee al sistema alta estabilidad y resiliencia económica y ambiental. En el N.O. de Patagonia, lugar donde se desarrolló la presente tesis, los sistemas silvopastoriles basados en forestaciones de Pinus ponderosa implantadas sobre pastizales naturales de Festuca pallescens permitirían conjugar la tradicional ganadería extensiva con la incipiente actividad forestal. El desarrollo de sistemas silvopastoriles en base a estas especies será factible si el balance neto de las interacciones biológicas de competencia y facilitación entre ambos componentes es neutro o positivo. El aprovechamiento forrajero del pastizal, objetivo primario de la producción herbácea en los sistemas silvopastoriles, implica considerar el efecto de la defoliación. La defoliación, al disminuir la biomasa aérea, provoca cambios en la disponibilidad de luz y en las señales lumínicas que la planta percibe, disminuye la transpiración y puede atenuar el estrés hídrico. La presencia del estrato arbóreo en los sistemas silvopastoriles también actúa sobre la disponibilidad de luz y el estado hídrico de las plantas del estrato herbáceo. Dependiendo del tamaño de los árboles y el manejo silvícola aplicado, la cantidad y calidad de luz que alcanza el sotobosque disminuyen. Asimismo, los árboles pueden competir por el agua disponible en suelo o disminuir la demanda atmosférica que experimentan los pastos por efecto del sombreo. El resultado neto de ambos efectos determinará el estado hídrico de las plantas del estrato herbáceo (...)

Caracterización funcional de la estepa magallánica y su transición a matorral de Mata Negra (Patagonia austral) a partir de imágenes de resolución espacial intermedia

La PPNA es indicadora de la biomasa disponible y se relaciona con la capacidad de carga de los sistemas pastoriles extensivos. Es posible estimarla a partir de índices de vegetación obtenidos de sensores remotos. El objetivo de esta tesis fue caracterizar funcional y estructuralmente una estepa graminosa (Estepa Magallánica Seca-EMS) y una arbustiva ((Matorral de Mata Negra-MMN) de la Patagonia Austral. En 18 sitios se midió cobertura vegetal (2004 y 2010) y biomasa por estratos (2004 y 2005). Se obtuvieron 8 índices de vegetación a partir de imágenes MODIS (resolución 16 días, 250m, 2003-2010). Se caracterizaron las comunidades vegetales (PCA). Se extrajeron los índices en áreas de 3x3 pixeles y correlacionaron con la biomasa y cobertura medidas a campo. Ambas áreas están dominadas por especies perennes con una cobertura de 66 por ciento En MMN la mitad de este valor corresponde a arbustos. La biomasa aérea total fue de aproximadamente 1000 Kg MS/ha en EMS y el triple en MMN, en ambos casos un 33 por ciento corresponde a material verde. Los índices presentan patrones temporales similares entre áreas, con un máximo a fines de octubre, aunque NDVI y RVI mostraron un segundo pico en abril. El MMN posee mayor biomasa pero los índices fueron 20 por ciento menores que EMS. El NDVI caracterizó mejor la vegetación de la EMS, con correlaciones de 0,69, 0,43 y 0,48 con la fracción verde de biomasa total, intercoironal y coironal, respectivamente. Reflejó además el crecimiento otoñal característico de ambientes con régimen isohigro, limitados por temperatura y humedad. Por el contrario, en el MMN, los índices espectrales y los indicadores de biomasa no correlacionaron. Los valores de regresión obtenidos indican que la evaluación de biomasa disponible a partir de sensores remotos es solo posible en uno de los ecosistemas y muestran que para estimar la receptividad, seria necesaria una calibración local de los índices, dado que la estructura de la vegetación modifica los valores espectrales.