Formal function and phrase structure in contemporary music : Pierre Boulez’s late solo works and Sean Clarke’s "Lucretia Overture" and "4 Impromptus"

Cette thèse présente une théorie de la fonction formelle et de la structure des phrases dans la musique contemporaine, théorie qui peut être utilisée aussi bien comme outil analytique que pour créer de nouvelles œuvres. Deux concepts théoriques actuels aident à clarifier la structure des phrases : les projections temporelles de Christopher Hasty et la théorie des fonctions formelles de William Caplin, qui inclut le concept de l’organisation formelle soudée versus lâche (tight-knit vs. loose). Les projections temporelles sont perceptibles grâce à l’accent mis sur les paramètres secondaires, comme le style du jeu, l’articulation et le timbre. Des sections avec une organisation formelle soudée ont des projections temporelles claires, qui sont créées par la juxtaposition des motifs distincts, généralement sous la forme d'une idée de base en deux parties. Ces projections organisent la musique en phrases de présentation, en phrases de continuité et finalement, à des moments formels charnières, en phrases cadentielles. Les sections pourvues d’une organisation plus lâche tendent à présenter des projections et mouvements harmoniques moins clairs et moins d’uniformité motivique. La structure des phrases de trois pièces tardives pour instrument soliste de Pierre Boulez est analysée : Anthèmes I pour violon (1991-1992) et deux pièces pour piano, Incises (2001) et une page d’éphéméride (2005). Les idées proposées dans le présent document font suite à une analyse de ces œuvres et ont eu une forte influence sur mes propres compositions, en particulier Lucretia Overture pour orchestre et 4 Impromptus pour flûte, saxophone soprano et piano, qui sont également analysés en détail. Plusieurs techniques de composition supplémentaires peuvent être discernés dans ces deux œuvres, y compris l'utilisation de séquence mélodiques pour contrôler le rythme harmonique; des passages composés de plusieurs couches musicales chacun avec un structure de phrase distinct; et le relâchement de l'organisation formelle de matériels récurrents. Enfin, la composition de plusieurs autres travaux antérieurs a donné lieu à des techniques utilisées dans ces deux œuvres et ils sont brièvement abordés dans la section finale.

A VOICE OF THEIR OWN: MUSIC AND SOCIAL COHESION IN TURKISH ALEVI LIFE

This dissertation examines the role that music has played in the expression of identity and revitalization of culture of the Alevis in Turkey, since the start of their sociocultural revival movement in the late 1980s. Music is central to Alevi claims of ethnic and religious difference—singing and playing the bağlama (Turkish folk lute) constitutes an expressive practice in worship and everyday life. Based on research conducted from 2012 to 2014, I investigate and present Alevi music through the lens of discourses on the construction of identity as a social and musical process. Alevi musicians perform a revived repertoire of the ritual music and folk songs of Anatolian bards and dervish-lodge poets that developed over several centuries. Contemporary media and performance contexts have blurred former distinctions between sacred and secular, yet have provided new avenues to build community in an urban setting. I compare music performances in the worship services of urban and small-town areas, and other community events such as devotional meetings, concerts, clubs, and broadcast and social media to illustrate the ways that participation—both performing and listening—reinforces identity and solidarity. I also examine the influence of these different contexts on performers’ musical choices, and the power of music to evoke a range of responses and emotional feelings in the participants. Through my investigation I argue that the Alevi music repertoire is not only a cultural practice but also a symbol of power and collective action in their struggle for human rights and self-determination. As Alevis have faced a redefined Turkish nationalism that incorporates Sunni Muslim piety, this music has gained even greater potency in their resistance to misrecognition as a folkloric, rather than a living, tradition.

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.

“In The Good Old Days of Long Ago": Echoes of Vaudeville and Minstrelsy in the Music of Uncle Dave Macon

Uncle Dave Macon provided an essential link between nineteenth-century, urban popular stage music (especially the minstrel show and vaudeville) and commercialized country music of the 1920s. He preserved through his recordings a large body of songs and banjo techniques that had their origins in urban-based, nineteenth-century vaudeville and minstrelsy. Like the minstrel and vaudeville performers of the nineteenth century, Macon told jokes and stories, employed attention-grabbing stage gimmicks, marketed himself with boastful or outrageous slogans, and dressed with individual flair. At the same time, Macon incorporated many features from the rural-based folk music of Middle Tennessee. Overall, Macon’s repertoire, musical style, and stage persona (which included elements of the rube, country gentleman, and old man) demonstrated his deep absorption, and subsequent reinterpretation, of nineteenth-century musical traditions. Macon’s career offers a case study in how nineteenth-century performance styles, repertoire, and stage practices became a part of country music in the 1920s. As an artist steeped in two separate, but overlapping, types of nineteenth-century music—stage and folk—Macon was well-positioned to influence the development of the new commercial genre. He brought together several strains of nineteenth-century music to form a modern, twentieth-century musical product ideally suited to the new mass media of records, radio, and film. By tracing Macon’s career and studying his music, we can observe how the cross-currents of rural and popular entertainment during the nineteenth and early twentieth centuries interacted to form the commercial genre we now know as country music.

An approximate method for the solution of an influence function foil rolling model

Fleck and Johnson (Int. J. Mech. Sci. 29 (1987) 507) and Fleck et al. (Proc. Inst. Mech. Eng. 206 (1992) 119) have developed foil rolling models which allow for large deformations in the roll profile, including the possibility that the rolls flatten completely. However, these models require computationally expensive iterative solution techniques. A new approach to the approximate solution of the Fleck et al. (1992) Influence Function Model has been developed using both analytic and approximation techniques. The numerical difficulties arising from solving an integral equation in the flattened region have been reduced by applying an Inverse Hilbert Transform to get an analytic expression for the pressure. The method described in this paper is applicable to cases where there is or there is not a flat region.

Influence of host plant structure and microclimate on the abundance and behaviour of Tephritid fly

Microclimate and host plant architecture significantly influence the abundance and behavior of insects. However, most research in this field has focused at the invertebrate assemblage level, with few studies at the single-species level. Using wild Solanum mauritianum plants, we evaluated the influence of plant structure (number of leaves and branches and height of plant) and microclimate (temperature, relative humidity, and light intensity) on the abundance and behavior of a single insect species, the monophagous tephritid fly Bactrocera cacuminata (Hering). Abundance and oviposition behavior were signficantly influenced by the host structure (density of foliage) and associated microclimate. Resting behavior of both sexes was influenced positively by foliage density, while temperature positively influenced the numbers of resting females. The number of ovipositing females was positively influenced by temperature and negatively by relative humidity. Feeding behavior was rare on the host plant, as was mating. The relatively low explanatory power of the measured variables suggests that, in addition to host plant architecture and associated microclimate, other cues (e.g., olfactory or visual) could affect visitation and use of the larval host plant by adult fruit flies. For 12 plants observed at dusk (the time of fly mating), mating pairs were observed on only one tree. Principal component analyses of the plant and microclimate factors associated with these plants revealed that the plant on which mating was observed had specific characteristics (intermediate light intensity, greater height, and greater quantity of fruit) that may have influenced its selection as a mating site.