The purpose of this dissertation is to introduce and provide a pedagogical guide for two etude works by Lowell Liebermann (b. 1961): Four Etudes on Songs of Brahms, Op. 88 (2004) and Four Etudes on Songs of Robert Franz, Op. 91 (2005). It includes a brief biography and observations on the compositional style of the composer; a history and development of the etude from the eighteenth century to Liebermann's time; research on Liebermann's works based on songs of other composers; and a pedagogical guide on how to approach each piece, covering four types of technical issues: articulation, phrasing, voicing of the melodic lines, and fingerings.

David Burge (b. 1930) composed the work Go-Hyang (1994) inspired by his impressions of Korea. the purpose of this study is to provide a performance guide particularly for the benefit of non- Korean pianists. Each of the six pieces of Go-Hyang contains Korean musical and/or cultural references. This document details these aspects, obviously stated or implied through the work. Investigation into distinct characteristics and Korean elements of each of the six movements will involve sources from multiple fields. Interviews with both the composer and the pianist Young-Hae Han for whom the work was written answer many questions about performance issues. Once the Korean reference is examined, it will be related to performance consideration of each movement, in order. the result of this examination will provide the performer not only with beneficial information to facilitate the performance but also with some cultural background to enrich the interpretation of the work.

The purpose of this study is to explore neoclassical elements present in Krenek’s George Washington Variations. By identifying the stylistic features associated with the eighteenth and twentieth centuries, the study will examine Krenek’s application of his neoclassical tendencies. Key neoclassical elements include musical form and structure, key relationships, melody and harmony, and chromaticism. Since at this time there is little research on Krenek’s piano works, and none on the George Washington Variations, the result of this examination provides pianists and instructors with historically constructive information about Krenek’s musical style, as well as a deeper understanding of Krenek’s Neoclassicism in his George Washington Variations.

This study examines the Piano Concerto in C sharp, Op.17 (1923), by Erich Wolfgang Korngold (1897-1957), in light of developing variation, techniques that transform motivic ideas and create musical continuity in this work. The troublesome reception history of Korngold’s piano concerto derives from its complex musical features, which have created difficulties in understanding and evaluating this piece. Consequently, critics and scholars often label the highly sophisticated yet tonal musical language in this piece a residue of Romanticism from the nineteenth century. In this document, in contrast, examination of motivic development and connections in Korngold’s piano concerto reveals thematic and structural coherence in light of Korngold’s idea of modernity. This study provides a historical and technical survey of developing variation and discusses Korngold’s implementation of these techniques in his early compositions and the piano concerto. By doing so, this study recognizes the progressive aspect in Korngold’s music.

The aspiration of this dissertation is to bring forth the significance of Shostakovich's Piano Sonata Op.12. This sonata is a hybrid of the German musical tradition, Russian Modernism, and Liszt's thematic transformation technique. It demonstrates Shostakovich's highly intellectual compositional skills influenced by the education that he received at St. Petersburg Conservatory as well as the exposure to modern music in the 1920s. This dissertation discusses composition techniques, such as the harmonic piers adapted from Alexander Scriabin, neighboring-tone technique, which involves the application of semitone cell throughout the piece, as well as the technique of thematic transformation borrowed from Liszt. These all come together by Shostakovich's design in the most controversial sonata form. The Piano Sonata Op.12 also sheds light on Shostakovich's early compositional style and proves its contribution to the evolution of sonata genre in the twentieth-century.

John Ireland is one of the most important British composers of the twentieth century. Many scholars believe the works of his early period were deeply influenced by Brahms. After graduating from the Royal College of Music, Ireland went on to develop a much more individual musical language, with influence from contemporary French composers. However, the young composer found himself confronted with the challenge of finding a new and personal style without turning wholly to impressionism or to chromaticism. In Ireland's Piano Sonata, Ireland adopted several of Brahms' compositional techniques. This piano sonata is an excellent example of one of Ireland's mature works that still demonstrates Brahms' influence.

In 1895, Emil Georg Conrad Sauer (1862-1942), a world-renowned German pianist and former student of Franz Liszt wrote his first piano concerto, which was published five years later in 1900. Sauer performed it extensively to enthusiastic crowds in Europe and the United States while on tour during the next several years. Then it vanished from the concert repertoire. It is no longer performed and has only been commercially recorded once. The purpose of this dissertation is to establish why it might have disappeared, and why there is value in bringing it back to the standard piano repertoire.

Improvisation is an art form which has arguably been present since the existence of music itself. Inventing music on the spot, like spontaneous speech, is a common expression of artistry throughout history and across musical boundaries. While improvisation has maintained its importance in jazz, classical organ music and the music of many eastern cultures, this dissertation will focus on the presence of improvisation as acceptable performance practice within the tradition of western classical music. At several points in history, this musical tradition was encouraged and even expected to be a regular part of a musician's life, and yet in the classical music tradition of the twenty-first century, improvisation is rarely, if ever, heard from the concert stage, nor is it regularly included in the general education of the conservatory student.

Alberto Nepomuceno was one of the leading figures in developing Brazilian art music at the turn of the twentieth century. He became widely known for his Brazilian art songs and kept promoting Brazilian music and the use of Portuguese as an "art language" throughout his life. Nepomuceno has widely been seen as a nationalist composer, yet some of his works adopt a more European style. In this study, I argue that Nepomuceno incorporates European musical languages in his Piano Sonata in F Minor, Op. 9. I display the rich interaction of Brazilian national identity and European influence within Nepomuceno's musical life. I also provide a thorough formal analysis of this piano sonata to argue that in some of his music he adopted a distinctively European musical language, including baroque and classical elements. In addition to analyzing the sonata-form and rondo-form elements, this dissertation discusses the use of several important topics in the work, including the Siciliano rhythm, contrapuntal writing, pedal points with organ effects, and impact of Brahms on Nepomuceno's piano writing. Moreover, I analyze how Nepomuceno assimilated European musical styles as the basis for his own compositions, as well as the innovations with which he augmented those styles. An …

Lowell Liebermann, born in New York City in 1961, is one of America's most distinguished living composers. In addition, he often conducts and performs as pianist in his own works. His musical language is unique and unmistakably rooted in the grand tradition of Western music; however, his style combines old and new, simple and complex, emotional and intellectual aspects. It combines tuneful, catchy melodies with a rich harmonic language, all framed by a strong formal design. This study begins with presenting primary information on this concerto excerpted from an interview with Lowell Liebermann. This interview served as a reference for subsequent sections, and a transcript of the interview is appended to the end of this study. In the third chapter, the musical language of the composer is discussed. Chapters four and five constitute the main body of this dissertation. The goal of these two chapters is to understand the basic three-pitch motive of the work, to demonstrate how it operates at various levels, and to see how the raw material corresponds at a larger structure level. It is the author's hope that this study will guide performers to better understand Liebermann's Concerto No. 1 for Piano and Orchestra, Opus 12.

William Mason (1829–1908) was a well-known American composer, pianist, and pedagogue. Researchers have mainly focused on Mason's career as a pedagogue in the United States and his pedagogical treatises, which are widely considered and used as the conceptual core of teaching materials on the nineteenth century. However, there has been only an annotated catalogue of Mason's music works, and no performance guide to his piano compositions. This dissertation is designed to be the first performance guide to his solo piano repertoire and act as an introduction to his music through an examination of selected works suitable for the intermediate student. This study provides instruction for students on how to practice these works through the analysis of the elements of practice – pedaling, phrasing, technique practice, touch, and musical expression – which were all considered as essential by Mason himself for a good performance. The five piano works selected are: Three Preludes, Op. 8, No. 1; Ballade et Barcarole, Op. 15; Valse Caprice, Op.17; Spring-Dawn, Mazurka–Caprice, Op. 20; and Spring Flower–Impromptu, Op. 21.

Contemporary repertoire is not commonly taught or explored by teachers during the intermediate level, when a student's musical training is transitioning to an advanced level. Nonetheless, it is important for piano instructors to be open-minded about contemporary music and have some perspective on the development of music repertoire in the future. The purpose of this dissertation is to provide a performance and pedagogical guide to Stephen Chatman's (b. 1950) Fantasies, from both technical and artistic viewpoints. The collection, which consists of eleven pieces, features a wide variety of contemporary idioms, styles, and means of notation. For instance, there are jazz-like syncopated rhythms, asymmetrical accents reminiscent of Primitivism, and Impressionistic or dissonant sonorities. Fantasies is not only a valuable tool for students to explore new sounds and improve their performing techniques while executing nontraditional notations and contemporary idioms, it is also a great teaching resource for instructors to promote students' musicality through hearing, seeing, and thinking. In this study, I provide individual, detailed descriptions for each of the pieces in the score, adding examples on how to address the difficulties they present to the performer. As a result, instructors can better understand how to help students prepare to perform this collection …

Piano instructors often have to work as a bridge connecting music from the past and the future. From a pedagogical viewpoint, contemporary works should be considered just as important as those in the standard repertoire. Yet, most piano instructors are skewed towards modern music and their teaching materials are focused on eighteenth and nineteenth century repertoire. It is essential for them to introduce various kinds of music from different periods and cultures in order to fully develop a student's musicianship. The purpose of this study is to compare two modern works that are designed mainly for pedagogical purposes: 32 Piano Games by Ross Lee Finney (1906-1997) and Amusements by Stephen Chatman (b. 1950). These compositions are intended for beginner and intermediate students and incorporate a number of contemporary elements and techniques. This study can help instructors and students understand how these elements are being used and the ways they have evolved over time. Most importantly, this dissertation can provide teachers with a distinct methodology that enables them to present modern pieces to beginning level students in a more approachable fashion, further providing theoretical and technical assets that will allow them to play advanced contemporary music in the future.

It is the teacher's responsibility to guide students in building an effective and injury-free piano technique. Improper technique, poor training and bad posture at the instrument all may cause problems such as lack of muscle control, weakness, or tension in the hands. Many teachers are interested in finding information about specific exercises dealing with finger strengthening, stretching, and warm-up strategies, as well as guidelines for safe practicing. It is therefore important for both teachers and students to understand how to build a technique from the earliest years of instruction. Carl Tausig (1841-1871) and Alfred Cortot (1877-1962) both contributed to the development of piano technique by writing books that include a significant number of exercises and excerpts. Their books incorporate detailed instructions on how to play each exercise effectively and without fatigue. Subsequently, Heinrich Ehrlich (1822-1899) collected and systematically arranged Tausig's notes, complementing them with detailed information on how to play Tausig's exercises without causing injury. This dissertation compares and contrasts the exercises found in Alfred Cortot's book, Rational Principles of Pianoforte Technique, and Carl Tausig's book, Daily Studies for the Pianoforte. The latter is based on the practical guidebook, How to Practise on the Piano: Reflections and Suggestions, written by …

In this bibliography an attempt has been made to furnish references to teachers that may assist them to develop in the students: (1) an attitude of friendly interest which will help to link the Americas in mutual respect and to promote a better understanding of problems to be met; (2) to gain an understanding and appreciation of the background of South American culture of today; (3) to become familiar with the folk music as well as the concert, both vocal and instrumental.

Manuel Machado is known as one of the most innovative Spanish modernist poets of the twentieth century. Despite his recognition as a literary figure in Spain, the mimetic descriptions in Machado's poetics are interpreted as mere innovations in Spanish poetry. Those mimetic descriptions are examples of ekphrasis in Spanish literature. Ekphrasis is both a literary and representational art. The mimetic dimension in Machado's poetry is ignored or misinterpreted by the critics of his poetics. This study written in Spanish investigates the use of ekphrasis in terms of Machado's poetic style. An analysis of Manuel Machado's ekphrastic poems will determine: ekphrastic poetry is a representational art; how visual and acoustic aspects of Machado's poems create enargeia; and the manifestation of ekphrasis in Spanish verse. In using Machado's poems, this project will contribute to future explorations of ekphrasis in Spanish literature.

This thesis presents a study of events in the life of Gertrudis Gómez de Avellaneda, a lyric poetess and dramatist during the Romantic period, as motivating forces in her literary career. As might be expected in the case of a true representative of the Romantic period, Avellaneda's passions and personal life are reflected in all of her works. She uses human and divine love as the main themes throughout all of her literary production, especially in her lyric poetry and the four tragedies chosen for this study: Munio Alfonso (1844), El Príncipe de Viana (1844), Saúl (1849), and Baltasar (1858).

Multicultural (MC) counseling and social justice (SJ) are foundational parts of counselors' professional identity, and they are fostered through a developmental process that counselor educators facilitate. The purpose of this study was to explore the relationship between counselor educators' ethnic/racial identity development (ERI), their social justice orientation (SJO) and their multicultural teaching competence (MCTC). MCTC was examined using the constructs of knowledge and sensitivity. Data was collected from a nationally distributed online survey. Data were analyzed using four hierarchical regression models in order to control for socially desirable responding. Results indicated that ERI was a significant predictor of MCTC-Knowledge (p < .001) and that SJO was a significant predictor of MCTC-Sensitivity (p < .001). Socially desirable responding was not significantly related to MCTC. Results suggest the importance of attending to ERI and SJO as separate processes in training future counselor educators.

This exploratory and descriptive study examines research articles published in ten of the top journals in the broad area of educational technology during the last 20 years: 1) Educational Technology Research and Development (ETR&D); 2) Instructional Science; 3) Journal of the Learning Sciences; 4) TechTrends; 5) Educational Technology: The Magazine for Managers of Change in Education; 6) Journal of Educational Technology & Society; 7) Computers and Education; 8) British Journal of Educational Technology (BJET); 9) Journal of Educational Computing Research; and 10) Journal of Research on Technology in Education. To discover research trends in the articles published from 1995-2014, abstracts from all contributing articles published in those ten prominent journals were analyzed to extract a latent semantic space of broad research areas, top authors, and top-cited publications. Concepts that have emerged, grown, or diminished in the field were noted in order to identify the most dominant in the last two decades; and the most frequent contributors to each journal as well as those who contributed to more than one of the journals studied were identified.

With increasing data and technology, multiple types of data from the same set of nodes have been generated. Since each data modality contains a unique aspect of the underlying mechanisms, multiple datatypes are integrated. In addition to multiple datatypes, networks are important to store information representing associations between entities such as genes of a protein-protein interaction network and authors of a citation network. Recently, some advanced approaches to graph-structured data leverage node associations and features simultaneously, called Graph Neural Network (GNN), but they have limitations for integrative approaches. The overall aim of this dissertation is to integrate multiple data modalities on graph-structured data to infer some context-specific gene regulation and predict outcomes of interest. To this end, first, we introduce a computational tool named CRINET to infer genome-wide competing endogenous RNA (ceRNA) networks. By integrating multiple data properly, we had a better understanding of gene regulatory circuitry addressing important drawbacks pertaining to ceRNA regulation. We tested CRINET on breast cancer data and found that ceRNA interactions and groups were significantly enriched in the cancer-related genes and processes. CRINET-inferred ceRNA groups supported the studies claiming the relation between immunotherapy and cancer. Second, we present SUPREME, a node classification framework, by comprehensively …

The Gemini Near Infrared Spectrograph - Distant Quasar Survey (GNIRS-DQS) is the largest uniform, homogeneous survey of its kind, covering 260 quasars at 1.5 ≤ z ≤ 3.5. This unique survey, coupled with data from the Sloan Digital Sky Survey (SDSS), enables new investigations into redshifts, supermassive black hole masses (MBH), and accretion rates at high redshift through spectroscopic coverage of important rest-frame UV-optical emission lines. The importance of this survey is highlighted in the fact that the optical emission lines provide more reliable measurements of these quasar parameters than their UV counterpart. With such a unique sample compiled here, I construct prescriptions to calibrate these quasar parameters derived from rest-frame UV emission lines to those derived from rest-frame optical emission lines. These prescriptions provide important insight into how these parameters depend on redshift and are potentially biased as we look out further into the universe. Additionally, all the work completed with this sample will help shape our understanding of how these quasars and their host galaxies co-evolve over cosmic time.

This dissertation is devoted to the development of novel devices for optoelectronic and photovoltaic applications using the promise of inkjet printing with two-dimensional (2D) materials. A systematic approach toward the characterization of the liquid exfoliated 2D inks comprising of graphene, molybdenum disulfide (MoS2), tungsten diselenide (WSe2), and 2D perovskites is discussed at depth. In the first study, the biocompatibility of 2D materials -- graphene and MoS2 -- that were drop cast onto flexible PET and polyimide substrates using mouse embryonic fibroblast (STO) and human esophageal fibroblast (HEF) cell lines, was explored. The polyimide samples for both STO and HEF showed high biocompatibility with a cell survival rate of up to ~ 98% and a confluence rate of 70-98%. An inkjet printed, biocompatible, heterostructure photodetector was constructed using inks of photo-active MoS2 and electrically conducting graphene, which facilitated charge collection of the photocarriers. The importance of such devices stems from their potential utility in age-related-macular degeneration (AMD), which is a condition where the photosensitive retinal tissue degrades with aging, eventually compromising vision. The biocompatible inkjet printed 2D heterojunction devices were photoresponsive to broadband incoming radiation in the visible regime, and the photocurrent scaled proportionally with the incident light intensity, exhibiting a …

I present spectroscopic measurements for 260 sources from the Gemini Near Infrared Spectrograph–Distant Quasar Survey (GNIRS-DQS). Being the largest uniform, homogeneous survey of its kind, it represents a flux-limited sample of Sloan Digital Sky Survey (SDSS) quasars at 1.5 < z < 3.5. A combination of the GNIRS and SDSS spectra covers principal quasar diagnostic features, chiefly the C IV λ1549, Mg II λλ2798, 2803, Hβ λ4861, and [O III] λλ4959, 5007 emission lines, in each source. The spectral inventory is utilized primarily to develop prescriptions for obtaining more accurate and precise redshifts, black hole masses, and accretion rates for all quasars. Additionally, the measurements facilitate an understanding of the dependence of rest-frame ultraviolet–optical spectral properties of quasars on redshift, luminosity, and Eddington ratio, and test whether the physical properties of the quasar central engine evolve over cosmic time.