The purpose of this dissertation is to introduce Le Temps Déformé for solo flute, percussion, and strings, composed by Korean American composer Texu Kim (b. 1980) in 2017. The dissertation includes an analysis of the work and its background, to show that it represents a significant expansion of the concerto repertoire for solo flute and to help performers interpret it. This piece of writing should also contribute to the available sources about the composer Texu Kim, given that it is the first dissertation about him or his work. This piece should be appropriate for flutists who are seeking to perform a new piece with orchestra. Although hundreds of concertos have been written for solo flute and orchestra or string orchestra, Kim uses the unusual instrumentation of strings and percussion (drum and triangle) without woodwinds and brass. In a program note, the composer mentions that he made use of Korean traditional music, Sujecheon, which has similar instrumentation. The note also discusses he transformed and interpreted Korean traditional music to create a new interaction with Western music.

The main purpose of this dissertation is to offer classical guitarists an additional analytical technique for interpreting and performing the music of Johann Sebastian Bach. While this mode of analysis can be successfully applied to any of the instrumental works by Bach frequently transcribed and performed by guitarists, I have chosen for this study my recent transcription of the Partita in A minor for solo flute traverso, BWV 1013. With a continuo-based, harmonic realization of the Partita, I contribute to the existing guitar repertoire by offering a new transcription of this work, while demonstrating how historical concepts of rhetorical structure and aesthetics found in relevant primary source material can inspire a new approach to analysis, transcription, and performance practice. In this way, my investigations create additional perspectives for classical guitarists regarding the analysis and performance of this work, while complementing traditional harmonic analysis and subject labeling. Although it is my hope that this new transcription of the Partita will serve as an important contribution to the existing literature, the main purpose of this dissertation resides in the musico-rhetorical analytical technique and its implications on performance practice for classical guitarists.

Wayne Barrington was a tenured member of the Chicago Symphony Orchestra for ten years and held positions with the LA Philharmonic, Pittsburgh Symphony, and San Antonio Symphony. He was an early member of the Chicago Brass Ensemble and a founding member of the LA Brass. While performing in these major orchestras and brass quintets, Barrington played alongside many notable musicians including Philip Farkas, Forrest Standley, Arnold Jacobs, Bud Herseth, Frank Crisafulli, Miles Anderson, Roger Bobo, David Krebhiel, and Christopher Leuba. Many of these musicians mentioned have received recognition in books and dissertations for their achievements as performers and pedagogues. Barrington, however, has not. Barrington was also a founding member and secretary of ICSOM, the International Conference of Symphony and Orchestra musicians. This organization helped improve the working conditions for musicians by creating transparency of orchestra salaries and giving musicians throughout the United States and Canada a say in ratifying their contracts. After Barrington's years as a symphonic musician, he transitioned from a full-time performer to a full-time pedagogue and taught for over three decades at the University of Texas at Austin, and several of his students went on to have successful careers of their own. His impressive career and influence …

The purpose of this project is to help bridge the gap of available solos for the novice bass tuba player. It is necessary for the growing tuba player to transition to the bass tuba for solos at the professional level, but the majority of pieces that are written for the bass tuba are at the professional level, and it leaves very little for the transitional phase from a repertoire standpoint. Through transcribing vocal works, an aspiring bass tuba soloist can focus on fundamental aspects of tuba playing like tone quality, breathing, intonation, and musicianship. Generally speaking, tuba solos are written for the contrabass tuba and accessible to late high school and early college musicians, or they are written at the professional level for bass tuba. There is a gap in the repertoire for the solo tuba, pieces that can help transition young students to the later repertoire demands of the bass tuba. This project will address the need for more novice solo works accessible to the young collegiate tubists transitioning to the bass tuba by identifying current deficiencies in the repertoire available for the developing solo tubist. This project concludes with a transcription and performance edition of Franz Schubert's Op. …

The purpose of this study is to examine the acoustic implications of using aspirated, well-coordinated, coup de la glotte, and hard glottal onset methods, in order to compare and contrast the radiated acoustic spectra. Twenty-five singers trained in bel canto singing style were asked to sing 5-second samples on three pre-determined pitches comprising the low, middle, and high range in male and female voices. Each participant was instructed and trained to sing the three pitches with the four methods. EGG was used with audio perception to verify onset type, and VoceVista Video Pro was used to analyze power spectra. A repeated measures multivariate analysis of variance (rMANOVA) was performed with the SPSS General Linear Model function, with onset type as the within-subjects variable to determine main effects and interaction effects on harmonic amplitude (up to 5000Hz) from the independent variables. A significant main effect was found for onset type and more specifically, a significant acoustic difference was found between the well-coordinated and coup de la glotte onsets. Substantial inconsistencies were found in the execution of the well-coordinated onset, as well as in participants' reported preferred onset compared to their baseline measurement of executed onset type. Intentional study of the phonatory …

English publisher John Playford (1623-1686/1687) first published his "The Division Violin: Containing a Collection of Divisions Upon Several Grounds for the Treble-Violin" in 1684. The first edition of this violin collection contains 26 written-out examples of improvisation, serving as a living snapshot of the performance practice of the time. This research is based on the second edition, which Playford had expanded into 30 pieces for the violin, published in 1685. The purpose of this study is to investigate the art of improvisation in England during the late 17th century, focusing on Playford's "The Division Violin." The dissertation first surveys the development of English violin music in the 17th century. Then, the dissertation traces eight selected 16th-century Italian diminution manuals. This will help readers understand the progression of the Italian diminution and improvisation practice in the 16th century and how it relates to the English division of the 17th century. Finally, based on a thorough research of the 17th-century improvisatory style and rhetorical approach, the author of this study provides performance suggestions on "Mr. Farinell's Ground," No. 5 from "The Division Violin."

The purpose of this project is to conduct and analysis of the role and symbolism of the trumpet in two early eighteenth century Spanish music dramas: La Guerra de los Gigantes by Sebastian Duron and Los Desagravios de Troya by Joaquin Martinez de la Roca.

There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through an analysis of the keyboard works of Soler, that his music was imbued with the salient features of his place and time. There is an implicit connection between the guitar and the non-guitar music produced in Spain as guitar gestures are part of the national emblem; this study makes an explicit connection between the harpsichord music of Soler and the modern guitar. The Spanish Baroque style, epitomized by the works of Soler, provide a clear objective for transcription. The current study produces a transcription of Padre Antonio Soler's Sonata No. R.27 and Sonata No. R.100, as well as an analysis of the sonatas to facilitate interpretation for performance and an explanation of the transcription process. …

Mario Lavista (b.1943) is widely acknowledged as one of Mexico's foremost living composers. Having acquired his music education in his native Mexico and in Europe alike, he is similar to numerous other Latin composers who were building a career in the latter half of the twentieth century. During this time, composers were relying on international aspects of avant-garde techniques, and using nationalistic Latin rhythms and melodies less. Lavista embraced internationalism, and aimed to compose works devoid of identifiable elements of nationalism. This document argues that the absence of nationalistic elements in Lavista's music has affected his notoriety outside of Mexico. The role of nationalism is assessed through a brief examination of influential Mexican composers and educators prior to 1950, followed by a discussion of education and composition in the latter half of the twentieth century. These aspects are investigated with regard to Lavista's education and resulting compositional style. A theoretical analysis of Cinco Danzas Breves para quinteto de alientos (1994) serves as a representative example of Lavista's compositional style and influence. This document aims to highlight and increase exposure of Mexican composers outside of Latin America who do not compose nationalistic music.

Method books are a major means by which musicians study techniques and performance practices of the past. In addition to being practical tools for learning one's craft, these books serve as a historical reference into the minds of famous performers and teachers. Today's use of nineteenth century method books ensures the instructional lineages of famous clarinetists are carried forward. However, clarinet researchers and historians would be remiss if they did not also record and preserve the distinctive methods of the twentieth century's most effective performers and teachers. Elsa Ludewig-Verdehr is one such clarinetist who has established herself as a substantial twentieth century figure through (1) her performance record, (2) her students' performance and teaching record, and (3) her involvement in the international clarinet community. Review of current literature indicates four articles, five biographic dictionary entries, and one dissertation observation and interview about Dr. Verdehr's methods exist. These sources honor her, provide biographical information, and reference the tenets of her teaching philosophy; however, they do not discuss her detailed methodology or specific pedagogical exercises. Therefore, this text seeks to answer questions about Dr. Verdehr's teaching philosophy and clarinet method in order to record and preserve her life's work. This text provides …

The early trumpet arias by Giovanni Legrenzi and Carlo Pallavicino are important works in the trumpet repertoire that have remained relatively unpublished and unstudied. This dissertation will look at the history of the trumpet in opera, discuss the development of the trumpet aria, and provide examples of how to approach the performance of the trumpet aria. Through study and performance of the early trumpet arias by Legrenzi and Pallavicino, trumpet soloists will be able to learn the necessary techniques to collaborate with singers and perform all trumpet arias.

Peruvian composers Armando Guevara Ochoa (1926–2013) and César Vivanco (b. 1949) borrow and transplant musical elements from Andean folk tradition into their compositions for the modern classical flute. Guevara Ochoa's Yaraví, Danza y Huayno and Vivanco's Fantasía Andina are solo flute pieces rooted in Peruvian folklore traditions and Andean instrumental performance. The purpose of this dissertation is to provide flutists with technical and interpretative guidance in preparing these pieces. Yaraví, Danza y Huayno, a suite of three short dances, and Fantasía Andina, a free-meter piece in an improvisational style, incorporate elements that utilize the performance techniques of Andean instruments, with use of quotations from traditional Andean folk music. References to quenas (traditional vertical flutes), zampoñas (panpipes), pututos (ceremonial natural horns), charangos (Andean guitars) and Andean harps are integrated within the works and fused with themes borrowed from iconic pieces such as El cóndor pasa, and traditional harmonic, melodic and rhythmic structures of the huayno (fast festive dance) and yaraví (slow melancholic song). The techniques and traditions borrowed from Andean folk music are not notated in these scores due to the limitations of musical notation. Performers are expected to portray the Andean musical identity of the composers' intent. This dissertation assists …

Zou Xiangping is one of the most significant Chinese composers who writes music for the saxophone. These works, however, are not well-known in the classical saxophone repertoire. The purpose of this dissertation is to help international saxophonists develop an enlightened understanding and ultimately, performance of two selected pieces by Chinese composer Zou Xiangping (邹向平) (b. 1951), Images of Yalong River for Alto Saxophone and Piano (雅砻江印：为中音萨克斯管和钢琴) and Song of Chuanjiang River Boatman for Saxophone Quartet (川江纤夫之歌: 为萨克斯管四重奏) (2022). The compositional background, the relevant introduction about Chinese culture, the manner in which the composer combined this with Western compositional techniques, and comprehensive performance advice of each piece are provided.

The Viola Concerto No. 1 was commissioned in 2010 by Xidi Shen, a viola professor at the Shanghai Conservatory of Music, and composed the same year by Zili Li (b. 1938), a Chinese composer and violinist. For musical, cultural, and technical reasons, this little-known Chinese viola concerto strongly aroused my interest, leading me to use it as the research subject for my doctoral dissertation and to also introduce this work to Western violists. This dissertation provides a performance guide to Zili Li's Viola Concerto No. 1. By analyzing the Mongolian music topics used in the work as well as addressing its typical Mongolian-style string performance techniques, the dissertation should provide a foundation for viola players who wish to play the work but are not familiar with this specific style. In addition, I hope that it can serve as an inspiration to other string players who are playing works based on Mongolian music.

The Suite for Violin and Piano, Op. 6 is one of the least-known compositions by Benjamin Britten. It has been considered unfavorably by critics and scholars due to its puzzling mixture of tonal and post-tonal elements. However, this dissertation argues that the suite is composed with a clear tonal framework, and its unique mixed tonal-post-tonal language justifies an in-depth analysis. This analytical study utilizes a linear progression technique - the voice leading produced by passing tones and neighbor notes around focal pitches - to identify tonal areas of the suite.

Since the first saxophone professor at the Paris Conservatory in 1858, saxophone instruction has primarily been a male-dominated field. Numerous sources detail the experiences, lives, and influence of male post-secondary saxophone instructors. Women have made great strides in the performance and instruction of the saxophone at the post-secondary level, but sources discussing their lives and experiences are limited. Saxophone instruction at the post-secondary level in the United States began in the late 1800s. As the instrument grew in popularity through the 20th century, more and more higher education institutions began incorporating the saxophone as an instrument for primary study. This increased the need for saxophone professors in the United States. In 1994, Elizabeth Zinn Ervin, became the first woman full professor. This was 40 years after the the first man, Larry Teal, held this rank. As of 2023, 15 women have achieved the rank of full professor. This document is intended to highlight several women saxophone instructors throughout the history of the instrument, and detail the thoughts and experiences of women saxophonists who have achieved the rank of full professor in the United States.

Le Rire de Saraï for flute and piano was written in 2001 by Guillaume Connesson. Although the composer's works have been commissioned and performed by numerous leading orchestras and musicians in Europe and the United States, his music is largely neglected by scholars. Despite the increasing popularity of Le Rire de Saraï, the piece also has never received scholarly attention. Therefore, an analytical study of the piece, its influences, and its context in Connesson's output will provide for a deeper understanding and informed performance of this significant element of the flutist's repertoire. Le Rire de Saraï, like much of the composer's music, is notable for the eclecticism of its language and its inspiration from an extramusical source. This study first discusses his biography, inspirational sources, and various musical influences, which provide essential background information to understand his musical world. This document then explores the story of Hagar and Sarah, which serves as the inspiration for the piece and how Connesson draws on the story without crossing into the domain of program music. Finally, the study examines the interactive elements of his eclecticism in the piece, such as French sensibility, American minimalism, Baroque toccata, and popular music.

John Mayer (1929-2004) was a British Indian composer and violinist. Despite his contributions to bringing Indian music to the West and his large output of works, the majority of his compositions remain largely unknown. This document focuses on Mayer's only oboe concerto, Shanai Awaz, which translates to "Sound of the Shanai" in Hindi. It is representative of his fusion of Indian and Western techniques. The performance guide helps the oboist navigate the fusion elements of the piece. Because no piano reduction of the score was made by the composer, the piece has likely not been performed since 1983. A piano reduction of the score was created as part of this dissertation to make it more accessible to oboists.

With the importance of versatility in freelance work in the world of trombone performance, along with increased competition for that work, the need for players to play alto, tenor, and bass trombones to a high level of proficiency has become more and more crucial. This, coupled with the growing number of orchestras looking to hire musicians who are highly competent on all three instruments means that university professors need to be able to teach all three instruments. This evolution of the job market is driving a need for pedagogical material that is specifically designed to address the unique challenges of practicing and performing at a professional level on the main three instruments in the trombone family. As of the time of writing, this material simply does not exist. This project aims to fill that instructional gap. It gives students and teachers a resource that outlines an approach for a four-year undergraduate course of study that allows for the development of the playing of each of the trombones individually and collectively, utilizing the strengths of one instrument to develop the other two. It will also allow for the exploration of the technical challenges that arise when playing and changing between instruments. …