Modern flute pedagogy tends to focus on repertoire which utilizes or builds upon tonal and Romantic stylistic conventions, largely ignoring works that disregard or reject these conventions until later in student's education. This lack of stylistic diversity in commonly studied works from the first half of the twentieth century can be problematic when students are approaching avant-garde or modernist repertoire for the first time, as they are unfamiliar with the style and technical needs of the pieces. This dissertation provides a style guide and progressive curriculum for the avant-garde repertoire of the early- and mid-twentieth century to help students bridge the gap from commonly-studied early-twentieth century repertoire to Post-War Modernist works. The curriculum and style guide are accompanied by an overview of avant-garde musical styles prominent in Europe and American between the 1890s and 1970s, a discussion of the pedagogical challenges of avant-garde repertoire, and two performance guides for avant-garde pieces included in the curriculum, Diaphonic Suite No. 1 by Ruth Crawford and Variations for Solo Flute by Ursula Mamlok.

Pierre Boulez (1925-2016) composed Dialogue de l'ombre double for clarinet and live electronics in 1985. This same year, Alain Damiens of Ensemble InterContemporain premiered and recorded the work with the help of Andrew Gerzso of Institut de Recherche et de Coordination Acoustique/Musique (IRCAM). The piece alternates between pre-recorded and live sections that are performed with varied levels of amplification and reverberation creating a dialogue between the parts. Boulez also includes detailed instructions for the spatialization of the pre-recorded tracks that play through six equidistant speakers that surround the audience. Furthering the complexity of this work, it is available in two published versions: version aux chiffres arabes (Arabic numeral version) and version aux chiffres romains (Roman numeral version). Each version includes much of the same musical material, but arranged in a different order. Performance of Dialogue de l'ombre double requires extraordinary technical facility and musical understanding from the clarinetist, the dedicated involvement of a highly qualified sound technician, and the use of a spacious, technologically equipped performance venue. This performance guide aims to facilitate greater accessibility and understanding of this challenging work, in order to encourage widespread performance of this extraordinary piece.

Alfred Schnittke was a prolific and nuanced musical figure of the twentieth-century, contributing significantly to the fields of musical philosophy and composition. One of his most researched contributions, that bridges both disciplines, is his definition and implementation of the compositional technique, polystylism. His 1971 essay, "Polystylistic Tendencies in Modern Music," served as the first serious discussion of the term, providing a narrower definition, differentiating it from other techniques, and discussing its importance in the oeuvre of twentieth-century artists. Schnittke is also known for his fervent desire to overcome the gap between Ernstmusik (serious music) and Unterhaltung (music for entertainment). This lifelong pursuit, combined with polystylism, lead him to create an eclectic catalogue that championed the ideas it was pioneering. However, there is little research done on the 1947 literary work that served as a creative catalyst to all these ideas: Thomas Mann's Doctor Faustus: The Life of German Composer Adrian Leverkühn as told by a Friend. In contrast to other telling's of the Faust legend, Mann's version features a composer-protagonist, Adrian Leverkühn, who sells his soul for twenty-four years of creative musical-genius. During this time, Leverkühn composes numerous successful works, even developing a new system of musical composition. Mann's telling …

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.

Padre José Maurício Nunes Garcia (1767-1830) was perhaps the most prolific, revered, and successful composer in 18th and 19th century colonial and postcolonial Brazil. Padre José Maurício's favor with King Dom João VI, the Portuguese Royal Court, and a catalogue of hundreds of compositions, is validation of his success, yet there is comparatively little academic research and recognition in comparison to his European contemporaries. Padre José Maurício's employment of the trombone within his ambitious capstone, his Missa de Santa Cecília showcases his recognizable and original compositional language. The influence of two contemporaries of Padre José Maurício, Wolfgang Amadeus Mozart (1756-1791) and Gioachino Rossini (1792-1868), had an integral and clear influence on the Missa de Santa Cecília without resulting in rote imitation. Mozartian text emphasis, independent part writing, technical demand, and traditional use of the trombone for sacred or supernatural imagery were synthesized by Padre José Maurício swiftly and originally. Simultaneously, Rossinian orchestration, close scoring, limited range, subverted structural arrivals, and emulated percussive effects were personalized and employed by Padre José Maurício. His insular development and instantaneous adaptation of new orchestration and theatrical models yields trombone writing that is idiomatic, in alignment with sacred and symphonic tradition, and essential to the …

Occupational burnout is a concern to the health and longevity of clergy and musician careers. However, no known study has assessed occupational burnout among pastoral musicians. A literature review revealed pastoral musicians anecdotally experienced multi-tasking, workplace politics, inequality of workload, competing liturgical styles, lack of job security, lack of financial security, and lack of rest, among other indicators of burnout. Therefore, the aims of this paper were to: (1) describe pastoral musicians as a population; (2) identify the prevalence rate of burnout among pastoral musicians; (3) investigate the relationship between pastoral musicians' burnout and religious coping; and (4) investigate the relationships between pastoral musicians' burnout and depression, anxiety, and stress. In 2021, an online questionnaire was designed to assess burnout among pastoral musicians. Dissemination techniques included emails to members of the Hymn Society of North America and via social media to collect data from pastoral music directors in the United States of America. The survey yielded n = 1,050 respondents: 83.8% experienced one or more symptoms of burnout (41.3% with low efficacy; 12.4% with high emotional exhaustion; 21.3% with high cynicism; 8.8% with burnout). Ineffectiveness was positively correlated with negative religious coping. Emotional exhaustion and cynicism were positively correlated with …

In the late 19th century, Georg Schumann (1866-1952) composed an attractive sonata for the cello that remains largely unknown today. By presenting a performer's analysis, this dissertation aims to position Georg Schumann's Sonata for Cello and Piano in E minor, Op. 19 (1898) amongst other more commonly performed sonatas of the era. This paper provides a detailed analysis of each movement of the sonata, an overview of the history and development of the cello sonata and an overview of Georg Schumann's biography leading up to the composition of his cello sonata.

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.

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 …

Paul Tortelier's How I Play, How I Teach (1975) is an invaluable addition to the limited amount of comprehensive cello methods written during the second half of the 20th century. Although Tortelier's influence on cello performance is still being felt today, the application of his method has not been sufficiently explored. An exceptional performer and devoted pedagogue, Paul Tortelier (1914-1990) can undoubtedly be ranked among the greatest cellists of the 20th century. Influenced by Pablo Casals' (1876-1973) approach to cello playing, How I Play, How I Teach develops his views on intonation, sound production, shifting, and articulation. However, Tortelier also introduces numerous daring inventions of his own into his method. These include playing with a flattened last joint of the finger for a more expressive vibrato, "rolling the stick of the bow" while playing for a wider palette of tone colors, new pizzicato and thumb position techniques, new legato fingerings for double stops, and the "pianistic passing of the thumb," among others. Due to their highly unorthodox nature and often condensed, minimalistic explanations, many of Tortelier's ideas have failed to gain acceptance since their publication and are regularly considered to be types of extended technique, mostly applicable to contemporary music …

This survey presents a transcription for horn and piano of Siete Canciones populares Españolas (Seven Popular Spanish Songs) by Manuel de Falla (1876-1946). Siete Canciones populares was written originally for voice and piano and previous transcriptions with different instrumentation have been published after the original work. In order to provide a faithful representation in my version, my study explores three main subjects: the style of Manuel de Falla; the significance of Siete Canciones; and the composer's horn writing in his orchestral work The Three-Cornered Hat. The solo horn repertoire originates in the central European countries and remains a product of their traditions until the second half of the twentieth century, when it was broadened by composers worldwide. My transcription helps to fill a gap in the repertoire for horn and piano by Spanish composers before 1950. It will serve as both a resource for horn players and a valuable contribution to horn recital repertoire.

Charlotte Moorman (1933–1991) was a Juilliard-trained cellist whose life and work made an indelible mark on the development of the American avant-garde. In her career, Moorman acted as a performer, collaborator, composer, administrator and muse. She solely founded the inaugural New York Avant Garde Festival, and subsequently directed fifteen of these festivals between 1963 and 1980, the feat for which she is most widely acknowledged today. Yet, her revolutionary performance practice, which blurred the lines between her life, her body, and her work, and brought into focus the dynamics of corporeality, the feminine body, female nudity and sexuality, and gendered politics within the contexts of musical performance, has so far escaped serious consideration in the written histories of the American avant-garde. This dissertation describes the nature of Moorman's practice as one that evolved to become inherently and irrevocably embodied, explores how this approach fell at odds with the pervasive avant-garde philosophies of music, and illustrates how her work troubles even a feminist musicological analysis. Further, through a contemporary critique of Moorman's oeuvre which centralizes the social, cultural, and political implications of her body in performance as integral to the work, this project offers a retrospective visibility to the artist which …

Byung-dong Paik is the one of the most famous Korean composers of the twentieth and twenty-first centuries. He has wanted his music to keep up with the times and also incorporate features of Eastern music without catering to the "difficulty" of modern Western music. The Passacaglia for Solo Violin takes a unique modern approach to the Baroque form of passacaglia and its tonal structure by transforming the characteristics of the original theme in a series of seventeen variations and a coda. In this paper, a general analysis of the work leads to suggestions on how to perform it effectively.

Like numerous other Baroque pieces, the Ciaccona attributed to Tomaso Antonio Vitali (1663-1745) was transformed in the nineteenth and twentieth centuries. The German violinist and composer Ferdinand David (1810-1873) was the first to edit and publish the piece. The composition became popular after being included in the second volume of his Die Hohe Schule des Violinspiels [The Advanced Method of Violin Playing] (c.1867). Since then, Vitali Ciaccona became an essential work in the violin repertoire and is often heard in concert halls. However, what many audiences hear in concerts is essentially an arrangement of the Ciaccona. Acknowledging the "double life" of the piece as both Baroque and Romantic, this dissertation examines the advantages and disadvantages of playing the Ciaccona attributed to Vitali on both the Baroque and modern violins.

The main purpose of this dissertation is to offer a modern transcription and critical edition of François Campion's Sonatina in D Major, found in his Piéces de Guitare du S.r Campion from 1748. Since it is not a common practice for the modern classical guitarist to study the baroque guitar and all its idiosyncrasies, this transcription from French tablature into modern notation will make this piece accessible to all classical guitar players. Using his sonatina as an example, this dissertation covers the process of transcribing baroque guitar French tablature while emphasizing a practical performance approach that suits the classical guitar. This approach includes examining tuning differences, suggested transposed notes, ornamental interpretation, and the overall differences in performance practice between both instruments. Not much is known about Campion's life (c1685-1747), but his importance as a musician in France during the early eighteenth century is evidenced by his publications and his accounts as a theorbo and baroque guitar player for the orchestra of the opera company L'Académie Royale de Musique, for which he was employed from 1703 until 1719. Unfortunately, while this music is fairly known and usually performed by early music specialists, it is ignored by modern guitarists, mainly because of …

Anthony Plog's Concerto for Flute and Wind Ensemble is a substantial but relatively unknown work from the composer's early compositional period. It deserves wider exposure and recognition in the repertoire for solo flute and wind ensemble, given its accessibility for both the soloist and the ensemble.

Isang Yun (1917-1995), one of the most important avant-garde German-Korean composers, is perhaps best known for his success at integrating Korean musical elements into traditional Western styles. His Concerto for Oboe, Oboe d'amore, and Orchestra incorporates many traditional Korean elements, and uses techniques such as Hauptton, Hauptklang, and Umspielung to blend these elements into a Western musical style. This study explores the elements of traditional Korean music and instruments present in Yun's score, examines his compositional techniques, and makes practical performance suggestions that allow performers to properly convey his intentions. This dissertation includes six chapters. The first chapter discusses the purpose and importance of the study. The second chapter reviews Isang Yun's biography and works, based on a published interview with Yun and a biography written by his wife of many years. The third chapter introduces the characteristics of traditional Korean woodwind instruments relevant to the work. The fourth chapter examines Yun's compositional techniques of Hauptton, Hauptklang, and Umspielung in the work and their relationship with the main-tone and Sigimsae techniques. The fifth chapter introduces and explores different types of Sigimsae in the work, with suggestions for quarter-tone performance techniques. The sixth and last chapter is a conclusion.

Paul Schoenfeld (b. 1947) is considered one of the major American composers of the present day to have incorporated many different styles in his music. Although Schoenfeld primarily uses a combination of folk, popular music, klezmer, and jazz in most of his compositions, he has also incorporated other distinctive musical styles in his works, such as neo-Baroque, particularly in his Partita for Violin and Piano (2002). The purpose of this dissertation is to explore the eclectic combination of neo-Baroque and klezmer elements found in Schoenfeld's Partita. This research provides a detailed comparative analysis of his work with Johann Sebastian Bach's Clavier-Übung I, BWV 825–830, and 6 Sei Solo a Violino senza Basso accompagnato, BWV 1001–1006, primarily to see how Schoenfeld made use of Baroque forms, imitative passages, rhythms, and other stylistic features, then fused them with klezmer elements. Klezmer is a genre of music stemming from the Eastern European Jewish tradition; its distinctive characteristics are modal scales and Hasidic vocal ornaments. Knowing the mixture of Baroque and klezmer stylistic influences should help performers to interpret the piece.

The euphonium has been an integral part of wind bands and brass bands for more than a century. During this time the instrument has grown in stature in both types of band, as an ensemble member and a solo instrument. Until recently, however, the instrument has been underrepresented in orchestral literature, although a growing number of composers are beginning to appreciate the characteristics of the instrument. The purpose of this research is to explore the perceived rise of the euphonium in an orchestral environment through analyzing the significance of the role it plays within Lorin Maazel's Music for Flute with Tenor Tuba Obbligato (1995) and Karl Jenkins' Cantata Memoria (2005); specifically, how the euphonium contributes to the orchestral scores in relation to its capabilities as an instrumental voice.

Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.

The trumpet ensemble has increasingly become a popular chamber ensemble inside music programs at the secondary and collegiate level. Chamber music ensembles are frequently guided by both democratic processes and ensemble coaches with limited chamber music experience. As trumpet ensembles grow in popularity, pedagogical resources are needed to guide rehearsals. This project serves as a guide for educators and performers to focus on fundamental issues related to trumpet ensembles as well as strategies for ensemble rehearsal.

Cécile Chaminade (1857-1944) was a remarkably successful French composer and pianist for a woman in the early part of her career, although her reputation waned rapidly after her death. Concertstück (1888), a single movement for piano and orchestra, was her only work in this medium. It requires many traditional piano skills and therefore can serve admirably as a comprehensive technical and artistic study. This dissertation includes a formal analysis of this piece, a discussion of each type of specific piano technique it requires, and practice suggestions.

The Sound of the Prairie Land (Caoyuan Zhige) for viola and piano by the Chinese composer Qingwu Guan (b. 1938) has become one of the most popular works in the growing Chinese repertoire for viola. It also exists in another version for viola and viola ensemble, arranged by the Chinese violist Wing Ho, who also expanded the viola part with the composer's approval. The pentatonic work was highly influenced by the landscape and music of Inner Mongolia, a province of China next to the Mongolian border, and incorporates the music of an ode by the Inner Mongolian composer Alatengaole (1942–2011) called Sincere Wishes for a Long Life to Chairman Mao. Guan remains a strong supporter of Mao, the first chairman of the Chinese Communist Party. The work makes use of some performance techniques of the Inner Mongolian two-stringed fiddle called morin khuur, which has a similar tone to the viola: three kinds of slides, grace notes, imitations of a horse's neigh, and the representation of horses galloping across the prairie. The background of the work, understanding of the musical structure, and information about morin khuur techniques presented in this dissertation should aid performers in interpreting the work more authentically.

The modern trombone player can experience a variety of styles on any given day. There is a need for the ability to switch between a plethora of styles ranging from avant-garde pieces to many forms of popular music to masterworks of the symphonic repertoire. It is the responsibility of the musician (performer or educator) to be familiar with all music due to global access via the internet. There is a responsibility to properly perform and respect music as more composers are beginning to blend different styles, genres, idioms, and cultures within the same composition. Daniel Schnyder is a prominent continuation of this style of musical collage that began with composers such as George Rochberg, Luciano Berio, Bernd Alois Zimmermann, and Charles Ives. The goal of this project is to analyze the stylistic saturation of Daniel Schnyder's Worlds Beyond Suite, focusing on performance and stylistic analysis to aid in an informed performance. This project will highlight the flexibility required by modern trombonists to perform with a deeper understanding of music in multiple styles, as the blending, juxtaposing, and superimposition of style is the universal future of music.