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This dissertation explores the choices involved in being a composer in Latin America during the last decades of the eighteenth century and the first decades of the nineteenth century. My primary interest is to understand how composers adapted or not- their aesthetics, ideas and careers amid the rapid changes brought to this region between the 1790s and 1850s, a period often described as an “Age of Revolutions” and that saw the end of colonial rule and the foundation of modern independent nations. Composers in the region worked within European forms and styles, and with Europe as a cosmopolitan cultural model; but they also learned, composed and performed in a specific set of historical conditions that differed from those in contemporary Europe. In that sense, my interest is in the specific agency composers -as literate urban citizens- had in appropriating and shaping transatlantic cultural transfers during this period. My study focuses on two musicians working in the Andean region, today’s Bolivia, Peru and Chile, during this period: José Bernardo Alzedo (Lima, 1788-1878) and Pedro Ximénez Abrill Tirado (Arequipa, 1784 - Sucre, 1856). Born in late-colonial times, both composers adapted themselves and their musical styles to the new expectations created by the post-independence period. Through five chapters I explore their specific role as composers, and how their decisions and choices impacted their careers and music, both personally and in context. Some key problems discussed in the dissertation include the definitions of local, personal and national “schools” and styles of composition; the notion of the composer as a postcolonial letrado; the ways in which specific European influences (like printed scores and Italian opera) shaped local musical scenes; and the complexities of adapting colonial musical models to the new “republican” period and its changing values, perspectives and ideals.

Begun in Berlin, completed in exile in Paris, and premiered on both sides of the Atlantic, Kurt Weill's Symphony No. 2 sets up the symphony circa 1933 as both resolutely international and messily interdisciplinary, and spotlights how fundamentally a transnational approach is needed in order more comprehensively to understand both the genre and the localised political and social issues shaping symphonic discourse at this time. Taking the issues raised by Weill's symphony as a starting point, and borrowing fine-grained, historically synchronic approaches from year studies, this thesis examines the symphonic genre in 1933 through four other case-study works composed or premiered in that year. I thus position the symphony as a site of cultural exchange between and within the major contexts traversed by Weill and his work: Berlin, Paris, and a messier U.S. East-Coast nexus that centres on New York and Boston, via Mexico City, looking in detail at Hans Pfitzner's Symphony in C-sharp minor, Roy Harris's Symphony 1933, Aaron Copland's Short Symphony, and Arthur Honegger's Mouvement Symphonique nr. 3. The Germanic genre has long been associated with nationalism, monumentality, and power display, wedded to Germanic Enlightenment philosophical discourses about universalised selfhood and its relationship to society. 1933, the year in which Hitler took power and the Great Depression reached its peak, was politically and economically fraught, concentrating social questions that intersect with symphonic issues about power, selfhood, space, and mass audiences. It is also a neglected year within symphonic surveys. The thesis combines archival work and hermeneutic perspectives to foreground those social and political discourses historically associated with the genre. I argue for the significance of their differing legacies in co-existent contexts, for the complicity of the genre in establishing and perpetuating political and colonial hegemonies, and for the urgency of rethinking the symphony as an international phenomenon.

Writing in 2001, musicologist Axel Klein concluded that Stanford’s reception history has been significantly impacted by the complicated national identities surrounding both the composer and his music. A lifelong devotee of the nineteenth-century Austro-Germanic tradition, Stanford’s status as an Irish-born leading figure of the ‘English’ Musical Renaissance has compromised the place that the composer and his musical output occupy within the history of Western music. Stanford is well-known for being an outspoken critic on matters musical and Irish. Although his views seldom appear ambiguous, there is still a sense that the real Stanford remains partially obscured by his opinions. Through an examination of his symphonic works, this thesis seeks to readdress our understanding of Stanford and his relationship with Ireland and the musical community of his time. Although A. Peter Brown has stated that the symphony was not a central genre for the composer, it is my argument that, on the contrary, the symphony was a pivotal form for him. Considering these works within the broader history of the symphony in Europe in the nineteenth century, and through a critical examination of Stanford’s relationship with Ireland, this thesis seeks to demonstrate that these seven works can be read as an allegory for the composer’s relationship both with his homeland and with the musical community of his time. His struggle to combine the universality of symphonic expression with a need to articulate his Irish identity parallels Stanford’s own attempts to integrate himself within both British and European musical communities, and further demonstrates, in his eventual rejection of it, that it was only when he attempted to forge a more individualistic path through his music that he found a way of expressing his individual Irish identity.

"Stravinsky's own account of the composition of this great work follows and needs no addenda. But since composers don't always point out their greatest masterstrokes, here are a few additional comments. Listen closely to the first chord it recurs several times during the opening minutes of the first movement for although it is a simple e minor triad, in Stravinsky's hands even a conventional chord becomes distinctive. In assigning the triad's notes to the instruments of the orchestra, Stravinsky hands out twice as many G’s (minor triads) as the root of E or the fifth of B, contrary to what textbooks teach and then concentrates these pitches either in the high reaches of the flutes, oboes, harp, and pianos, or in the low register of the bassoons, trombones, and basses with nothing in between. Moreover, Stravinsky marks the chord not fortissimo, as one would expect, but plain mezzo-forte having learned long ago that he didn't have to raise his voice to speak with force and power. The final pages of the Symphony of Psalms, with the pianos, harp, and timpani moving slowly back and forth through three notes (E-flat, B-flat, F), like the solemn tolling of church bells while the chorus intones its words of praise, make this one of the most celebrated passages in Stravinsky's output. It is all the more impressive for being slow, quiet, austere, and repetitive. When E-flat finally rises to E-natural, and the music sinks into C major, Stravinsky achieves a simple power rare in music of any century. The Symphony of Psalms was commissioned by Serge Koussevitzky to celebrate the fiftieth anniversary of the Boston Symphony Orchestra. Koussevitzky fell ill the week of the premiere, which was then postponed until later in the month; in the meantime, Koussevitzky gave permission for the European premiere to go ahead according to schedule, thus making that the world premiere."

This dissertation documents Joseph Haydn’s compositional practice of integrating sonata and fugue in his early symphonies. It argues that through this process of sonata-fugue integration, Haydn developed his most characteristic sonata-form techniques, and that some of the late-eighteenth-century sonata’s definitive rhetoric also emerged from this practice. The dissertation closes by surveying the interaction of fugue and sonata form in the instrumental works following the early symphonies, and includes two appendices on archival documents that have an undetermined bearing on Haydn’s musical education.Haydn composed his first 39 symphonies between 1757 and 1766, and in this group of works, we find a greater concentration of fugal writing than in any comparable genre or period of his life. The movements that engage with fugue take part in establishing a rich dialogue between fugue and sonata form, which supports a reading of two movements (the last movements of Symphonies no. 3 and 40) as sonata-fugue hybrids. This historical moment realizes an intersection of two genres in culturally opposing liminal states—sonata on the rise, and fugue in decline—that also feature a compositional challenge. Sonata form is divided into two or three parts by sectional repeats and cadences, while fugue was meant to be continuous from beginning to end. In the early symphonies, Haydn navigates this fundamental tension by establishing a set of sonata-fugue integration strategies. This process also appears to give rise to characteristic rhetoric around the Medial Caesura (and its avoidance), as well as the sonata-form techniques of the Trimodular Block and Coda-Rhetoric Interpolation.In the two sonata-fugue hybrid movements, Haydn forges a compromise between sonata’s discontinuity and fugue’s continuity by eliminating the sonata process’s expositional closure and repeat. Fugue makes the sacrifice of occasionally admitting homophonic textures and a Galant compositional style. Strong rotational correspondence between the exposition and recapitulation of each piece, as well as a rich dialogue among the early symphonies as a group support reading these two movements as sonata-fugue hybrids, despite the generic challenges posed.Haydn develops several narrative-compositional strategies in these works to support the sonata-fugue hybrid. Ten of Haydn’s early movements begin with fugue expositions or elements of one, and these all take advantage of this fugal invitation by highlighting continuity, either by remaining fugal, or through some other set of strategies. Some of those movements that present potentially fugal material realize this latent fugal potential in development or recapitulation action zones. A critical element of the hybrid strategy, also present in other works, is the use of stretto as a recapitulation-launch tactic. These pieces often feature more thoroughgoing recomposition than in the other early movements. Together, these strategies generate the origins of Haydn’s most characteristic techniques—including monothematic and continuous expositional strategies and recapitulatory recomposition.By paying special attention to the fugal aspects of Haydn’s early symphonies, we also gain insight into the development of the late-eighteenth century sonata style broadly. Scholars have long recognized sonata’s indebtedness to fugue, and this study provides new and direct analysis of this ancestry.

Symphony for Wind Ensemble, composed in 2022 by Parker Fritz, is a 25-minute acoustic work for single-part wind ensemble describing the inner feelings and identity realizations of the author as he realizes his dual artistic identity as a performer and composer. The first movement, “Always Distracted, Never Focused,” uses evolving drone tone clusters of varying timbres to paint an image of ambiguity towards the author’s own artistic identity. The second movement, “With Sadness Comes Acceptance,” uses rising whole tone scales, modulating chorales, and quickly resolving suspension chains to demonstrate the author’s conflicting view regarding his artistry, The third and final movement, “Realize and Release,” is a celebration of the author’s realized identity as a dual-focused performer and composer. This work considers Henry Brant’s theories of blend and balance as described in his text Textures and Timbres in its orchestration.

The purpose of this thesis is to defend and vindicate the use of “Sturm und Drang” as a musicological term. To defend the term’s usage, I offer a new construction for understanding the movement. My construction comprises a three-part framework that consists of preparatory, intensive, and concluding phases. For this study, I have selected compositions by Carl Philipp Emmanuel Bach (1714-1788), Franz Joseph Haydn (1732-1809), and Ludwig van Beethoven (1770-1827), respectively, as representative of each group. This new construction of Sturm und Drang achieves greater linkage between the literary movement and musical style-period by addressing concerns over chronology and stylistic development. Addressing these two concerns demonstrates the adequacy and usefulness of the Sturm und Drang label.

This thesis takes as its starting-point the theoretical and critical writings on music from the second half of the 18th century - mostly by German authors such as H.C. Koch and J.F. Daube. The intention is to illustrate the preoccupations and concepts of these authors in the period associated with the development of Classical symphonic style. I have noted the emphasis on textures and on certain aesthetic criteria, such as "Feuerigkeit" and "das Unerwartete", and I have attempted to trace the growth of meanings given to these terms over a period of about 50 years. To illustrate the formal implications of the "symphonic allegro" described in these writings, I have discussed specific examples in the second chapter from the symphonies of J.C. Bach, F.X. Richter, G. Pugnani, P. Beck, etc. (These are given in score in the Appendix of Musical Examples) Emphasis is placed on the contrasting roles of tutti and lightly-scored texture in articulating the internal structure of the first section of the allegro movement; and on the types of formal expansion (such as prolonged dominant preparation) and harmonic surprise already used by symphonic composers in the 1750s-60s. The third chapter is concerned exclusively with the symphonies of Haydn, illustrating his capacity to devise new relationships and roles for the traditional contrasts of texture and dynamic level in the symphonic allegro. The important sketch for the finale of Symphony No.99 is discussed, as a case in which the relationship between tutti transition and second subject is only gradually decided in the composer's plans. The harmonic aspects raised in connection with Haydn's symphonies are considered in more detail in the 4th chapter, which moves from the element of cadential expansion - in the form of interrupted cadences and interrupted or prolonged cadential progressions - to that of tonal contrasts at the level of independent and clearly defined periods which play a part in the thematic growth of the movement. The importance of flattened submediant and flattened mediant relationships are underlined in this context. Haydn's quartets have been largely used as the basis for this discussion. In the 5th chapter, the subject is the growing complexity and variety of tonal treatment in Haydn's development sections, from his observance of traditional key-schemes, through his experimentation with fausse reprise effects, to the enlargement of his procedures to include both flat and sharp key relationships. The chapter concludes with a discussion of the "enharmonic" modulatory schemes characteristic of Haydn's late style. In the final chapter, the intention has been to illustrate some of the different functions of tonal contrast that grew up alongside and after those described in terms of Haydn's music. A contrast is drawn between Haydn's use of flattened submediant areas within a single key area, and the use by Mozart and Beethoven of similar effects for the purposes of modulating from first to second group key. Finally, some of the great first movements of Schubert are discussed to illustrate the growth of the principle of harmonic and expressive contrasts to encompass very large areas of tonal stability.

Winter Suite is a continuation of a larger piece entitled Four Seasons Suite. Four Seasons Suite consists of four movements representing each season: “Winter Suite,” “Spring Suite,” “Summer Suite,” and “Fall Suite.” Four sub-movements constitute each seasonal movement. So, Four Seasons Suite has four movements and sixteen sub-movements. Each movement is designed to be performable as a standalone piece but it is also acceptable to perform all of them during the same concert. Winter Suite takes its inspiration from images of the titular season and seeks to emulate various aspects of winter such as snowfall, blizzards, and ice along with the jubilation that some people experience when the landscape becomes a winter wonderland.

This document contains the full score to Symphony No. I, a composition for wind ensemble comprised of four movements lasting approximately thirty minutes. On the macro level, this symphony is motivic, and is centered upon two chorales composed by Johann Sebastian Bach: Christ lag in Todesbanden and Durch Adams Fall ist ganz verdervt from the Kalmus edition of the 371 Four-Part Chorales. The two chorales form the fabric of the entire symphony. The piece is cyclical and on the micro level, the movements are constructed in such a way that thematic, rhythmic, and gestural elements return throughout the symphony creating a continuity between them through thematic development and restatement. The instrumentation is: piccolo, two flutes, three Bb clarinets, Bb bass clarinet, Bb contrabass clarinet, two bassoons, contrabassoon, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, four horns in F, three Bb trumpets, two trombones, bass trombone, euphonium in bass clef, tuba, double bass, timpani, and five percussion. The score to Symphony No. I is supplemented with an analysis of the structure, key centers, harmonic materials, and motivic and melodic usage of the Bach chorales.

Symphonic works provide the composer an opportunity to create and explore an entire world, establishing the rules and laws by which the music operates, subject only to the whims and wishes of the composer. I view large-scale symphonic works as one of the highest achievements of musical expression and craft a composer can accomplish. I chose to compose for the chamber orchestra due to its intimate arrangement, narrowing down the orchestra to its most essential components: strings, woodwinds, and brass, along with the inclusion of the piano. Though the piano is technically not an “essential” component of the orchestra, I personally view its inclusion as highly effective, at least in my compositions. This is merely a preference of mine, but there is something special about the blend achieved by integrating the piano into the orchestra, especially when percussion is not utilized. My decision to omit percussion presents the opportunity to place the rhythmic and percussive drive in other parts of the orchestra, most notably in the piano as well as the strings, especially when playing pizzicato. I typically use a three movement format in large-scale works, viewing it as perfectly balanced between a fast sonata, slow binary/ ternary, and an even faster rondo. With this work, however, I chose to include one additional movement after my original decision to include just three, in this case adding the third movement. This movement serves as a type of waltz-like component of this work. Concerning the length of this work, it is a bit longer in duration as I typically compose. My rationale behind composing works within a range of ten to fifteen minutes is simply due to how the world is today. It is very difficult for most listeners (myself included) to remain diligently focused on a work much longer than fifteen minutes. The world is very different today than it was in the days of Wagner and Mahler. There is a tremendous amount of differing options all competing with one another, and all merely a click away. I lean towards creating shorter works which are hyper-focused in what they intend to accomplish. Stated simply: I do not want to overstay my welcome.

Symphony No. 1 is a symphony in four movements consisting of movement 1, which is an ABCAD allegro with an introduction; Movement 2, which is an ABA largo; movement 3, which is a Minuet & Trio; and Movement 4, a third rondo with a coda. The structural and artistic rationale for this symphony is a rhythmic idea, with inspiration drawn from the central motivic idea of Beethoven's Symphony No. 5 in C Minor, Op 67. This rhythmic idea is centered around placing sixteenth notes within a quarter note span. Specifically, if you have all four sixteenth notes that make up a quarter note together, then you take away one, there are four different rhythms you can end up with depending on which of the four sixteenth notes you remove. You can get a 1 & a, 1 e &, 1 e a, or an e & a rhythm; each movement is based on one of these different permutations. The first movement uses the 1 e & rhythm, the second movement uses the e & a rhythm, the third movement uses the 1 e a rhythm, and the final movement uses the 1 & a rhythm. Furthermore, the fourth movement has a few moments where all four ideas are used in sequence, in the order presented through each of the movements. Of course, while these rhythms were conceived on the sixteenth-note level, the rhythms are expanded throughout the symphony, being employed at the eighth-note, quarter, all the way up to the double-whole-note level. In summary, the various permutations of three sixteenth note lengths within the span of a quarter note length is the central idea of the piece. This symphony draws its tonal inspiration from Beethoven's Fifth Symphony. The first movement is an allegro in the tonality of E with an emphasis on the minor mode. The following slow movement begins in the tonality of C, which is a major third below the E tonality. This is reflective of Beethoven's Fifth descent a major third in its second movement to the tonic of A-flat. The third movement returns to an E tonality with an emphasis on the minor mode. The finale is in the tonality of E and in a major mode, which mirrors Beethoven's build to the parallel major of C in the finale of Symphony No. 5. The symphony is written for the instrumentation of a late 19th-century orchestra. The instrumentation is: woodwinds: 2d picc, 2, 2, 2+contra; brass: 4, 2, 2; percussion: timpani, xylophone, snare drum, bass drum, hand held cymbals; harp; strings. It should be noted that the harp is absent in movement four and that the xylophone is only in the third movement.

Liminal is a 15 minute single-movement work for orchestra (2[1+picc].2.2[2+bcl].2 - 4.3.3.1 - timp, 3perc - str) with optional projected images. The dissertation as a whole is an interdisciplinary work consisting of the original musical composition written for orchestra—the main component—and original visual art created by the composer. The musical composition possesses a symbiotic relationship with the visual art component in which sections of the music were inspired by the visual art and vice versa, each initiating the genesis of the other throughout the process. Color, line, texture, and space in the visual art informed the musical composition, and likewise, color or timbre, musical line and/or contour, texture, and audible space informed the visual art. These translations of visual art into the musical domain were accomplished through use of compositional techniques like orchestration, harmony, melody, and more. The title of the work refers to the creative process of the piece, as well as the treatment of motivic, salient musical material from beginning to end, in addition to an extra-artistic, human aspect for the composer. The structure of the musical work reflects a transition and emergence from a state of liminality through the evolution of artistic material. There are numerous reoccurring melodic and gestural units throughout the piece, presenting themselves in different manners as they cross thresholds and develop. Central to the piece is a five note motive which takes different shapes and guides the listener through the various formal features. This motive gave rise to the general harmonic language and structure of the piece. While the work contains visual art to be projected, this is optional, as the musical work may stand alone and be performed without.

During the past four decades, the wind band music of David Maslanka has been held in high regard and performed throughout the world. Many works by Maslanka have been accepted into the growing body of standard repertoire for the wind band. Symphony No. 10: The River of Time is the final work by this highly respected composer.The purpose of this document is to record all information pertaining to the commissioning, composition, and completion of the symphony. Performance considerations will also be addressed. The data generated here will be valuable for future performances and its historical contribution to wind band repertoire. The composer’s compositional approach and use of meditation will be examined as well as the completion of the work by Maslanka’s son, Matthew Maslanka, following the composer’s death.

Symphony No. 1 In On Movement, a composition for symphony orchestra, is a symphony not in form, but in its overall arch and dramatic affect. The piece is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, English horn, 2 French horns, 2 trombones, timpani, glockenspiel, vibraphone, concert bass drum, suspended cymbal, piano, and strings. The orchestration style is heavily influenced by the orchestral music of Claude Debussy, as well as the scores of Japanese film composer Shinji Miyazaki in its highly melodic content and heavy use of winds. Overall, this piece's aesthetic is a mix of film music and 20th century French style symphonic music, emphasizing a horizontal sense of counterpoint and melody rather than vertical harmonies.

This document contains the score to Symphony No. 5: Westward Journey, an original composition for symphony orchestra consisting of four movements, lasting approximately twenty-eight minutes. This work is rooted in the Western European symphonic tradition utilizing a four-movement structure, which I chose in order to carry forward the symphonic tradition, as well as to allow each movement to feature different aspects of the entirety of my compositional catalogue. The lyricism and limited tonality of Movement II stem from my earliest compositions; Movement IV uses my typical strategy of re-contextualizing all previously introduced melodic and motivic material; Movement III alludes to much of my chamber music in tone and formal structure, while Movement I focuses on the re-imagining of compositional influences that have permeated my music for several years. The piece follows a traditional pattern as to form, opening with a sonata-allegro first movement, followed by a slower theme-and-variations movement, then a slow minuet-like dance movement, finally a rondo, with extended opening material. The score to the symphony is accompanied by an analytical document.

Many of the comments made by Gustav Mahler concerning the relationship between his life experiences and musical compositions have compelled scholars to interpret his work through the lens of his worldview. From the known facts of his reading habits, social circle, and references to philosophy, one can establish a general picture of Mahler’s interests, beliefs, and values. But to go beyond these generalities requires a more in-depth understanding of worldview and how it manifests in artistic expression. This project attempts to answer this need by investigating the concept of worldview through an analysis of the works of Mahler’s middle-period: the Fifth, Sixth, and Seventh Symphonies. Chapter One pursues a deeper understanding of what is meant by the term “worldview” and its relationship to art. This chapter lays a theoretical foundation that combines a historically informed definition of worldview with the philosophy of Paul Ricoeur to create a methodology for the case studies that will follow. Worldviews, while variable in content, contain a tripartite structure consisting of narratives, symbols, and values. The case studies that follow examine the works of the middle period under the rubric of these elements. Chapter Two analyzes the Fifth Symphony’s narrative structure, applying the insights of that investigation to Ricoeur’s notion of “narrative identity.” Chapter Three focuses on a specific musical symbol used in the Sixth Symphony—commonly known as the Ewigkeit motive—and examines how Mahler’s use of this symbol in other works illuminates its philosophical meaning and its expressive role in the Sixth. The final case study, Chapter Four, theorizes that Mahler’s compositional process serves as the outward expression of his inner beliefs. It considers the development of the Seventh Symphony as evidence of how value-structures manifest themselves as modes of being and doing. The final study concludes by drawing together the insights of the three analyses to offer an interpretation of Mahler’s worldview as expressed in the symphonic trilogy of the middle period.

The following piece is a three movement, twenty minute orchestral work in a Romantic style whose primary goals are accessibility and beauty. In the process of writing this piece, I learned that strong and memorable melodies are the key to a successful composition - taking influence from Henry Mancini and early Japanese video game composers, this work takes a central melodic theme through a series of variations to demonstrate the power of harmonic and orchestrational recontextualization. Rhythmically, the work utilizes techniques from the Minimalist and Progressive Rock traditions to strike a balance between rhythmic complexity and melodic focus. The three movements are meant to represent three steps towards self-actualization - Explore depicts curiosity and open-mindedness, Engage demonstrates the merits of focusing on one's craft, and Wonder represents the value of feeling awe towards the world even if it is not easy or simple. Ultimately, the work moves through a wide variety of moods and textures throughout its duration while staying focused on the central theme until the end, with the goal of creating a listening experience that is both rich and memorable.

Impetus is a six-minute single movement piece for orchestra consisting of 3 flutes (3rddoubling piccolo), 2 oboes, English horn, 2 clarinets in Bb, bass clarinet in Bb, 2 bassoons,contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussion, harp, piano, andstrings. The title is in reference to the interjections that take place throughout the piece, whichmay cause the preceding material to drastically change, or at times not change at all.The piece is in three large, contrasting sections, each connected by two different types oftransitions. The first section involves a quiet, dense, slow moving texture using quarter-tones.This density is interrupted—but not affected—by loud, abrupt interjections from the entireorchestra. The second section is a loose reflection of the first; however, the loud, abruptinterjections do change the preceding material. This section is fragmentary and episodic,alternating between the orchestral interruptions and material differing completely ininstrumentation, timbre, dynamics, and character. The third and final section begins with slow,quiet swells transferred throughout the orchestra. It also features sound-based techniques thathave not been used at any other point in the piece: air sounds, scratching/rubbing parts of theinstruments, and key clicks. Through the use of these techniques, references to the first sectionwill take place; however, these references are blurred and ultimately unrecognizable.

As Lightning Flashes and As Water Quenches are companion pieces for symphony orchestra, which may be performed independent of one another or together in any order. Their combined length is 20 minutes. The first of these works was commissioned by the Boulder Symphony Orchestra for its 2017 season. In Part I of this paper I discuss broadly the challenges, practical considerations, process, and inspiration behind these associated works. Parts II and III cover a detailed analysis of each piece’s structure, pitch, and harmonic language, as well as unique aspects pertaining to each composition. Part IV examines key musical elements that unite the two works, including a shared fast-within-slow feel, use of descriptive language, and attention to orchestral color combinations.

In recent years, Julian Anderson’s music has been gaining ever-increasing international attention, especially since his residency with the City of Birmingham Symphony Orchestra from 2001 to 2005. Some of Anderson’s most important works were written during this period, including Symphony (2003). Through an examination of the work’s technical construction as well as its connections to seminal works of literature and music, this dissertation gives an account of Symphony as a locus for Anderson’s artistic concerns writ large.

Symphony No. 2: Sights in Sound is an original composition for full chorus, string orchestra, woodwind quintet, eight-part percussion ensemble, and piano. Each of the work’s twelve movements utilizes a different combination of instruments, provides a distinct programmatic or cultural setting, and can be easily performed individually, outside of the full symphonic context. Despite this, the symphony as a whole is well bonded through various traditional elements and unifying themes. The titles of the movements are as follows: I. Phenomena of the Sky, II. Arirang, III. Colors of the Sea, IV. Amongst the Trees, V. Crossroads, VI. Dancing Leaves, VII. Motherland, VIII. Crystalline Walls, X. Beside the Waves, XI. Rising Sun, and XII. To the Heavens. Advisor: Tyler Goodrich White

Pietro Maria Crispi (1737-1797) was a Roman church maestro and keyboard player. Although almost completely forgotten nowadays, he had a modest international career during his lifetime; one of his symphonies was published in London in 1763 by Robert Bremmer, and Charles Burney referred to him as a “famous church maestro here” while visiting Rome in 1770. Friedrich Lippmann introduced Crispi to musicologists in a 1968 article investigating a symphony collection at Doria-Pamphilj archive in Rome. Among over 120 symphonies, this collection contains eighteen by Crispi, the largest among the eighteenth-century Italian composers represented. However, there has been no systematic research -- including archival research on the source materials -- on Crispi since. This study brings Crispi’s works to contemporary scholarship by locating the sources of and editing his remaining thirty-two symphonies into a modern edition. Based on the resulting scores, I examine the style of the twenty-four symphonies found in MS-829 at the University of California at Berkeley; I also discuss eight other symphonies, from other sources, in terms of their authenticity.

From the time of its conception in Spring 2013, until its final manifestation in Spring 2015, Persepolis Symphony has developed from a short melodic motive into a large-scale composition for full orchestra. The piece embodies a majestic sensibility that may be perceived as apt for an ancient royal court. The title pays tribute to one of the grandest palaces of Ancient Persia, Persepolis. Accordingly, the work derives its musical inspiration from Persian folk and traditional music, featuring melodic and rhythmic elements from the musical tradition of Iran. The piece is written in the Persian melodic mode of Shoor, which uses an aggregate set of pitches similar to that of the Western natural minor scale, but utilizes a 2nd scale degree lowered by a quarter-tone. The work also features a pervasive rhythmic cycle salient in Persian folk music. Persepolis Symphony commences with the main theme presented in a light orchestration and gradually develops into a fuller texture as the thematic material progresses.

In the face of declining attendance rates and aging subscriber bases, American symphony orchestras have begun to seek out new ways to market classical music to a younger demographic. This target group includes the Millennial generation, which has displayed a widespread disinterest in classical music alongside a higher level of comfort with (and reliance on) technology than any previous generation. In response, many performing ensembles are experimenting with augmenting their concerts with technology such as social media interaction, projections and smartphone applications. It is important to note that although many new and interesting digital genres are made possible by the advancements of technology, this thesis focuses on classical music as performed by acoustically traditional symphonic instruments.This study explores the current phenomenon of implementing technology in the concert hall as an audience development tool using case studies of the Philadelphia Orchestra, ProMusica Chamber Orchestra, and Elevate Ensemble. The data suggests that these performing ensembles are including technology in three main areas of their audience development strategy: targeting specific niche demographics, programming new and community-based repertoire, and increasing social engagement. These themes point to the conclusion that the injection of technology alone into the concert experience is not enough to make classical music concerts appealing to the next generation. Orchestra administrators must be willing to mindfully consider each part of the traditional concert structure as an opportunity to modernize, while still keeping the celebration of quality classical music central to their mission.

Symphony #3 for Wind Ensemble is a four movement composition for wind ensemble with a duration of roughly 35 minutes. This piece seeks to push back against the trend in wind band towards writing surface-heavy “festival music”. One of the main objectives of this symphony is that extremes (particularly of dynamics and tempo) must be earned: that there must be strong emotional or narrative content underlying each surface element of the piece. The opening measures of the symphony present a series of quartal block chords based in F and a fluttering unstable texture centered on concert A. The large-scale form of the piece is derived from these two motives, and the majority of the piece follows the development and interaction of motivic material influenced by the two initial motives. The individual movements of the symphony trace the emotional journey taken as the two main motives are eventually destined to combine.

In this dissertation, I propose an analytical approach cover song analysis. Although song repurposing is a pervasive and an important practice in contemporary Euro-American popular music, it is the object of little scholarly literature. What scholarship there is, tends to be analyses of discreet original-cover pairs, leaving unaddressed the broader process of what it means to cover. “Cover song” has thus remained an undefined term that conceals many different interpretive subject positions. I therefore propose to analyze the practice of covering as a series of decisions, made by the cover artist, to be similar to or different from a base song. Drawing from Michel de Certeau’s theories of creativity, I describe the base song as a “strategy,” an organizing force to which the cover artist responds with “tactics,” changes they make to repurpose the song for their particular expressive intentions. Depending on their number and extent, tactics either pull the new interpretation away from the original, or emulate it. These tendencies can be conceived of as continuum, stretching toward isomorphism (likeness) on one end, or metamorphism (dissimilarity). A third category arises when a song is repurposed by setting entirely new lyrics to an earlier song’s music. This is no longer a cover but a “derivative,” a new song that does not depend on the original for its meanings. Using the above framework, I bring multiple analytical lenses from music theory, and related disciplines to bear on several case studies. I draw these from the family of songs related to Frank Sinatra’s hit “My Way,” including its French source, Claude François’s “Comme d’habitude,” Sid Vicious’s violent metamorphic cover, and Canadian lounge act, Johnny Vegas, isomorphic homage to both Sinatra and Elvis Presley to help both broaden and focus the scholarly conversation on this important musical practice. This dissertation is the first of two, the second being my symphony for chamber orchestra, “The Quietest of Whispers.” In this work, I explore my own recovery from childhood sexual abuse in the hopes that it comforts other survivors of all walks, and initiates a broader conversation about sexual abuse recovery, particularly for boys.

In recent years, the number of wireless devices and the amount of data generated by these devices has seen an exponential growth. However, the number of channels available for data transmission has not increased significantly leading to the problem of spectrum crunch. Our measurements show that the existing wireless deployments employ high density of wireless devices (access points, smartphones etc.). However, to prevent interference, the current wireless algorithms prohibit these neighboring wireless devices to operate simultaneously. The main focus of this thesis is on improving the network experience on the mobile devices by leveraging the high density of wireless devices.This thesis proposes four different solutions that are suited for different wireless topologies: Symphony, RobinHood, Mozart and R2D2. Symphony and RobinHood are best suited for Enterprise wireless networks where multiple access points are connected to each other and are willing to cooperate. Both Symphony and RobinHood use novel cooperative decoding techniques to enable multiple neighboring access points to simultaneously receive different packets on the same channel. Symphony is suitable for wireless networks that span large geographical areas while RobinHood is suitable for smaller deployments. Symphony and RobinHood leverage the high density of access points in WiFi networks that otherwise remain unused in traditional wireless solutions. Mozart is suitable for WiFi networks where neighboring access points belong to different entities that may not be willing to cooperate. Mozart takes an unconventional approach of letting all transmitters collide at the access point and then lets the access point decode the collided packets in the fewest number of slots.Finally, R2D2 is designed for cellular networks and it enables neighboring devices to efficiently communicate with each other while reducing the dependence on the cellular base stations. R2D2 leverages the temporal spatial asymmetry in the traffic patterns to efficiently allocate resources across cellular base stations as well as to efficiently schedule links at each of the base stations.The thesis discusses all the solutions in detail, along with the techniques to address the challenges involved in their practical implementation.

Aaron Copland's Short Symphony remains among the least performed of his works, this despite the fact that the composer considered it among his finest. This dissertation explores the work's history and reception, issues surrounding Copland's notation of meter and rhythm, and his approaches to metric notation. Freely adapting an analytical process developed by Lerdahl and Jackendoff in their 1983 book A Generative Theory of Tonal Music, the author proposes a method of metrical analysis by which Copland's meters can be stripped away, and new meters derived from the metrical weights inherent in the music itself. The result is a newly re-barred version of the Short Symphony's outer movements, scores of which are included as an appendix. It is the author's hope that this method can help illuminate other works with similar notational issues.

Mainstream scholarship teaches that Beethoven's five cello sonatas follow his progression as a composer. The Op. 5 sonatas are considered to belong to the Classical tradition of keyboard domination and cello subordination, and the Op. 69 sonata is held as an important transitional work in which the cello and the piano are first treated as equals. The Op. 102 sonatas, appearing in Beethoven's increasingly chromatic and contrapuntal late period, further integrate the cello into the music making, but many scholars see the cello here as more of an independent voice than a matching partner. A closer look at the sonatas reveals a composer who was more consistent in his thinking. This document will study the relationship between the cello and the piano in each of the five cello sonatas of Ludwig van Beethoven and demonstrate that the equal treatment of both instruments, so widely praised in the Op. 69 sonata, is present in all five works.

This piece represents the splitting of the mind as well as the irrational and often violent thoughts that compete against each other in order to blur the line between the real and the imaginary. The piece culminates in the third movement into a sort of psychotic break and ends in the disquieting limbo between life and death represented by the solo piano. This symphony also explores the sonic possibilities of creating a stereo effect by splitting the wind ensemble into two separate ensembles. This includes the resolution of dissonances on one side by the opposite side, the continuation of melodic ideas moving freely from side to side, and each side playing within tonality, but combining together to create dissonant bitonality. The middle ensemble, which includes piano, bass, contrabassoon, and all the percussion but the two timpani, acts as a sort of glue that holds the two separate wind ensembles together and ultimately creates the illusion of one large ensemble that is split into two, like a psyche being fractured. The piano further represents pain and self destruction by the large, brutal cluster chords that are played by hitting the keys with full force with both forearms over and over again throughout the Symphony. Adviser: Eric Richards

Run for the Sun (2013) is a composition written for orchestra with an instrumentation of piccolo, two flutes, two oboes, english horn, two Bb clarinets, Bb bass clarinet, two bassoons, contrabassoon, four F horns, three C trumpets, two tenor trombones, bass trombone, tuba, timpani, percussion (three players), and strings. The piece is seven and a half minutes in duration and was premiered March 24, 2013 at Carnegie Hall, New York City, performed by the New York Youth Symphony, conducted by Joshua Gersen. The music of Run for the Sun follows a protagonist on foot, chased by an antagonist, dashing towards the setting sun as it beams down long boulevards, interrupted by skyscrapers. Two menacing melodies, initially heard in the horns (m.1) and trombones (m.23), represent the two characters, and become the themes of a double variation. They snake their way through the orchestral choirs, undergoing a harmonic and timbral expansion, using orchestrational strategies used by electronic dance music composers. Development of the variation themes, through interval doublings in the strings (m. 45), winds (m. 62), and brass (m. 120 & 195), was inspired by monophonic synthesizers, which have the ability to interpolate new sound partials and formants.  Industrial sounding percussion accompanies the variations: woods and metals create a skewed drum set, just as electronic composers might use digital clicks instead of hi-hats, or white noise in place of a snare drum to create an acoustically referenced electronic drum set. During the course of the composition, I use harmonic progression as a way to reflect the relentlessness of the chase scene.  The work opens in D minor and struggles to escape by moving upward to E (m. 33), F (m. 45) and G (m. 62).  D minor partially re-emerges throughout the work (m. 100 & 120, 195), while a mysterious slow middle section (m. 151) evokes a feeling of temporary safety.   Following a "heroic" theme played by the horns (m. 224) and climactic pre-dominant and dominant harmonies (m. 248 & 254), the work heroically concludes in the key of D major (m. 258), as our protagonist escapes.

This interdisciplinary document examines the intersection of art and music during the fin-de-si¿¿¿¿cle in Paris and Vienna, with particular emphasis on the convergence of Art Nouveau with the symphonic genre. It relates the more fluid Art Nouveau of Paris with the more geometric Jugendstil and Sezessionstil styles of Art Nouveau that emerged in Vienna, and explores the reciprocal influence of each in the development of the symphony during the fin-de-si¿¿¿¿cle. Four symphonic works that span the height of the Art Nouveau era are examined in detail, including the Symphony in B-flat major (1890) by Ernest Chausson (1855-1899), the Symphony No. 3in B-flat major (1897) by Alexander von Zemlinsky (1871-1942), the Symphony No. 2 in B-flat major (1902-3) by Vincent d'Indy (1851-1931), and the Symphony No. 7 (1904-5) by GustavMahler (1860-1911). Through an analysis of the shared Art Nouveau characteristics of each, a new lens for understanding and contextualizing these works is proposed.

Wondrous Love (public domain) is an old American hymn tune that I have known for a long time, and I have used it as the primary source material for my Chamber Symphony, trying throughout the piece to vary the texture and mood of the music. The piece opens with a sort of static texture, which gives way to a section where veiled references to the hymn tune become gradually more apparent. This veiled section almost dies away when the next section begins with a clear woodwind choir announcement of the first part of Wondrous Love. This short section, which is primarily transitional in nature, then moves through the strings, brass, and other instruments to effect a modulation into the next section. The next section is the first full announcement of the Wondrous Love hymn tune. While the music itself does not really change for the next two iterations of the tune in the section, the instrumentation is varied, and there is a modulation. This rather transparent music then dies away to a single note in the violins; this serves as a transition into a dreamlike section. This dreamlike music ends rather suddenly with an explosive tutti moment of which augmentation and open sonorities are the most salient features. The piece then comes to a close shortly thereafter with music that gradually dies away.

Callisto or Jupiter IV is one of 66 moons of the planet Jupiter. Discovered by Galileo Galilei in 1610, it is the third-largest moon in the Solar System. It is thought that Callisto’s surface has evolved primarily through violent impacts; its ancient surface is one of the most heavily cratered in the Solar System. The moon was named after Callisto a nymph in Greek mythology. Rumored that she was the daughter of the treacherous Lycaon, king of Arcadia. This piece has two general parallel narratives, one following the harsh creation and development of the physical planet and one that follows the development of Callisto, the nymph, and her father Lycaon. It would be impossible to write music about one of Jupiter’s moons without referencing textural and rhythmic gestures from Gustav Holst’s Jupiter from The Planets, Op. 32.

This symphony is in three movements and lasts about 25 minutes. The form of the music for each movement has been influenced by the marches of Wolfgang Amadeus Mozart, Edward Elgar, John Philip Sousa, and Dimtri Shostakovich. The first movement is in a march form related to the music of John Philip Sousa: 1st strain, 2nd strain, trio, dogfight, trio dogfight, trio. This form has been adapted to merge with sonata form. Broad fanfares play a central role in the formal outline. They introduce formal sections similar to Beethoven's slow introduction in the first movement of the "Pathetique" sonata acting as indicators of formal construction. The second movement is a slower hymn or dirge, which is a form closely related to a march. In many cultures hymns or dirges are sung in a procession, or while walking or marching. This movement begins and ends with a sentimental hymn in the strings. In the middle section, the rest of the orchestra attempts to distract or undermine this hymn. The third movement is in the form of a "screamer," or circus march. These marches are very fast, chromatic, and meant to create a great deal of excitement. This march form has been adapted to merge with the scherzo and trio form of symphonic repertoire. Formal repeats are used in this movement that are elemental to the formal aesthetic. Fanfares play a similar role in this movement as in the first movement. Advisor: Tyler Goodrich White

The relationship between music and its sources of inspiration probably has been debated for as long as people have created instrumental music. Baroque tone painting is a documented early correlation of musical theme to subject. Subsequent musical imagery and mood creation for the later programmatic music could be an outgrowth from this Baroque practice. Composers used several approaches to create each music-to-subject connection. One compositional device was using music that had become a cliché for its most common use to evoke a reference to that setting. Another device created music that “sounds like” its meaning—musical onomatopoeia—instrumental mimicry of extra-musical sounds. Stories are suggested by the mood of the music; sometimes the only connection between music and subject is a theme that evokes the mood. Musical moods that change with the story can produce musical forms. Pictorial literal imagery may be found by study of the score with imagination. One can find correlation between the contours of notation passages and shapes in a visual representation of the subject. Pictorial correlation can be found in shapes created by paths of movement. Size and spatial relationships can be described by corresponding motifs and harmonies. Constellation Suite is a symphony in four movements that uses all of the aforementioned pre-compositional constructs and subject relationships. The symphony's four movements derive titles and thematic material from the star groupings Andromeda, Crux, Pleiades, and Orion. Superimposing a star chart on a staff created a primary motif in each movement, and Greek legends star-related stories inspired their moods, order of themes, and shapes. However, the symphony uses traditional or almost traditional forms—a modified sonata, an extended modified rondo, a modified da capo form, and an arch form. The movements also capitalize on interrelated thematic material that creates a cyclical effect. Because of these techniques, Constellation Suite would not require any non-musical interpretations or stories to be musically valid. This thesis will demonstrate that, regardless of this symphony's tone poems' intended meanings, it joins the work of other composers who have turned stories and literal imagery into music.

A Child's life (symphony for band) is a work for concert band in three contrasting movements. It is programmatic and the movements are compositionally linked by a network of motives and a large-scale tonal plan. The piece gravitates around the pitch center C, branching out symmetrically within each movement to explore neighboring key areas. Though tonal, the piece incorporates much chromaticism and features techniques of contemporary and jazz composition. The total performance duration is approximately 22 minutes.

This thesis explores the eighteenth-century aesthetic of the sublime in application to Mozart’s Symphony No. 41 Jupiter, K. 551. Using Immanuel Kant’s definition of the mathematical sublime and Johan Georg Sulzer’s idea of the sublime, I argue that Mozart achieves this aesthetic through the synthesis of stylistic opposites: the learned and the galant. The culmination of such is best articulated in the fugue found in the Coda of the fourth movement. In this segment, Mozart combines five galant motives into a learned fugue; this intricate combination of stylistic opposites creates an elevated effect, one in keeping with eighteenth-century philosophies of the sublime. Drawing from my own experiences, I further argue for the subjectivity of the sublime and discuss its occurrence both in composition and as emotion.

Symphony No. 1 "The Galilean Satellites" was written from 2008 to 2009. These four moons, discovered in 1610 by Galileo Galilee are very unique objects in our solar system. Europa is one of the smoothest objects in the solar system and has the best chance of containing possible life. Ganymede is the largest moon in the solar system and to this point is the only moon that has its own magnetic field. Io is one of the most geologically active objects in the solar system and contains many volcanoes. Callisto is one of the most heavily cratered objects in the entire solar system. As you can tell, each of these moons is very different so I wanted to try to make each movement unique on its own, but at the same time I felt it was important to do something to unify all of the movements together somehow because these moons, although very different from each other, are all part of the great discovery of Galileo Galilee. In addition, Europa, Ganymede, and Callisto are all believed to contain a liquid ocean beneath their surface. When listening to the music, a very familiar slow motive will play, which is my portrayal of the possibility of life. At the very end of the entire work, you will hear ideas/motives from all of the previous movements. The electronics in this piece use not only software synthesizers and edited sounds created in MAX/MSP, but there are real sounds taken from NASA that was actually recorded through data received from space equipment that were visiting these moons from outer space.

The initial composition of the Fifth Symphony in E-flat Major, Op. 82 was undertaken as a commission to celebrate the composer's fiftieth birthday. Unhappy with the initial efforts, two revisions were then performed; the first was in 1916 and the final revision in 1919. Despite the larger form of the work seeming to have been changed between the 1915 and 1919 versions, the smaller gestures of thematic expression in both versions remained similar. On the surface, it had appeared that the composer had eliminated a movement, changing the 1919 version into a three movement form. This view was not challenged by the composer at the time, and since the earlier versions had either been withdrawn or destroyed, there was no way to compare the original efforts to the final product until recently. In comparing the 1919 version to the original, a definite strong parallel can be seen between the two - despite the changes to form, rearrangement of melodic material, and the seemingly different number of movements. However, the parallel is enough that the 1915 version can be a guide to classifying the 1919 version, an act that has eluded many scholars since the 1920s. Most importantly, comparing the two versions shows that the 1919 version is not a three movement form at all; it is a four movement form that is obscured by the connection of the first and second movements by a thematic bridge that contains elements from both movements, but is not placed within either structure.

The technique of symphonic composition requires a deliberate and methodical process by the composer; when the symphony is intended to aesthetically convey a specific subject matter, the compositional process must become even more deliberate. First a subject must be chosen and examined in a contemporary standpoint. Then the composer must determine how to reflect this subject through his or her composing. Ideally, the end result of this composition should encompass the subject matter as thoroughly as possible. While the great majority of textbooks on music theory and composition centralize themselves on elements of pitch in music, the composer has many other elements to consider, notably rhythm, texture, timbre, and form. These elements – be they working independently of one another, supporting one another, or at odds with one another – can be influenced by a wide variety of both traditional and developmental artistic movements. Oftentimes, a composer may find it ideal to synthesize both older techniques of one element with newer techniques in another. This synthesis was the objective in composing a modern program symphony based on the four seasons. Emulating different styles and affects of the twentieth century, this work aimed to synthesize both older and newer techniques. This thesis explains in detail the compositional process used for this program symphony.

In the world today, Concert Halls for Symphony Orchestra and Choir are generally â enclosed performance spacesâ that are completely cut-off from the outside: Whether itâ s a time of daylight or moonlight, rain or shine, summer or winter, spring or autumn, the environment within remains the same all the time. I asked the question: â What if a concert hall offers views outside?â To be more specific, the question is: â What if a concert hall offers views outside through the use of glass, along with other building materials, despite the fact that glass offers lower reflectivity and lower transmission loss for lower frequencies of sound, compared to certain other materials?â Hence the title: Interaction of Low Frequency Sound with Glass and other Building Materials in the Design of a Concert Hall for Symphony Orchestra and Choir.

Although Gustav Mahler has long been considered a crucial figure in the cultural world of the fin-de-siecle, the exact nature of his involvement in the social, political, and cultural philosophies of the era has remained largely undefined. The student radicalism of his youth has been taken as a leitmotif for the social and political activity of his entire life, while his compositions have been viewed as entirely separate from his biography, with most scholarship focusing on their place in the musical canon. This dissertation attempts to rectify the misplaced scholarly emphasis by examining Mahler's vocal works in the context of their relationship to his social, political, and cultural thought. As Mahler used both the genre categorization of his music and the texts of his works as statements of his philosophy, my analysis focuses primarily on those pieces which evince significant change in these areas, namely Mahler's songs and song-cycles - the Wunderhorn songs, the Kindertotenlieder, and Das Lied von der Erde - and his Eighth and Third Symphonies. Preliminary to this is a discussion of Mahler's political, social, and cultural philosophies as concern his compositional and literary output, as well as an investigation of the changing definitions of the genres of song-cycle and symphony at the turn of the century and the role that Mahler played in such a metamorphosis. Through an examination of the texts of these central works in Mahler's oeuvre, this study also seeks to locate Mahler within the political and social ideologies of his time, as one who was fully engaged in discussion with the dominant philosophical and aesthetic trends. Through his textual selection and editing, as well as the organization of his vocal compositions, Mahler offers indirect commentary on his social, political, and cultural milieu; the extraction of these commentaries is critical to situating the composer within the framework of his time. Mahler, as his works make clear, was neither a member of the aesthetic revolutionaries that comprised such groups as the Secession, but neither was he convinced by the conservative aesthetic tastes of the liberal bourgeoisie who sought in art a justification for their social existence. Rather, Mahler belonged to a more moderate camp, and sought through his works to remain culturally relevant and to make both social and cultural commentary that was simultaneously grounded and forward-looking.

The symphony has been a creative outlet for many composers throughout the history of Western music. Similarly, Negro slave songs were a creative way slaves conveyed their thoughts and emotions. In this symphonic work, I use Negro spiritual melodies, for which I have a strong penchant and personal connection, to form the foundation. At times the spirituals are quoted literally while at other times the statements of the slave songs are implicit. The spirituals used in this work all have a similar theme of going to a better place, where struggles would cease. This four movement musical journey explores several different musical styles including elements of jazz, minimalism, and neoclassicism.

Dr. Donald E. McGinnis (born 1917) composed his Symphony for Band as his doctoral dissertation at the University of Iowa in 1953. A consideration of the harmonic language and structure of the piece reveals that it utilizes compositional techniques appropriate to the time and scope of the work. Its historical context in the development of the symphony for wind band/ensemble places it in a cohort of pieces by Morton Gould, Paul Hindemith and Vincent Persichetti. The 1977 published edition did not include a movement that appeared in McGinnis’ original conception of the piece, the "Solemn Tune." That movement and an errata list for the 1977 score and parts represent an important step toward assuring this piece the place it deserves in the repertoire.

Performance practice is a term familiar to serious musicians. For the performer, this means assimilating and applying all the education and training that has been pursued in a course of study. Performance practice entails many aspects such as development of the craft of performing on the instrument, comprehensive knowledge of pertinent literature, score study and listening to recordings, study of instruments of the period, notation and articulation practices of the time, and issues of tempo and dynamics. The orchestral literature of Eastern Europe, especially Germany and Russia, from the mid-nineteenth century through the mid-twentieth century provides some of the most significant and musically challenging parts for the tuba. The works of Igor Stravinsky, Sergei Prokofiev, and Dmitri Shostakovich, along with their orchestral contemporaries, represents a significant portion of this literature. This study examines a seminal work in the orchestral genre from each of these three Russian composers. The role of the tuba in each work is discussed. Excerpts of the tuba part are examined in terms of performance issues such as range, rhythm, phrasing, and scoring. Comparisons and contrasts are drawn as to how each composer used the tuba and the effectiveness of the utilization.

Bylaws serve as the skeleton of any nonprofit organization's administrative culture. They are the laws and rules that govern the internal affairs of an organization. (Pickett 2000) Since the primary function of bylaws is to support the effective management of operations, the examination of bylaws content is particularly relevant when looking for evidence of innovative adaptations to organizational change. As students of arts administration, the focus of the researcher's investigation centered on cultural organizations; symphony orchestras in this instance. Symphony orchestras, like other cultural organizations, must adapt to survive internal and external change. The reason for choosing to examine bylaws content was to look for business adaptations being made at the core of nonprofit business operations, where the framework for decision-making by the Board of Directors, Officers and administrators resides. There were two key research questions driving this investigation of symphony orchestra bylaws content. The first was; what governance policies are currently emerging in the symphony orchestra industry? The second was; what conditions prompted the emergence of these policy anomalies? The research design included a review of the literature relevant to the development of bylaws as used by U.S. symphony orchestras; qualitative and quantitative document analysis of bylaws obtained from a select group of participating organizations; and an opinion survey of several orchestra administrators whose organizations were found to contain unusual bylaws content. Contrary to the literature, the content and structure of bylaws that were examined varied a great deal. Policy anomalies were discovered as hypothesized, and some of these unusual policies offer solutions to current governance issues that other arts organizations may find beneficial as well. Included tables illustrate provision topics and their frequency of occurrence. Several recommendations for further study are indicated, and we conclude that bylaws are usually an underutilized, valuable and occasionally innovative tool for effective governance.

Breaking Through is a single-movement composition for symphony orchestra based on a fourteen-note melody. Every harmonic and melodic figure except the bass line is derived from this source melody. The structure of the work is based on a number of musical dichotomies that work on both local and large-scale levels. The local dichotomies contrast consonance with dissonance and ambiguity with clarity (in respect to texture and rhythm). The dichotomy of two-part form versus three-part form and the dichotomy of simplicity versus complexity operate on the large scale. The unity lended by the single source melody coupled with the contrasts furnished by the aforementioned dichotomies allow Breaking Through to be both coherent and interesting.

Learner-centered design is an evolving software design perspective addressing the needs of learners---a specific audience trying to work in and understand new work practices in which they have a novice or naive understanding. Learner-centered design involves designing software that incorporates work support features (or scaffolding features) informed by social constructivist learning theories. By adopting a constructivist learning by doing perspective, scaffolds should support learners so they can mindfully engage in previously inaccessible work activity, which in turn allows those learners to progressively gain a better understanding of the new work. While there is an intuitive notion of learner-centered design, there is less specific design information for developing learner-centered software. As a result, learner-centered software results from educated guesses and ad-hoc design approaches rather than from systematic design methods. Thus there is a need for specific design guidance to facilitate the development of learner-centered tools that help learners see the tasks, terminology, tools, etc. in the new work context and engage in that work. The research in this dissertation provides a more specific base of learner-centered design descriptions, methods, and guidelines to analyze work practices and design and evaluate scaffolds. The research approach involves using the development of Symphony---a scaffolded integrated tool environment for high-school students learning the work of computational science inquiry---as a case study to develop the learner-centered design approach. Symphony incorporates a variety of science tools with process scaffolding to support students in performing complex air pollution investigations. Six ninth-grade students used Symphony to investigate air quality questions for several weeks in an environmental science class. The student testing helped assess the effectiveness of the software scaffolding and in turn, the learner-centered design methods and process used to develop the software. By reflecting on the analysis, design, usage, and evaluation of Symphony, this research contributes process scaffolding guidelines; a concrete articulation of and design process for learner-centered design; methods for designing and evaluating learner-centered scaffolding; and an example of a high-functionality scaffolded environment that supports learners engaging in complex, new work activity, such as the work of science inquiry.