Composition, Music Theory and Musicology Electronic Theses and Dissertations (UMKC)
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The items in this collection are the theses and dissertations written by students of Composition, Music Theory and Musicology. Some items may be viewed only by members of the University of Missouri System and/or University of Missouri-Kansas City. Click on one of the browse buttons above for a complete listing of the works.
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Item Requiem for wandering souls for orchestra(University of Missouri--Kansas City, 2025) Chung, Ian Yeonchan; Chen, Yi, 1953-The integration of diverse cultural influences in music composition has been a defining feature of the 20th century, particularly in the works of East Asian composers who, after studying or living in the U.S. or Europe, sought to reconnect with their cultural roots. Composers such as Chou Wen-Chung, influenced by Edgard Varèse; Takemitsu, shaped by John Cage; and Isang Yun, guided by Boris Blacher, exemplify this intercultural synthesis. However, the blending of cultures is not a new phenomenon exclusive to the 20th and 21st centuries. The music of Wolfgang Amadeus Mozart, for example, offers an 18th-century instance of cultural fusion, as he drew on Italian, German, and operatic styles to create a unique musical identity that transcended national boundaries. Requiem for Wandering Souls explores intercultural synthesis by merging traditional Korean ritual music with contemporary orchestral idioms. Inspired by Jongmyo Jeryeak and secular ritual textures, the work integrates Korea’s rhythmic and timbral heritage into a modern symphonic framework. By bridging Eastern and Western traditions, Requiem for Wandering Souls contributes to the evolving discourse on intercultural composition and offers a new perspective on crosscultural dialogue in contemporary music.Item The general's marching - Huo Qubing(2025) Zhang, Chuqiao; Chen, Yi, 1953-The General's Marching - Huo Qubing is a symphonic work that captures the spirit of one of China’s most legendary military figures, the Han dynasty general Huo Qubing. Known for his swift and decisive campaigns against the Xiongnu, Huo embodied unyielding determination, strategic brilliance, and an unbreakable will to protect his homeland. This composition explores the dynamic energy and emotional intensity of warfare, blending powerful orchestral textures with driving rhythmic momentum. Rapid string passages evoke the relentless charge of cavalry, while bold brass fanfares mirror the commanding presence of the general leading his troops into battle. The percussion, reminiscent of war drums echoing across the vast desert, reinforces the unceasing push toward victory. Structurally, the piece follows a dramatic arc, beginning with an ominous buildup that foreshadows the impending conflict. As the music unfolds, themes of urgency, struggle, and heroism intertwine, culminating in a climactic surge that symbolizes the decisive triumph of Huo Qubing’s forces. Yet beneath the triumphant surface lies adeeper reflection on the weight of war, the burden of leadership, and the fleeting nature of glory. By drawing upon historical and cultural narratives, The General’s March – Huo Qubing is not only a musical portrayal of an epic battlefield but also a tribute to the resilience and ambition that shape history. It invites listeners to experience the exhilaration of conquest while contemplating the enduring legacy of those who carve their names into the annals of time.Item Navigating neoliberalism: cultivating community in contemporary music(2025) Trapani, Emily; Granade, S. AndrewAs we enter the first quarter of the twenty-first century, waning public interest in classical music has required industry groups, musicians, and advocacy organizations to shift their business model to resemble that of a private corporation participating in a competitive marketplace. Their establishment of niche communities within the marketplace are most observable through ensemble branding, programming, and targeted marketing tactics; these realities are a byproduct of classical musicians’ adaptation to a mercurial neoliberal global climate that has come to define the economic landscape of the past thirty years. Through the exploration of the semiotic meanings underlying the programmatic choices of contemporary chamber ensemble Eighth Blackbird, Newfound Chamber Winds and the work of No Divide KC this paper seeks to illuminate the ways in which these organizations have successfully navigated an expanding neoliberal marketplace by embracing the principles within which it operates. In the larger conversation regarding the relevance of classical music and its future from the stance of a performer, these organizations’ branding and programmatic choices as a means to cultivate community serve as three examples of what is demanded to successfully cultivate a career as a 21st century musician: adherence to the principles of a neoliberal marketplace, including their establishment of niche communities and, entrepreneurially- minded, value-based branding decisions.Item Frost Bitten Lotus(2025) Li, Haitian (Composer); Chen, Yi, 1953-My orchestral work "FROST BITTEN LOTUS" (苍菡吟) draws inspiration from the first piece in the Yuan dynasty's song collection "Gan He Ye (dried lotus) Eight Pieces." This is a set of sanqu (散曲, a form of classical Chinese poetry written to be sung) created by Liu Bingzhong, a Yuan dynasty writer. It's considered an excellent work that combines sanqu and folk songs, where the author creates meaning from the subject matter itself. This Yuan dynasty song is structured into seven distinct phrases, featuring a sophisticated rhyming pattern that includes four level-tone rhymes and two special "xié" rhymes (叶, pronounced in the second tone). These "xié" rhymes represent a unique feature in classical Chinese poetry where syllables share the same rhyme category but differ in tone. I designed the structure of my orchestral composition based on the tonal system of the Yuan dynasty, which had a fascinating linguistic characteristic: during this period, the traditional four-tone system was undergoing transformation. The entering tone (rusheng) was being merged into other tonal categories, creating a simplified system where syllables were broadly classified as either "level" or "oblique" tones. This tonal pattern creates a natural musical rhythm that I've incorporated into the piece's structure, translating these linguistic features into melodic and rhythmic elements that Western listeners can appreciate as a unique fusion of Eastern poetic structure and Western orchestral expression. Additionally, the musical mode marking for this Yuan song is Nan Lü (南吕). Although the pitch standards for ancient modes kept changing (showing a declining trend), the yin-yang division within the twelve lülü (律吕, Chinese twelve-tone musical system) remained constant. I created my pitch collections based on the level tones (平声) and oblique tones (仄声), which are fundamental to classical Chinese prosody, combined with the six yang lü and six yin lü, further incorporating post-tonal methods. Through transposition and inversion between different pitch sets, I achieved timbral transformations while avoiding repetition and overly consonant progressions. Finally, I used the varying character counts in the seven phrases of this Yuan song as the foundational template for my rhythmic design, which I then developed further. This approach translates the original poem's textual rhythm—where each Chinese character typically represents one syllable—into musical patterns that honor the source material's natural flow. I aim to portray a lotus that, though frost-bitten and withered, stands resilient and continues to emanate vitality against the harsh elements—a metaphor that resonates across cultures as a symbol of endurance and inner strength despite external challenges.Item The lily of Quito a cantata for soprano, flute, classical guitar, piano, violin, viola, cello & percussion(2025) Susberich, Stephanie; Haber, Yotam, 1976-The Lily of Quito (2025) is a 33-minute cantata about Saint Mariana of Jesus (1618 – 1645), the patroness of Ecuador. It is scored for soprano, flute, classical guitar, piano, violin, viola, cello, and percussion: wooden blocks, wind chimes, triangle, bass drum, glockenspiel, and crotales. Affectionately known amongst Ecuadorians as “The Lily of Quito,” Saint Mariana was canonized in 1950. The text combines her original Spanish words and original English translations. It also employs phrases historically used to describe her, as well as original text created from my understanding of the saint. The piece aims to depict Saint Mariana faithfully, shedding light on her mysterious personality and what motivated her to live a life of radical sanctity. It is comprised of a piano prelude and postlude, and four tableaux with intervening piano interludes that together create an evocative work depicting her life and message. The music combines vocal lyricism with modern and traditional idioms. Its influences range from the Baroque and Classical to the Romantic and Contemporary. The Lily of Quito depicts a unique historical figure via an original musical work.