Graduate Studies, UNL

 

Dissertations and Doctoral Documents, University of Nebraska-Lincoln, 2023–

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First Advisor

John Bailey

Degree Name

Doctor of Musical Arts (D.M.A.)

Committee Members

Suna Gunther, Wendy Katz, William McMullen

Department

Music

Date of this Version

4-30-2026

Document Type

Dissertation

Citation

A dissertation presented to the faculty of the Graduate College at the University of Nebraska in partial fulfillment of requirements for the degree Doctor of Musical Arts

Major: Music

Under the supervision of Professor John Bailey

Lincoln, Nebraska, May 2026

Comments

Copyright 2026, Brenna Sherman. Used by permission

Abstract

Theodor Blumer (1881–1964) was an early twentieth-century German composer, pianist, and conductor whose substantial contributions to the flute repertoire have received little scholarly attention. Despite his prolific output and close association with leading wind performers of his time, his music remains largely absent from contemporary scholarship and performance. This dissertation addresses that gap by presenting a comprehensive biographical timeline, defining Blumer’s compositional aesthetics, and completing an in-depth analytical examination of his programmatic works for the flute.

Drawing on primary source materials from Blumer’s estate—including personal correspondence, photographs, and dated manuscripts—this study constructs the first full biography of Blumer. Central to this study is a detailed musical analysis of two programmatic suites for flute and piano composed in 1925. Through movement-by-movement examination, this document demonstrates how Blumer employs key relationships, harmonic and melodic language, articulation, and expressive indication to aurally depict extra-musical imagery. These analyses reveal Blumer’s sophisticated salon-style idiom and his nuanced ability to translate narrative concepts into expressive musical gestures.

The findings of this dissertation define Blumer as a significant yet overlooked figure in German wind chamber music and flute repertoire, provide performers and scholars with analytical tools to inform artistic decisions concerning his works, and illuminate his contributions to early twentieth-century flute repertoire. Ultimately, this dissertation repositions Blumer as a composer of artistic and pedagogical value and advocates for the reintegration of his flute works into contemporary performance practice.

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