The Transmutation Of The Immutable Abyss, 2017 University of Nebraska-Lincoln
The Transmutation Of The Immutable Abyss, Amanda Mccullough
Student Research, Creative Activity, and Performance - School of Music
The Transmutation of the Immutable Abyss is a song cycle for a female voice and chamber orchestra, originally inspired by the instrumentation of a community theater pit orchestra. This piece sets eight poems by A. R. Ammons over eight movements. One primary goal of this piece was to combine elements of jazz and contemporary classical music.
The Transmutation of the Immutable Abyss also explores duality along with the combination of disparate elements to create a more complete whole. In a literal sense, jazz and classical elements coexist in varying amounts of prominence. Also in a literal sense, elements of tonality ...
Requiem, 2017 University of Nebraska-Lincoln
Requiem, Jacob K. Lee
Student Research, Creative Activity, and Performance - School of Music
Traditionally, the requiem form began as a Catholic mass to honor the dead. Today, the requiem is generally composed conveying messages of solace to troubled hearts. Many composers, such as Britten and Rutter, choose to abandon some of the orthodox text of the mass to provide an added measure of connection for the audience. The result of these later requiems is often a baring of the composer’s soul – something profoundly personal shared in the hope of inspiring others. This latter process is my aim in creating my Requiem. I approach this end in several ways, compositionally: There is a ...
Airiños: For Orchestra And Two-Part Women's Choir, And A Biography Of The Poet Rosalía De Castro, 2017 Stephen F Austin State University
Airiños: For Orchestra And Two-Part Women's Choir, And A Biography Of The Poet Rosalía De Castro, Scott T. Stobbe
Electronic Theses and Dissertations
Spanish poet Rosalía de Castro was a central figure in the Galician
cultural and literary revival of the mid nineteenth-century. One of her most
significant books is Cantares Gallegos, a book of poems written in Galician that
serves as an homage to the language, culture, customs and countryside of
Galicia. The text for the musical portion of this document, a work for orchestra
with extended percussion and two-part women’s choir entitled Airiños, comes
from Castro’s poem Airiños, airiños, aires which was featured in Cantares
Gallegos. To gain a deeper understanding of the author’s importance and
Mystery Of The Wax Museum: An Original Film Score For Orchestra And An Analysis Outlining The Evolution Of Film Music Through American Horror Films Of The Early 1930s, 2017 Stephen F Austin State University
Mystery Of The Wax Museum: An Original Film Score For Orchestra And An Analysis Outlining The Evolution Of Film Music Through American Horror Films Of The Early 1930s, Ian Deterling
Electronic Theses and Dissertations
This thesis illustrates the transitional period between silent films and fully-scored sound films. Connecting the history between producers, directors, and composers reveals how and why film scoring became an accepted practice by the mid-1930s while shedding light on the commonly-overlooked composers whose innovations in these early films paved the way for future film composers. The principle objective of this project is to score selected sequences of Mystery of the Wax Museum (1933) by synthesizing contemporary film scoring practices with techniques commonly used in horror films of the 1930s. An accompanying analysis of the score will explain the purpose of each ...
Expressions Of Madness In Coloratura Mad Scenes Of Bel Canto Operas, 2017 Liberty University
Expressions Of Madness In Coloratura Mad Scenes Of Bel Canto Operas, Rachel G. Christenson
Senior Honors Theses
This thesis will explore the musical innovations in the mad scenes of the bel canto composers in the 1800s. It will analyze Gaetano Donizetti’s mad scenes in Anna Bolena (1830) and Lucia di Lammermoor (1835), and Vincezzo Bellini’s mad scenes in I Puritani (1835) to discover how each composer expresses madness through the high and virtuosic voice of the coloratura soprano. The subject of madness is not a new idea in opera. However, the mad scenes of Donizetti and Bellini are the most successful and are often performed in opera houses around the world. Specific attention is given ...
Gedankenfabrik, 2017 Santa Clara University
Gedankenfabrik, Bruno Ruviaro
“Zwar ist’s mit der Gedankenfabrik Wie mit einem Weber-Meisterstück Wo ein tritt tausend Fäden regt Die Schifflein herüber hinüber schiessen Die Fäden ungesehen fliessen Ein Schlag tausend Verbindungen schlägt.” [excerpt of Urfaust, by Goethe] “A verdade é que a fábrica de pensamentos É tal qual o ofício do tecelão, Em que um passo move milhares de fios, As navetas cruzam de um lado a outro, Os fios deslizam sem serem vistos E mil nós se formam de uma só vez.” [excerto de Fausto Zero, de Goethe. Tradução de Christine Röhrig]
Anomia, 2017 Santa Clara University
Anomia, Bruno Ruviaro
The text below serves as program notes for Anomia. It was written by Júlio Machado in response to the piece Anomia. The text, differently from the musical piece, has the title “Anomias”: Anomias by Júlio Machado adapted by Bruno Ruviaro Leve: Um: sumir de si o … em que pela primeira vez foi primavera. Três: após as flores, desordem dos frutos sem o conforto das caixas. Cinco: De hora em hora, insectos soltos, frouxos, no ar. Sete: 14 onças tem meu corpo se preso ao tempo e livre do … Severa: Dois: ou sumir de si o … em que isso foi, no ...
Study On Japanese Themes, 2017 Santa Clara University
Study On Japanese Themes, Bruno Ruviaro
This concatenative synthesis study is based on tiny fragments borrowed from Japanese composers Ryoji Ikeda and Keiichiro Shibuya. Its composition was prompted by a combination of three things, present or absent: Paris’ autumn, California’s sun, and Tokyo’s fish market.
K, 2017 Santa Clara University
K, Bruno Ruviaro
Three percussionists and electroacoustic sounds.
The Spell Of Speech, 2017 Santa Clara University
The Spell Of Speech, Bruno Ruviaro
This text is a complement to the musical composition The Spell of Speech, a piece for actress, electro-acoustic sounds and live-electronics composed in 2004 as part of the requirements to conclude the Master’s degree in Electro-Acoustic Music at Dartmouth College. The core of this research is the relationship between speech and music composition. The first chapter presents a theoretical framework comprising evolutionary musicology and music cognition. The second chapter contains a historical survey of electro-acoustic music in which human voice plays a fundamental role. Finally, the third chapter analyzes the composition The Spell of Speech, presenting the main techniques ...
Sete Vazios, 2017 Santa Clara University
Sete Vazios, Bruno Ruviaro
Pneuma Ápeiron, 2017 Santa Clara University
Pneuma Ápeiron, Bruno Ruviaro
Piano, violin, viola and violoncello.
Palavra Prima, 2017 Santa Clara University
Palavra Prima, Bruno Ruviaro
Takes a short sample of a song by Chico Buarque and stretches it over one minute, adding different colors to the sonic spaces that are revealed through this process.
Mesmo Que Depois, 2017 Santa Clara University
Mesmo Que Depois, Bruno Ruviaro
When a sample that is tired of suffering meets another sample that is also tired of suffering, it’s time to consider that intermodulation may suddenly happen. When there is a sample that sorely misses another sample, and this other sample does not understand it, just let that new intermodulation happen, even if clipping becomes unavoidable. How silly I was, trying in vain to rationally understand things about sampling that no one can actually explain. Come, let us try now, only a new use can twist the old one.
Tripoe:Try, 2017 Santa Clara University
Tripoe:Try, Bruno Ruviaro
The piece treats texts by Poe, cummings and Mallarmé as “musical fragments” — specifically, Poe’s The Tell-Tale Heart serves, in a more modest setting, a similar function as that of Mahler in Berio’s Sinfonia: some sort of ongoing, complete background quotation of an entire work, onto which various other elements are grafted. (*) Clear quotations appear once more: Nono and Stockhausen being the most prominent, so to speak. From Berio’s A-Ronne, I borrowed a vocal process of splitting vowels and consonants of a same word among different singers. When these borrowings appear, they are usually connected to some portion ...
Kate’S Bored; It’S A Rainy Day., 2017 Santa Clara University
Kate’S Bored; It’S A Rainy Day., Bruno Ruviaro, Masaki Kubo
“Kate’s Bored; It’s a Rainy Day.”, by Masaki Kubo & Bruno Ruviaro, is a collaborative composition. A Japanese producer planned to release a compilation CD with electronic tracks made out of skateboarding sounds; we were asked to compose a piece for it. The skateboarding recordings used as point of departure were provided. We worked extensively on those and added a few extra samples of our own. All decisions were made collectively, which by itself is an interesting compositional challenge.
Ventania, 2017 Santa Clara University
Ventania, Bruno Ruviaro
The text below serves as program notes to Ventania. The particular use of commas and capitalized letters is intentional and should not be altered. “Vento”, in Portuguese, means “wind”, and “ventania”, a particularly strong wind, Twenty-three surviving fragments of music are presented here, says the composer, in a somewhat uncomfortable explanatory tone, One after the other, he continues, As if they could possibly reconstruct all the other meaningful connections that were lost along the way, The wind has come and gone, someone oddly interrupts, at times no one seems to be paying attention, or is it just me, one can ...
Têmpulo, 2017 Santa Clara University
Têmpulo, Bruno Ruviaro
Têmpulo: time, temple, but also leap. Têmpulo was composed in reaction to Mark Applebaum’s piece “Theme in Search of Variations”. While trying to find a name for the piece, I came across with this: “Temple [from Latin templum, tempulum, ‘a small division’; from Greek, Latin term to cut off, mark out]: Templum was a spot marked off for sacred purposes by the augur with his staff, and might be on the ground or in the sky, where it was a region designated for the observation of omens. […] There is a suggestive connection with temple and tempus (Latin “time,” from ...
Pérolas E Porcarias, 2017 Santa Clara University
Pérolas E Porcarias, Bruno Ruviaro
5 musical scenes for actor, percussionist and baritone. Text fragments by Augusto de Campos, Hilda Hilst, Goethe and brazilian newspapers. [ca. 10’00]
In a quasi Faust-Mephisto relationship, the baritone and the actor get into musical friction: singing versus spoken word, pitch versus noise, etc. The singer hums to himself a lied by Schumann at a certain passage, without lyrics; as if remembering a tune. Later in the same piece, the actor goes to one side of the stage and puts on an old LP — preferably, as I indicate on the score, the opening of Verdi’s Traviatta. The singer ...
Seven Infinitely Short Periods Of (Winter) Time, 2017 Santa Clara University
Seven Infinitely Short Periods Of (Winter) Time, Bruno Ruviaro
The piece “Seven infinitely short periods of (Winter) time” was composed in 2002 during my first Winter in the United States. It was my first Winter with snow (lots of snow, by the way; I was living in New Hampshire). The experience of below-freezing temperatures was something completely unfamiliar to me, accustomed as I was to the other side of the thermometer, the “above-melting” temperatures from Brazil. The names for each of the movements are merely insinuated on the score (they appear at the end of the last page of each movement: Musification, Old Tune, Basement, Wilting, What??, Snow Down ...