Composition Commons^™

Stacy Busch Senior Honors Recital: Composer, Stacy Busch

Honors Theses

The works that I selected to be performed on my senior recital are pieces that I’ve written over the course of the past year. Most of my work is predicated on the exploration of the human condition. Rather than focusing on technical and cerebral complexities that abstract music aims to explore, my work is grounded in the emotional realm. This foundation, I hope, provokes the listener to experience and question the characteristics of their own self. The largest piece on my program, “Creature”, is a 20 minute multi-­‐media production that includes video, electronic music and live performance. The piece is …

Garden Of The Carpathians: Four Reflective Pieces For Mixed Ensemble That Highlight The Dualism Of Romania’S People, Culture, And Aesthetic., David Stamps

Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance

Garden of the Carpathians is a collection of original compositions inspired by four separate explorations of Romanian cultural elements, rural and urban landscapes, and an American perception of dualism within their historical aesthetic. The four pieces (Țuică, Troubled Splendor, From Unknown Heights, and Modistoric) each emphasize a different aspect of this dichotomy. Țuică focuses on the social traditions of Romania by examining customary meal-time interactions that are now influenced by Western culture and commercialism. Troubled Splendor acknowledges the typical stereotypes of communism, gypsy life, and poverty, but then highlights the hard-working, curious, and motivated enlightenment …

Provost Publishes 6th In Series Of Conductor’S Guides, Matt Kurz

News and Events

No abstract provided.

Vocal Synthesis And Deep Listening, Chelsea A. Bruno

FIU Electronic Theses and Dissertations

My composition, Maitreya, combines vocal synthesis techniques with the theoretical concept of Deep Listening. This essay discusses developments in vocal synthesis and digital signal processing (DSP) software that can be performed in real-time and contributed to my composition. Deep Listening involves meditative practices to make one more aware of sounds that are both audible and inaudible. The composition utilizes recordings of male and female voices that recite poetry, chant, and are phase-vocoded.

The composition also features various DSP techniques, and a custom-built modular synthesizer. The composition has three sections that were compiled and edited in Ableton Live 8.2.2.

P-08 A Composition Project: An Original 12-Tone Fugue Modeled After J.S. Bach’S Bwv 847, Ilana Cady

Honors Scholars & Undergraduate Research Poster Symposium Programs

The specific goal of this project is to explore the compositional techniques of the 12-tone system developed by Arnold Schoenberg in 1921 and apply these techniques to fugal writing. In this process I am taking Bach’s fugue, BWV 847, and using it as the blueprint for my original 12-tone fugue. I will follow the same overarching structural pattern of BWV 847—retaining the number of voices, subject entries, and usage of the middle development section, while submitting them to the paradigms of 12-tone serialism. My composition will push the fugue form in an unexpected and more progressive direction. The 12-tone system …

Flow, Tommy Bravos

Compositions

Flow was composed in the Spring of 2014 and premiered in it’s entirety during the April Student Composition Concert here at Illinois Wesleyan University. I composed the piece during an emotionally tumultuous time, and it represents many events that were occurring cyclically in my life at the time. The emotional events that directly inspired Flow were like opposite sides of a coin: one being relationships attempting to grow and the other being relationships gradually turning sour, needing to be left behind. These ideas are represented by the piece revolving around the recurring motive, showing how these events constantly wove in …

Student Composition Concert, Danielle Kamp

News and Events

No abstract provided.

2013-2014 New Music Festival, Lisa Leonard, Shirley J. Thompson

New Music Festival

Eighth Annual New Music Festival

• Shirley J. Thompson, Composer-in-Residence
• Lisa Leonard, Director

Sunday, February 23, 2014 at 7:30 pm

• Spotlight: Faculty Concert

Sunday, February 24, 2014 at 7:30 pm

• Contemporary Music Forum - Post Modernism: Contemporary Influences in Art Music

Tuesday, February 25, 2014 at 7:30 pm

• Spotlight: Young Composers

Wednesday, February 26, 2014 at 7:30 pm

• Spotlight: Shirley J. Thompson

Commissioned Work

Tequesta Song for Violin, Viola, Cello and Piano by Shirley J. Thompson. The full score is displayed in the Creative Works collection.

Sonata Divina Commedia (Part I: Inferno), Anthony Elia

Bridwell Library Research

Part 1 of planned 3-part violin and piano sonata modeled after Dante's "Divina Commedia." Part 1 "Inferno" is a wild modernist adventure for violin and piano, echoing the terrors of inferno. As the piece is incredibly virtuosic, the composer allows for variation, adaptation, and some minor changes if necessary for performers to execute the piece, as faithfully as they can. The work was written in honor of two superb musicians, who by random chance, the composer met or had connections with separately, before realizing the violinist (Mr. Kerr) and the pianist (Mr. Wallace) actually met and went to school together …

Concerto Suite: For Viola Da Gamba And String Soloists, Matthew W. Tozer

Electronic Thesis and Dissertation Repository

Concerto Suite explores a unique hybridization of aspects from the baroque dance suites of the 17th and 18th centuries and from the classical concerto of the 18th and 19th centuries. In addition it also showcases some noteworthy differences in the performance technique and timbre of the viola da gamba in contrast to today's modern string instruments: the violin, viola, cello and double bass. ­

Concerto Suite is made up of three movements that are based on the form, rhythmic patterns, and meters of typical dance suites of the seventeenth and eighteenth centuries: allemande, courante, sarabande, and gigue. Concerto Suite combines …

A Song Through Time: Tiger Rag And The Twentieth Century, Thomas Grady Hartsock

Music

Tiger Rag is one of the first recorded jazz works.This project investigates the initial creation of the work and follows it through five different artists in the twentieth century to explain how this piece of music has grown in it's hundred years of life.

Fiesole: The Hillsides Of Tuscany, A Musical Work For The Classical Guitar And A Study Of The Compositional Process, Matthew Goodman

Music

Fiesole: The Hillsides of Tuscany

This piece of music is composed for 4 guitars, and it includes all of the right and left-hand fingerings for all notes. The individual parts are printed out so it can be distributed easily.

Dolce Stil Novo, Timothy W. Mcdunn

Compositions

Dolce Stil Novo is a slightly unconventional kind of tone poem. As the title suggests, the main inspiration for the piece is the poetry of Dante Alighieri, especially that subset of it which belongs to his so-called "Sweet New Style." While the three successive intermezzi are tied only obliquely to this subject, the first and final movements make direct reference to Dante's Sweet New Style as found in the Vita Nuova, an autobiographical compilation of prose and verse. In this way, the piece is a reflection on Dante's writings from two perspectives: that of the author (in the first and …

The Mind Grows Heated: A Composition For Wind Ensemble, Michelle Isaac

Honors Theses, 1963-2015

The Mind Grows Heated is an original composition for wind ensemble. It is a programmatic piece of music that demonstrates appropriate use of wind and percussion instruments for high school and college bands. Composing The Mind Grows Heatedrequired a myriad of musical skills, including various composition and orchestration techniques, score study and analysis, knowledge of the wind ensemble

medium, and endless creativity. The piece tells the story of the ups and downs of the compositional process, and it musically illustrates the intricate emotions involved in attempting such a massive creative endeavor, such as anticipation, fear, self-doubt, and finally, hope …

New Tropes, Randall Snyder

Randall Snyder Compositions

for John Langfeld

Kyrie: Tenor Recorder 1 & Tenor Recorder 2

Credo: Soprano Recorder & Bass Recorder

Sanctus: Alto Recorder 1 & Alto Recorder 2

Eleven From The Japanese, Randall Snyder, Kenneth Rexroth

Randall Snyder Compositions

notes

In addition to the complete performance, a selection of individual songs may be assembled in any order, with the exception of #8, which must follow #7.

Passages marked “Free”, and “ad lib”, are to be sung individually without section synchronization creating a sound mass effect.. A single-numeral time signature indicates the approximate number of seconds in the measure.

Japanese is pronounced similar to Italian.

It is suggested the English translation be recited directly before each song.

written in 1987 for James Hejduk and the University of Nebraska Singers revised 2014

duration: c. 16 minutes

Amore Cieco (Ii - Ben Tempo Saria Omai), Jonathan Green

Jonathan D Green

No abstract provided.

Holy, Holy, Holy - Mixed Choir, Keith Rowley

Keith D Rowley

An arrangement for mixed choir, piano, organ and flute of the Sanctus from Faure's Requiem. Separate organ and flute scores included.

Le Livre De Mormon Musicale (1966), Keith Rowley

Keith D Rowley

The music score for a Book of Mormon musical performed in Marseille and Nice, France in 1966.

An "Alien Foundation": The Eclectism Of Antonin Dvorak's American Period, Kelly Marie Fallon

Theses, Dissertations and Capstones

In 1891 Bohemian composer Antonin Dvorak (1841-1904) was offered a position as the Director of the American Conservatory in New York City by Jeanette Thurber (1850-1946) due to his reputation as a nationalistic composer. Thurber was intending to create a national music for America and hired Dvorak to not only promote the American Conservatory, but help her achieve her goal of an American style. By early 1892 an agreement was reached between the two parties, and Dvorak assumed his role as Director of the Conservatory in October of 1892, a tenure which lasted until May 1895. This three year period, …