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Volume 25, Various Authors 2011 Lipscomb University

Volume 25, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.


Performance And Analysis Bibliography, Steven Laitz 2011 Lipscomb University

Performance And Analysis Bibliography, Steven Laitz

Journal of Music Theory Pedagogy

No abstract provided.


The Influence And Application Of Eastern Philosophy In The Western Musical Tradition, Matt B. Zavortink 2011 University of Puget Sound

The Influence And Application Of Eastern Philosophy In The Western Musical Tradition, Matt B. Zavortink

Summer Research

This paper documents my summer research on the philosophy of music. Specifically, my research focused on the connection between the philosopher Arthur Schopenhauer and the composer Richard Wagner, as is evident in the opera Tristan und Isolde. I composed a piece of music for the University of Puget Sound Wind Ensemble attempting to utilize both a more Eastern approach to Schopenhauer's philosophy, relative to Wagner's interpretation, and to incorporate 20th century developments in musical technique, theory and language.


From Modality To Tonality: The Reformulation Of Harmony And Structure In Seventeenth-Century Music, Lukas Perry 2011 University of Puget Sound

From Modality To Tonality: The Reformulation Of Harmony And Structure In Seventeenth-Century Music, Lukas Perry

Summer Research

The syntax of common practice tonality creates the potential for expansive musical works, with almost guaranteed gratification for the listener through a harmonic interplay between tension and resolution. The evolution of common practice tonality from the older system of modes spans the sixteenth and seventeenth centuries. With a focus on the seventeenth century, this study endeavors to clarify how, when, and, to some extent, why the monumental shift between modality and tonality occurred. A discussion of crucial differences between the two systems of musical organization—mainly the melodic basis of the modes versus the harmonic basis of the tonal major and …


Music Theory Pedagogy Bibliography, Mary Wennerstrom 2011 Lipscomb University

Music Theory Pedagogy Bibliography, Mary Wennerstrom

Journal of Music Theory Pedagogy

No abstract provided.


The Structure And Genesis Of Copland's Quiet City, Stanley V. Kleppinger 2011 University of Nebraska-Lincoln

The Structure And Genesis Of Copland's Quiet City, Stanley V. Kleppinger

Glenn Korff School of Music: Faculty Publications

Aaron Copland’s Quiet City (1940), a one-movement work for trumpet, cor anglais, and strings, derives from incidental music the composer wrote for an unsuccessful and now forgotten Irwin Shaw play. This essay explores in detail the pitch structure of the concert work, suggesting dramatic parallels between the music and Shaw’s play.

The opening of the piece hinges on an anhemitonic pentatonic collection, which becomes the source of significant pitch centres for the whole composition, in that the most prominent pitch classes of each section, when taken together, replicate the collection governing the music’s first and last bars. Both this principle …


Papa Bois And The Monkeys, Doug Lofstrom 2010 Columbia College Chicago

Papa Bois And The Monkeys, Doug Lofstrom

Doug Lofstrom

No abstract provided.


A Metrical Analysis And Rebarring Of Paul Creston's Sonata For Alto Saxophone And Piano, Op. 19, Christopher Kyle Sweitzer 2010 University of Nebraska-Lincoln

A Metrical Analysis And Rebarring Of Paul Creston's Sonata For Alto Saxophone And Piano, Op. 19, Christopher Kyle Sweitzer

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

The Sonata For Alto Saxophone and Piano Op. 19 is one of the most popular pieces in the saxophone literature, commonly played by professional saxophonists during their training. It features exciting rhythmic devices like irregular and mixed meter, the notation of which is the main focus of this paper. Although Creston often used irregular and mixed meter in his compositions, he rarely specifically notated them, choosing instead to use accents, beams, slurs, and other phenomenal cues at the musical surface to create the effect of these metric plans. Time signatures often remained constant throughout entire movements. Creston believed this would …


Solo Composition Recital (November 7, 2010), Dominic Dousa 2010 University of Texas at El Paso

Solo Composition Recital (November 7, 2010), Dominic Dousa

Dominic Dousa

Faculty Compositon Recital, presented by Stephen Haddad (tuba, UTEP), Don Wilkinson (soprano saxophone, UTEP), Mark Schuppener (violin, UTEP), Sang-In Han (tenor, UTEP), the La Catrinao String Quartet (New Mexico State University), and Dominic Dousa (piano). Performances of the following original compositions:

"Musings of a Desert Evening"

"Little Suite, 'In Early Spring' "

"A Summer Pastorale"

"Psalm 23 (Korean)"

"Evocations from the Plains"

(Mvt 1 - Echoes from the Land, Lonely...and Grand)

(Mvt 2 - The Freedom of the Open Skies)


Tips For Woodwinds: Improving Tone, Tonguing, Technique, Leslie Moreau, Nicole Molumby, Marcus Wolfe 2010 Boise State University

Tips For Woodwinds: Improving Tone, Tonguing, Technique, Leslie Moreau, Nicole Molumby, Marcus Wolfe

Leslie M. Moreau

No abstract provided.


A Salience-Based Analytic Method Applied To André Jolivet’S Concertino For Trumpet, String Orchestra, And Piano , Martin G. Bolt 2010 University of Nebraska at Lincoln

A Salience-Based Analytic Method Applied To André Jolivet’S Concertino For Trumpet, String Orchestra, And Piano , Martin G. Bolt

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

A SALIENCE-BASED ANALYTIC METHOD APPLIED TO ANDRÉ JOLIVET’S CONCERTINO FOR TRUMPET, STRING ORCHESTRA, AND PIANO

Martin G. Bolt, M.M.

University of Nebraska, 2010

Adviser: Stanley V. Kleppinger

André Jolivet’s music is eclectic, and his compositional process is often enigmatic. Broadly speaking, Jolivet’s music falls into that category of twentieth-century repertoire described as post-tonal and pitch-centric.

This thesis will provide an analysis of Jolivet’s Concertino for Trumpet, String Orchestra, and Piano. It thus serves as a model of an analytic approach for post-tonal pitch-centric music of the twentieth century. My analytical method is based on the theories of Fred Lerdahl posited …


Seasons For A Cynic: A Compositional Process Utilizable For A Program Symphony, David Anthony Pegel 2010 University of Tennessee, Knoxville

Seasons For A Cynic: A Compositional Process Utilizable For A Program Symphony, David Anthony Pegel

Masters Theses

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 …


Brahms, Opus 32: The Forgotten Cycles, Patrick Russell 2010 Stephen F Austin State University

Brahms, Opus 32: The Forgotten Cycles, Patrick Russell

Undergraduate Research Conference

A song cycle may be loosely defined as a set of works for solo voice and piano intended for performance as a whole, and in a predetermined order. Established by such composers as Beethoven, Schubert and Schumann, cycles are typically characterized by a deliberate structure, the texts of which are almost without exception by the same author. So conventional is the practice of containing the settings of a single poet, it may be considered a prerequisite. Song cycles are also distinguished, therefore, by one or more unifying elements originating in the poetry, such as literary themes or narration. It is …


Woodwind Extension Through The Systematic Use Of Microtonality And Electronic Manipulation Of The Instrument, Seán Mac Erlaine 2010 Dublin Institute of Technology

Woodwind Extension Through The Systematic Use Of Microtonality And Electronic Manipulation Of The Instrument, Seán Mac Erlaine

Conference papers

This research questions how the expressive range of the saxophone / bass clarinet can be extended in new ways by employing both a systematic use of microtonality and electronic manipulation of the instrument.

The use of digital signal processing (DSP) is well advanced among certain music practitioners, most notably electric guitarists, extending that instrument’s expressive powers considerably. Woodwind instrumentalists have a huge unexplored potential to engage with new technologies, furthering the range, polyphonic voicings, loops, reverbs and general signal manipulation.

The marraige of these two disciplines with conventional woodwind practice greatly deepens the expressive range of the instrument while offering …


The Affective Properties Of Keys In Instrumental Music From The Late Nineteenth And Early Twentieth Centuries, Maho A. Ishiguro 2010 University of Massachusetts Amherst

The Affective Properties Of Keys In Instrumental Music From The Late Nineteenth And Early Twentieth Centuries, Maho A. Ishiguro

Masters Theses 1911 - February 2014

The concept of key characteristics deals with the particular moods which different tonalities are believed to provide to music. Discussions regarding their existence and the validity of the phenomena have always been controversial because of a lack of fundamental reasons and explanations for them. Nevertheless, references to key characteristics have appeared in various fields of study and over many centuries: the Greek doctrine of ethos, writings of Guido d’Arezzo, Jean-Philippe Rameau’s Traité de l’harmonie, scribbles in Beethoven’s sketches, and several passages in Hermann von Helmholtz’s On the Sensations of Tones.

The attitudes and opinions towards key characteristics have varied in …


Intonation In The Aural-Skills Classroom, Carolyn A. Walker 2010 University of Massachusetts Amherst

Intonation In The Aural-Skills Classroom, Carolyn A. Walker

Masters Theses 1911 - February 2014

The goal of the thesis is to explain intonation perception and cognition, as well as the vocal mechanism and techniques, to help aural-skills instructors teach vocal intonation skills to students who struggle with intonation. The thesis explores comprehensive information on intonation perception and cognition and introduces basic vocal technique for an over-all understanding of the skills involved with accurate vocal intonation.


Volume 24, Various Authors 2010 Lipscomb University

Volume 24, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.


Concertino For Harp And Orchestra, Doug Lofstrom 2009 Columbia College Chicago

Concertino For Harp And Orchestra, Doug Lofstrom

Doug Lofstrom

Premiered by the orchestra with Kelsey Erdahl.


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