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Musical Introductions To Cavalleria Rusticana: Giuseppe Perrotta's "Bozzetto Sinfonico" And Pietro Mascagni's "Preludio", Ronaldo Augusto Teles Dos Santos 2018 Louisiana State University and Agricultural and Mechanical College

Musical Introductions To Cavalleria Rusticana: Giuseppe Perrotta's "Bozzetto Sinfonico" And Pietro Mascagni's "Preludio", Ronaldo Augusto Teles Dos Santos

LSU Doctoral Dissertations

Giovanni Verga’s Cavalleria rusticana has inspired a variety of musical works, among them Giuseppe Perrotta’s “Bozzetto sinfonico” (an overture to Verga’s play), and Pietro Mascagni’s Cavalleria rusticana (a one-act opera based on a libretto by Giovanni Targioni-Tozzetti and Guido Menasci). Each composition represents a genre on which scholarship is scarce: late nineteenth-century incidental music and the late nineteenth-century operatic prelude. Considering both Perrotta’s “Bozzetto sinfonico” and Mascagni’s “Preludio” as musical introductions to stage works, this study undertakes a complete hermeneutic analysis of both works (chapters 2 and 3). The analysis of Perrotta’s “Bozzetto ...


The Challenges And Limitations Of Adapting Mozart's Così Fan Tutte For A Small University Setting, Christopher Lovely 2018 The University of Southern Mississippi

The Challenges And Limitations Of Adapting Mozart's Così Fan Tutte For A Small University Setting, Christopher Lovely

Dissertations

In this dissertation, challenges and limitations related to presenting Così fan tutte within a small university setting are conveyed, as well as offering innovative ideas to create a manageable presentation. I recall my personal experience as Korepititor/Vocal Coach for The University of Southern Mississippi’s 2014 production of Mozart’s Così fan tutte. This document presents topics on the various workings of an opera production: pre-rehearsal preparation, language issues, rehearsal preparation, selection of singers, and production issues. It offers practical solutions to overcome various challenges a small university may encounter. Smaller university opera programs were surveyed regarding their adaptations ...


Midi: A Standard For Music In The Ever Changing Digital Age, Taylor Romo 2018 California State University, Monterey Bay

Midi: A Standard For Music In The Ever Changing Digital Age, Taylor Romo

Capstone Projects and Master's Theses

MIDI (Musical Instrument Digital Interface) is the technology that allows synthesizers and controllers to communicate and manipulate other pieces of gear as well as computer software. This technology has permanently changed the way music is produced and performed. This paper will explore the importance of MIDI technology as a tool for music production as well as for music performance. This will be done by first examining the history and development of MIDI technology, including the reasons why it was created. Many examples will be given of how MIDI is a crucial component in recording studios, music production studios, and live ...


The Battle Between Impeccable Intonation And Maximized Modulation, Timothy M. True 2018 Cedarville University

The Battle Between Impeccable Intonation And Maximized Modulation, Timothy M. True

Musical Offerings

Equal temperament represents a way of completing the musical circle, and systematically compensating for the Pythagorean comma. Pythagoras discovered this acoustical problem around 550 B.C., and since that time music theorists have debated how to deal with it. The problem is that no perfect solution exists—something must be compromised. As musical styles developed, specific factors and harmonic tendencies led to the gradual adoption of equal temperament. Early in music history, theorists preferred systems which kept acoustical purity relatively intact. Pythagorean intonation and just intonation serve as two examples. However, the move from modality to tonality decentralized the melody ...


The Federal Music Project: An American Voice In Depression-Era Music, Audrey S. Rutt 2018 Cedarville University

The Federal Music Project: An American Voice In Depression-Era Music, Audrey S. Rutt

Musical Offerings

After World War I, America was musically transformed from an outsider in the European classical tradition into a country of musical vibrance and maturity. These great advances, however, were deeply threatened by the Wall Street crash of 1929 and the consequent Great Depression. The nation that, for the first time, was developing an international reputation in the arts now faced a crisis of how to support them. Government sponsorship of the arts through the New Deal Federal One projects allowed struggling artists to survive economically during this era. In the realm of music, however, the Federal Music Project (FMP) had ...


Physicality And Devotion In Heinrich Ignaz Franz Biber’S Rosary Sonatas, Roseen Giles 2018 Duke University

Physicality And Devotion In Heinrich Ignaz Franz Biber’S Rosary Sonatas, Roseen Giles

Yale Journal of Music & Religion

The Rosary Sonatas of Heinrich Ignaz Franz Biber (1644–1704) for solo violin were likely composed in the late 1670s, and were dedicated to the composer’s patron, the Archbishop of Salzburg Maximilian Gandolph von Kuenburg. The sonatas in this remarkable set of fifteen are preceded by copperplate engravings, each depicting one of the mysteries of the rosary. The pieces display Biber’s extensive use of scordatura, an unusual “discordant” tuning, notated with a semi-tablature in which the visual contours of the notation on the page are at odds with the audible contours of the phrases. Biber’s sonatas are ...


The Material Of The Servant: Theology And Hermeneutics In Handel’S Samson, Sara E. Eckerson 2018 University of Lisbon

The Material Of The Servant: Theology And Hermeneutics In Handel’S Samson, Sara E. Eckerson

Yale Journal of Music & Religion

George Frideric Handel’s Samson oratorio (HWV 57, 1743) has posed critical difficulty for scholars because of its libretto. The librettist, Newburgh Hamilton, is often accused of making a poor adaption of John Milton’s Samson Agonistes (1671). One of the main points of criticism centers on how Hamilton removed much of Samson’s deliberation from the source text. In this article, however, it will be argued that the way ideas and commentary pass through different voices (namely, from Samson and Micah to the Chorus of Israelites) contributes to the unique interpretation the oratorio puts forward of the Samson narrative ...


Musical “Covers” And The Culture Industry: From Antiquity To The Age Of Digital Reproducibility, Babette Babich 2018 Fordham University

Musical “Covers” And The Culture Industry: From Antiquity To The Age Of Digital Reproducibility, Babette Babich

Articles and Chapters in Academic Book Collections

This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of the mass consumer but also a reflection on the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements a similarly brief reference to Jankelevitch’s “ineffable.”


1981: One Or Several Aesthetics?, Jacob Norris 2018 The University of Western Ontario

1981: One Or Several Aesthetics?, Jacob Norris

Electronic Thesis and Dissertation Repository

Gilles Deleuze’s monograph on Francis Bacon, The Logic of Sensation (1981), proposes a theory of aesthetic experience that prioritizes the material depths of sensation over stable, identifiable forms. Deleuze’s key references in The Logic of Sensation to playwright Antonin Artaud arouse the suspicion that Artaud’s schizophrenic experience of language, wherein words are reduced to phonetic ramblings, illuminates how Deleuze interprets this chaos of sensation in Bacon’s art. My work therefore calls back to The Logic of Sense (1969) and the first section of his book on Masochism (1967) to explore the waves of consistency between Deleuze ...


Black Music Matters: Jazz, Funk And The Academy, Ed Sarath 2018 University of Michigan

Black Music Matters: Jazz, Funk And The Academy, Ed Sarath

Dayton Funk Symposium

This talk situates funk and its close relationship with jazz within the overarching context of black music in higher education.


The Land Of Funk: Dayton’S Stone Street Mural, Morris Howard, Brittni Long 2018 University of Dayton

The Land Of Funk: Dayton’S Stone Street Mural, Morris Howard, Brittni Long

Dayton Funk Symposium

Presentation is based on the completion of “The Land of Funk” mural on Stone Street in downtown Dayton. The mural honors bands of the funk era that are from Dayton, e.g., the Ohio Players, Heatwave, Lakeside, Slave, Fazeo, Sun, and Zapp featuring Roger Troutman.


The Sounds Of Black America: Funk And Dayton, Ohio, Matthew Valnes 2018 Duke University

The Sounds Of Black America: Funk And Dayton, Ohio, Matthew Valnes

Dayton Funk Symposium

This essay proposes a framework called the “sounds of black America” to argue that the social and cultural interactions unique to a specific locality results in a particular approach to funk as sound organization. Drawing on George Lipsitz’s concept of the “Black Spatial Imaginary” and using the music of the Ohio Players as a case study, I demonstrate how the music programs in Dayton-area schools can help us understand the particular approach to funk that came out of Dayton in the late 1960s through the 1970s.


Dayton Funk Symposium Welcome, Sharon Davis Gratto 2018 University of Dayton

Dayton Funk Symposium Welcome, Sharon Davis Gratto

Dayton Funk Symposium

Words of welcome from Sharon Davis Gratto, professor of music and Graul Chair in Arts and Humanities.


Analyzing Genre In Post-Millennial Popular Music, Thomas Johnson 2018 The Graduate Center, City University of New York

Analyzing Genre In Post-Millennial Popular Music, Thomas Johnson

All Dissertations, Theses, and Capstone Projects

This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire. The dissertation explores not just popular music made after 2000, but popular music as experienced and structured in the new millennium, including aspects from a wide chronological span of styles within popular music. Specifically, with the increase of digital ...


Strauss And The City: The Reception Of Richard Strauss’S Salome, Elektra, And Der Rosenkavalier Within New York City, 1907–1934, Christopher G. Ogburn 2018 The Graduate Center, City University of New York

Strauss And The City: The Reception Of Richard Strauss’S Salome, Elektra, And Der Rosenkavalier Within New York City, 1907–1934, Christopher G. Ogburn

All Dissertations, Theses, and Capstone Projects

New York City at the beginning of the twentieth century was growing into its status as one of the world’s great cultural centers. At the same time, across the Atlantic, Richard Strauss was emerging as Germany’s preeminent composer. The city and Strauss, although seemingly unrelated, were more intertwined than it would at first appear. This study examines this connection through a reception history of Strauss’s Salome, Elektra, and Der Rosenkavalier in the city, beginning in 1907 with the New York City premiere of Salome and concluding in 1934 when the opera returned to the Metropolitan’s stage ...


The Political Power Of Carlos Chávez And His Influence Upon Silvestre Revueltas And Blas Galindo, Yolanda Tapia 2018 The University of Western Ontario

The Political Power Of Carlos Chávez And His Influence Upon Silvestre Revueltas And Blas Galindo, Yolanda Tapia

Electronic Thesis and Dissertation Repository

This monograph examines the political power of Mexican composer Carlos Chávez (1899–1978) during the first half of the twentieth century in Mexico, and his influence upon the careers and lives of composers Silvestre Revueltas (1899–1940) and Blas Galindo (1910–1993). I show how Carlos Chávez acquired institutional power through various cultural organizations such as the Orquesta Sinfónica de México, the Conservatorio Nacional, Departamento de Bellas Artes, and the Instituto Nacional de Bellas Artes, and how his desire to bind music and culture with politics positioned him as the head of the cultural committee of Miguel Aleman’s presidential ...


Orchestra Machines, Old And New, Jonathan De Souza 2018 Western University

Orchestra Machines, Old And New, Jonathan De Souza

Jonathan De Souza

What is ‘orchestral’ about a networked laptop orchestra? And what is network-like about a classical orchestra? This article juxtaposes orchestras, nineteenth-century music machines, and twenty-first-century network music projects. Drawing on organology and cybernetics, it asks how these systems connect people and instruments. It considers interaction and coordination in particular networks, from the panharmonicon to PLork, but also their abstract informational topologies. Ultimately, orchestra machines, old and new, involve both technical and social organization—and, as such, they can be used to problematize the ontological separation of technology and society.


Foreword And Front Matter, Nota Bene Editors-in-Chief 2018 Western University, Canada

Foreword And Front Matter, Nota Bene Editors-In-Chief

Nota Bene: Canadian Undergraduate Journal of Musicology

No abstract provided.


Discriminating Ears: Critical Receptions Of Blackness In The Music Of George Gershwin And William Grant Still, Hannah Edgar 2018 University of Chicago

Discriminating Ears: Critical Receptions Of Blackness In The Music Of George Gershwin And William Grant Still, Hannah Edgar

Nota Bene: Canadian Undergraduate Journal of Musicology

At the apex of their careers, composers George Gershwin and William Grant Still produced what they believed were their finest works: respectively, Porgy and Bess (1935), an opera by a white American composer about African American subjects, and Troubled Island (1949), an opera by an African American composer about Haitian subjects. However, both works fared poorly upon their premiere, with critics decrying Porgy and Bess and Troubled Island as “unoperatic.” Besides providing historical context to both operas, this paper argues that the critical rhetoric surrounding them was tinged by racialized notions of what musical “blackness” sounded like, or should sound ...


Cover Songs And Tradition: A Case Study Of Symphonic Metal, Benjamin Hillier 2018 University of New South Wales

Cover Songs And Tradition: A Case Study Of Symphonic Metal, Benjamin Hillier

Nota Bene: Canadian Undergraduate Journal of Musicology

This paper examines the role of cover songs in the continuation of tradition, and in the formation of a musical canon. It explores the connections between ‘classical’ and heavy metal music as expressed by musicians of said genres, specifically those who partake in both. Furthermore, I argue that the practice of covering works from the Western art music canon in the metal genre, evinces the consequent development of the symphonic metal sub-genre. An embedded investigation attests to Western art music having inspired numerous metal musicians, who have in turn covered said music as a means to show their respect for ...


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