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Modern Interpretation Of Ornamentation In Naftule Brandwein’S Firn Di Mekhutonim Aheym And Der Heyser Bulgar, Michael Aaron Gersten
Modern Interpretation Of Ornamentation In Naftule Brandwein’S Firn Di Mekhutonim Aheym And Der Heyser Bulgar, Michael Aaron Gersten
Dissertations
Research on the klezmer revival is wanting both in size and scope. Much of the existing research focuses on extra-musical influences on modern klezmer music with only tangential study of performance practice. This study seeks to inform the body of literature on klezmer performance practice by analyzing and comparing the interpretation of melody and ornamentation in modern performances of Der Heyser Bulgar and Firn di Mekhutonim Aheym, two of famed clarinetist Naftule Brandwein’s (1884–1963) most popular tunes. Analysis of ornamentation in modern performances of the selected recordings reveals a marked shift in modern style when compared to Brandwein’s original recordings. …
Israel Crosby (1919-1962): An Analysis Of His Bass Line Construction With The Ahmad Jamal Trio From 1958-1962, Gibran Anees Khan
Israel Crosby (1919-1962): An Analysis Of His Bass Line Construction With The Ahmad Jamal Trio From 1958-1962, Gibran Anees Khan
Dissertations
This study identifies the elements that characterize Israel Crosby’s playing style during his time with the Ahmad Jamal Trio consisting of Jamal, Crosby, and drummer Vernel Fournier. Elements that are unique to Crosby’s playing style are identified through transcriptions of his complete recorded bass lines with Ahmad Jamal and Vernel Fournier. From those transcriptions, motives that occur with frequency are considered idiomatic to his playing style. This analysis presents the following characteristics of Crosby’s playing style: two-feel rhythms, fills, two-measure chord patterns, tension notes, delayed resolutions, enclosures, sequences, digital patterns/arpeggios, escape tones, and octave displacements. Crosby’s use of ostinatos is …
Building Blocks Of A National Style: An Examination Of Topics And Gestures In Nineteenth-Century American Music As Exemplified In Scott Joplin’S Treemonisha, Elisabet Omarene De Vallee
Building Blocks Of A National Style: An Examination Of Topics And Gestures In Nineteenth-Century American Music As Exemplified In Scott Joplin’S Treemonisha, Elisabet Omarene De Vallee
Dissertations
Even though America’s musical elite undertook a veritable boycott of American talent during the nineteenth century, efforts to define concert life along Germanic lines did not prevent the development of a distinctly American sound. The groundwork was laid in the first half of the century in folk songs, national airs, and popular tunes from minstrel shows. It came to fruition after the Civil War, and by the 1920s, all of the elements were in place for an easily recognizable “American Style.” The development of musical topics to evoke the idea of “American” was essential in establishing this style. Most topical …
Two Works By Isang Yun And Byungdong Paik For Harpsichord Or Piano: Analysis And Performance Guide, Mijung Kim
Two Works By Isang Yun And Byungdong Paik For Harpsichord Or Piano: Analysis And Performance Guide, Mijung Kim
Dissertations
The harpsichord is no longer an instrument of the past. Since its revival in the nineteenth century, it has coexisted with the piano as one of the most important keyboard instruments. Modern composers all over the world have written music not only for the piano but also for the harpsichord. Composers and performers from non-Western countries have become interested in writing and playing music for the harpsichord. South Korean composers like Isang Yun and Byungdong Paik tend to mix their country’s musical style with Western compositional techniques. Yun’s Shao Yang Yin and Paik’s Three Bagatelles demonstrate the blending of Western …
Cedar Walton: An Analytical Study Of His Improvisational Style Through Selected Transcriptions, Katherine Lee Skinner
Cedar Walton: An Analytical Study Of His Improvisational Style Through Selected Transcriptions, Katherine Lee Skinner
Dissertations
This study examines five transcriptions of performances by Cedar Walton, one of the iconic hard bop jazz pianists in the 20th and 21st centuries. The transcriptions analyzed are improvised solos recorded between 1964 and 2001 and include the following songs: “Pensativa,” “Rhythm-a-Ning,” “Bremond’s Blues,” “Jacob’s Ladder,” and “I’m Not So Sure.” They have been examined for common elements and threads in Walton’s playing, specifically addressing rhythm, harmony, and melody. These devices are also discussed in the context of bebop and hard bop, and observations have been made about the differences in his improvisation depending on the genre of jazz he …
An Analysis And Performance Guide Of Three Works By Brazilian Composers Featuring The Violin, João Paulo Machado
An Analysis And Performance Guide Of Three Works By Brazilian Composers Featuring The Violin, João Paulo Machado
Dissertations
This is a study of a selection of works for violin composed in the twentieth century by Brazilian composers: Sonata for Violin and Piano by José Guerra Vicente (1906-1976); Chôro for Violin and Orchestra by Mozart Camargo Guarnieri (1907-1993), and Trio for Violin, Violoncello and Piano by César Guerra-Peixe (1914 -1993). These pieces contain strong identifiable nationalistic features of Brazilian music allied to twentieth-century compositional elements. The selected works will serve as examples for a study of compositions for violin incorporating the above-mentioned styles. These works have been selected to represent a variety of instrumental genres: a sonata for violin …
Infância: A Brazilian Suite In Three Movements For Jazz Orchestra, Cassio Fernando Barbosa Vianna
Infância: A Brazilian Suite In Three Movements For Jazz Orchestra, Cassio Fernando Barbosa Vianna
Dissertations
Infância: A Brazilian Suite in Three Movements for Jazz Orchestra is an original music composition in which I blend a variety of Brazilian music elements with the traditional jazz big band style. American jazz and Brazilian popular music share similar African and European roots, but it was only in the 1940s that Americans became aware of the music coming from Brazil, through the work of Brazilian singer Carmen Miranda, who starred in many Hollywood movies and Broadway shows, performing songs by some of the greatest Brazilian composers of the time. Later in the 1960s, with the arrival of bossa nova …