Arts and Humanities Commons^™

Fretboard Transformations, Jonathan De Souza

Jonathan De Souza

Musical Actions Of Dihedral Groups, Alissa S. Crans, Thomas M. Fiore, Ramon Satyendra

Alissa Crans

The sequence of pitches which form a musical melody can be transposed or inverted. Since the 1970s, music theorists have modeled musical transposition and inversion in terms of an action of the dihedral group of order 24. More recently music theorists have found an intriguing second way that the dihedral group of order 24 acts on the set of major and minor chords. We illustrate both geometrically and algebraically how these two actions are {\it dual}. Both actions and their duality have been used to analyze works of music as diverse as Hindemith and the Beatles.

Dynamic And Attack Associations In Boulez’S Le Marteau Sans Maître, Wayne C. Wentzel

Wayne Wentzel

This paper explores dynamic and attack associations in the Bourreux de Solitude movement of Pierre Boulez's pivotal piece, Le Marteau sans maître.

Sonatas, Rondos, And Cupcakes: The Efficacy Of Collaborative Learning In Undergraduate Music Theory Courses, Kyle Gullings

Kyle Gullings

This paper examines the efficacy of collaborative and creative learning models in undergraduate music theory courses, using as comparative case studies group projects I assigned in three consecutive Form and Analysis classes from 2011 through 2014. I make the case that creative group projects, when executed correctly, have a net benefit for students, and that we as educators should make more effective use of them in our courses.

Robert Schuman "Novellette In F Major", Opus. 21 No. 1 (Part 1), Dan Rager

Dan Rager

Robert Schumann "Novellette" Opus 21- No. 1 / Full Piano Score (Part 2), Dan Rager

Dan Rager

Musical Syntax (Music Vs. Human Language), Dan Rager

Dan Rager

Bridging Two Worlds: Baroque Violin Performance Practices As A Model For The Transcription Of Selected Movements Of J.S. Bach's Sonatas And Partitas For Solo Violin On The Modern Guitar, Júlio Alves

Júlio Ribeiro Alves

This document explores the role of the baroque violin practices of bowing, chord playing, and slurring in arrangements for the modern guitar, of selected movements of J. S. Bach’s Sonatas and Partitas (BWV 1001-1006) for solo violin. This document aims to expand the range of possible solutions for all guitarists interested in playing Bach’s unaccompanied solo music by making a “bridge” between these essential performance practices of the baroque violin and the capabilities of the modern guitar. Some practices associated with other baroque instruments such as the lute and the harpsichord are also considered. The guitar arrangements included at the …

Proportional Relationship In The Segmentation Masses Of Obrecht And Its Influence On Form And Structure, Ralph Jarzombek

Ralph Jarzombek

Proportional relationships of simple numbers were commonly used in architecture during the Renaissance period. These proportional relationships were based on the primary musical consonances of the Greek musical system: the octave (2:1), fifth (3:2), and fourth (4:3). In a similar manner, Obrecht uses the proportional relationships created by periods of rest and the last notes of the cantus firmus segments. These proportional relationships are found in the same voice as the cantus firmus, and appear when the statements of the cantus firmus segments are absent. Together with the statements of the cantus firmus segments, these proportional relationships provide the entire …

Faculty Wind Quintet: Five High School Tour, South And Central Oregon, Nicole Molumby, Jeanne Belfy, Leslie Moreau, Janelle Oberbillig, David Saunders

Leslie M. Moreau

These performances spanned 150 years of wind quintet repertoire including works by György Ligeti, Carl Nielsen, August Klughardt, Jacques Ibert, Paul Hindemith, Sir Malcolm Arnold and Paquito D’Rivera.

Faculty Wind Quintet: Five High School Tour, South And Central Oregon, Nicole Molumby, Jeanne Belfy, Leslie Moreau, Janelle Oberbillig, David Saunders

Jeanne M. Belfy

These performances spanned 150 years of wind quintet repertoire including works by György Ligeti, Carl Nielsen, August Klughardt, Jacques Ibert, Paul Hindemith, Sir Malcolm Arnold and Paquito D’Rivera.

Key Change: The Role Of The Creative Industries In Climate Change Action, Tim Hollo

Matthew Rimmer

The role of the creative industries – arts and artists – in helping to drive the changes in laws and behaviours that are necessary to tackle climate change, while not superficially obvious, is a deep one. Arts and artists of all kinds, as cultural practitioners, have been closely entwined with social change and social control since time immemorial, in large part because they help shape our understanding of the world, framing ideas, prefiguring change, and opening hearts and minds to new ways of thinking. They have played a major role in campaigns for law reform on many issues, and climate …

Do – Re – Mi: Una Aproximación A La Obra Musical Desde El Derecho De Propiedad Intelectual Y La Teoría Musical, Javier André Murillo Chávez

Javier André Murillo Chávez

No abstract provided.

Listening Origins, Habits, And Habitus, Mark Zanter

Mark Zanter

Listening habits offer us insight into music’s affect on us as individuals, artists, and as members of the various communities we inhabit. Using the lens of phenomenology to assess and explore the nature of the listening experience, I will investigate recent writings on music perception, and modes of listening focusing on their use: by individuals in everyday life; in perceiving musical works and the role of music in multi-media; and in generating habitus—social codes in the musical cultures we inhabit. Once the notions of habits and habitus have been established, I will posit that listening, in the context of new …

Anarchy In The Unity: Compositional And Aesthetic Tensions In Mauricio Kagel's Antithese Für Einen Darsteller Mit Elektronischen Und Öffentlichen Klängen (1962), Makoto Mikawa

Makoto Mikawa

In 1962 the Argentine-German composer Mauricio Kagel (1931-2008) completed an innovative multimedia/interdisciplinary piece, Antithese für einen Darsteller mit elektronischen und öffentlichen Klängen. The unique compositional style and formal structure consisting of heterogeneous compositional components reflected his profound insights into issues inherent in postwar avant-garde music. Kagel remarked strikingly that “anarchy in the piece was omnipresent.” Indeed, his use of the term ‘anarchy’ is a keystone not only of the structural features of Antithese, but also of Kagel’s aesthetic of music in the piece. The present study seeks to reveal Kagel’s idea of anarchy in musical context and how he attempts …

"Western Evening Vistas" For Concert Band, Dominic Dousa

Dominic Dousa

A performance of my original composition by the UTEP Wind Symphony, conducted by Ron Hufstader.

A Critical Examination Of Verbula In The Berkeley Manuscript, Chelsey Hamm

Chelsey L Hamm

No abstract provided.

Jorge Montilla’S Ironwood Trio, Jana Starling, Leslie Moreau, Anne Watson

Leslie M. Moreau

No abstract provided.

Guest Artist Recital - University Of Idaho - Moscow, Id, Nicole Molumby, Leslie Moreau

Leslie M. Moreau

The Lionel Hampton School of Music at the University of Idaho presents a recital featuring guest artists Nicole Molumby, flute, and Leslie Moreau, clarinet, on Saturday, March 5, 2011 at 4 p.m. in the Haddock Performance Hall in the music building on the Moscow campus. Molumby and Moreau serve on the faculty at Boise State University. Their delightfully varied program showcases music by Jim Cockey, Heitor Villa-Lobos, Blaz Pucihar, Wilhelm Friedemann Bach, Jorge Montilla and Robert Muczynski. They will be assisted by pianist Barton Moreau, faculty, Boise State University; clarinetist Shannon Scott, faculty, Washington State University; and Leonard Garrison, assistant …

The Form Of The Preludes To Bach's Unaccompanied Cello Suites, Daniel E. Prindle

Daniel E. Prindle

This thesis proposes a methodology for understanding the form of a Baroque prelude, particularly the preludes to the Six Suites for Unaccompanied Violoncello written by Johann Sebastian Bach. Four musical dimensions, tonal structure, motive, texture, and the potential implications of a piece’s genre, parse the preludes in different ways. As the features of these musical dimensions undergo either an evolution or a dramatic change over the course of each prelude, they each suggest a different form. Points of change in each dimension delineate segments in the music. When aligned, these changes create significant formal junctures and suggest an overall form …

Ironwood Clarinet Trio, Jana Starling, Leslie Moreau, Anne Watson

Leslie M. Moreau

Works by Alfred Prinz, Paquito D’Rivera, Michael Kibbe, David Snow, and Peter Schickele.

The Count's Dilemma, Or, Harmony And Dissonance In Legal Language, Ian Gallacher

Ian Gallacher

Lawyers have had a long, but ambivalent, relationship with metaphor. Viewed by some as a mere literary device, a trick of language that "adds little of substance to an argument," metaphor is seen by others as an essential component of legal language, a rhetorical device inseparable from thought. On one thing, though, all can agree: lawyers only have words to express their thoughts, so they have an obligation to use words, whether used metaphorically or not, as exactly as possible. This article offers a critique of the way lawyers meet this obligation when they use metaphors based in musical language. …

Ear Training With The Music Of Radiohead, Victoria Malawey

Victoria L. Malawey

No abstract provided.

Faculty Wind Quintet: Five High School Tour, South And Central Oregon, Nicole Molumby, Jeanne Belfy, Leslie Moreau, Janelle Oberbillig, David Saunders

David Saunders

These performances spanned 150 years of wind quintet repertoire including works by György Ligeti, Carl Nielsen, August Klughardt, Jacques Ibert, Paul Hindemith, Sir Malcolm Arnold and Paquito D’Rivera.

Solo Composition Recital (October 14, 2011), Dominic Dousa

Dominic Dousa

Faculty Compositon Recital, presented by Gregory Luffey (soprano saxophone, UTEP), Melissa Colgin-Abeln (flute, UTEP), Mark Schuppener (violin, UTEP), and Dominic Dousa (piano).

Performances of the following original compositions:

"A View from Within"

"Two Pieces for Flute and Piano"

"Sonata for Violin and Piano"

Solo Performance, Dana Wilson’S Liquid Ebony For Clarinet And Band, Bsu Symphonic Winds, Leslie Moreau

Leslie M. Moreau

No abstract provided.

Papa Bois And The Monkeys, Doug Lofstrom

Doug Lofstrom

No abstract provided.

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

Leslie M. Moreau

No abstract provided.

Concertino For Harp And Orchestra, Doug Lofstrom

Doug Lofstrom

Premiered by the orchestra with Kelsey Erdahl.