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

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 …

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.

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 …

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. …

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"

Curriculum Vitae, Dominic Dousa

Dominic Dousa

The pdf document includes my current Curriculum Vitae.

"Korean Psalm (Psalm 23)" For Tenor Voice And Piano, Dominic Dousa

Dominic Dousa

A performance of my original composition by Sang-In Han (tenor) and Dominic Dousa (piano). The work is a setting of selected verses of Psalm 23 in Korean. It was composed for Dr. Han's lecture recital of Korean Art Song.

Statement Of Artistic Philosophy, Dominic Dousa

Dominic Dousa

The pdf file includes my statement of artistic philosophy.

"Departed Days" For Satb Choir And Piano, Dominic Dousa

Dominic Dousa

A performance of my original composition by the UTEP University Chorale, conducted by William McMillan.

Statement Of Philosophy On Teaching, Research, And Service, Dominic Dousa

Dominic Dousa

The pdf file includes my statement of philosophy on teaching, research, and service.

"Hymn Of Trust" For Satb Choir And Piano, Dominic Dousa

Dominic Dousa

A performance of my original composition by the UTEP University Chorale, conducted by William McMillan.

List Of Original Compositions, Chronological, Dominic Dousa

Dominic Dousa

The pdf document lists original compositions by date. For works with audio files available, the category in which those recordings may be found is given.

List Of Original Compositions, By Genre, Dominic Dousa

Dominic Dousa

The pdf document lists original compositions by genre. For works with audio files available, the category in which those recordings may be found is given.

"Mountain Song" For Viola And Piano (Lubbock, Tx), Dominic Dousa

Dominic Dousa

A performance of my original composition by Renee Skerik (viola, Texas Tech University) and Susan Wass (piano, Texas Tech University).

Recital, Utep Faculty Recital Series (April 4, 2009), Dominic Dousa

Dominic Dousa

A faculty recital presentation by Melissa Colgin-Abeln (flute), Orit Eylon (mezzo soprano), Michael Way (graduate student, cello) and Dominic Dousa (piano).

List Of Commissioned Compositions, Dominic Dousa

Dominic Dousa

The pdf document lists compositions commissioned by musicians and musical organizations, with details about the occasion for which the work was written. For works with audio files available, the category in which those recordings may be found is given.

"Mountain Song" For Viola And Piano (Cleveland, Oh), Dominic Dousa

Dominic Dousa

A performance of my original composition by Renee Skerik (viola, Texas Tech University) and James Housman (piano, Oberlin College).

"Departed Days" For Satb Choir And Piano, Dominic Dousa

Dominic Dousa

A performance of my original composition by the UTEP University Chorale, conducted by William McMillan.

Solo Composition Recital (February 17, 2009), Dominic Dousa

Dominic Dousa

Faculty Compositon Recital, presented by Renee Skerik (viola, guest artist from Texas Tech University), the Texas Tech University Viola Choir, and Dominic Dousa (piano). Also included performance of Milhaud's "Sonata No. 1 for Viola and Piano".

Performances of the following original compositions:

"Mountain Song"

"Two Pieces for Viola Choir"

Sonata for Viola and Piano, 'From a Land Wild and Free'