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Articles 1 - 6 of 6
Full-Text Articles in Arts and Humanities
The Effect Of Music Tempo On Movement Responses Of Preschool Children, Melanie Woods Alexander
The Effect Of Music Tempo On Movement Responses Of Preschool Children, Melanie Woods Alexander
LSU Master's Theses
The purpose of this study was to examine the effect of tempo on movement responses of children ages one to three. For two weeks, 17 children between the ages of 22 and 36 months were videotaped twice per week to observe and measure their movement responses to fast and slow musical stimuli. During these sessions, the children were videotaped in their classrooms, engaged in either free play or in a quiet group activity. The videotaped sessions were then analyzed using a Motor Observation Form. Once all of the tapes had been viewed and scored, overall percentages of movement and no …
Background Conglomerates In Alkan's Quasi-Faust, Op. 33, No. 2, Matthew James Steinbron
Background Conglomerates In Alkan's Quasi-Faust, Op. 33, No. 2, Matthew James Steinbron
LSU Master's Theses
Various approaches have been used over the past 50 years to describe and analyze works that exhibit tonality but have more than one tonic. This paper focuses solely on a subcategory of such works: those that begin in one key and end in another, the first key being permanently replaced by the second. The most prominent systems of terminology and analysis for such works include “progressive tonality,” “directional tonality,” “interlocking structures,” and “background conglomerates.” After examining these systems, “background conglomerates” is determined to best suit works that permanently change tonics. This approach, which was introduced by Harald Krebs, employs a …
Musical Time And Revealed Timelessness, Michael Vincent Blandino
Musical Time And Revealed Timelessness, Michael Vincent Blandino
LSU Master's Theses
Scholarship on musical time recognizes the depiction of timelessness in music as a possibility. However, many theories of musical timelessness center around total stasis as the ideal method for creation of the effect, tolerating relative motion only out of necessity and viewing such motion as a weakening force in this regard. There is little investigation of the interaction between other modes of musical time and the mode of timelessness. Hence, no theory offers a comprehensive expansion of scope to include more complex depictions of timelessness in relation to time. This paper addresses these points, offering a framework for understanding musical …
Symphony No.1, Jessica Mahan
Symphony No.1, Jessica Mahan
LSU Master's Theses
Symphony No. 1 is a programmatic piece based on the sabbat holidays of the traditional Celtic calendar. The holidays of the Celtic year celebrate the human spirit in context with the changes of the earth during the course of a year. Beginning with autumn, Samhain celebrates death and the preparation for the darkness of the winter months. Yule is the longest night of the year, and the time the Goddess is crowned. Signs of spring come at Imbolg. Ostara is the Spring Equinox, and an equal relationship exists between the Goddess and the God. Beltane is celebrated by wrapping ribbons …
Symphonic Revelations, Carlo Vincetti Frizzo
Symphonic Revelations, Carlo Vincetti Frizzo
LSU Master's Theses
Symphonic Revelations is scored for 3-3-3-3, 4-3-3-1, 1 timpani, 3 percussionists, harp, piano, and strings and is approximately 20 minutes in length. It is a single movement symphonic work that consists of three major sections and is built from the pitch class set [0, 1, 3]. The first section’s overall form resembles both a large crescendo and an accelerando. The music begins softly and slowly and over time gradually builds becoming louder and faster. Eventually in bars 225 to 229, the section comes to an end with a tutti passage that marks one of the loudest and fastest moments in …
Symphony Iii, Michael Berthelot
Symphony Iii, Michael Berthelot
LSU Master's Theses
In the summer of 2003 in the outskirts of Portland, Oregon, inspiration was found, and Symphony III is the result. It was here that two conflicting ideas became clear. The juxtaposition of these two ideas is evident throughout this work. Symphony III is a one-movement piece of twenty minutes in duration that consists of five different sections in the arch form ABCBA. One idea is very lyrical, as in Section A, while the other is very rhythmic, as in Section B. The lyrical inspiration can be heard in the opening flutes, and in the piccolo trio, which perfectly reflects the …