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Composition Commons™

Open Access. Powered by Scholars. Published by Universities.®

Ethnomusicology

2016

Articles 1 - 7 of 7

Full-Text Articles in Composition

Igor Stravinsky (Primitivism & Cubism), Dan Rager Jun 2016

Igor Stravinsky (Primitivism & Cubism), Dan Rager

Dan Rager

Igor Stravinsky (June 17, 1882/April 6, 1971) 

His works defined and incorporated the elements of Primitivism & Cubism. This short lecture discusses these principles through the following works and much more.
The Rite of Spring and The Firebird. Video example/performances bring to life this 20th century period of extremism . You are free to use and incorporate this information into your classroom courses.

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A Comparative History And The Importance Of Chamber Music, Aaron M. Sacks May 2016

A Comparative History And The Importance Of Chamber Music, Aaron M. Sacks

Capstone Projects and Master's Theses

This capstone presentation focuses on the role of chamber music in both social and academic contexts. Using examples from the past five centuries and including local examples, parallels and divergences are drawn to points of most import. The spotlight is upon three areas: a) what the role of chamber music was in the past, compared to today; b) why it is an important genre, to both musicians, as well as non-musicians, and c) in what ways more exposure to the form can be built. Much of the focus is on composers and their influence, but the impact of and upon …

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Fred Bartenstein: The Right Place At The Right Time, Kurt Mosser Apr 2016

Fred Bartenstein: The Right Place At The Right Time, Kurt Mosser

Kurt Mosser

Fred Bartenstein has always seemed to find himself perfectly situated to pursue his life-long interest in bluegrass music – as he puts it, “I’ve always seemed to be in the right place at the right time.” This luck has allowed him to find bluegrass in the most surprising places, whether at a private day school in New Jersey, or at Harvard University in the late 1960s. It has also meant that, among other things, he found himself attending the first bluegrass festival in Fincastle, Va., becoming a bluegrass DJ at the age of 16, starting Muleskinner News magazine, and playing …

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Senior Concert I: A Quiet Departure/Senior Concert Ii: 6 Statements, Matthew Charles Dowden Jan 2016

Senior Concert I: A Quiet Departure/Senior Concert Ii: 6 Statements, Matthew Charles Dowden

Senior Projects Spring 2016

Senior Project submitted to The Division of Arts of Bard College

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Robert Schuman "Novellette In F Major", Opus. 21 No. 1 (Part 1), Dan Rager Dec 2015

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

Dan Rager

This paper is an analysis of Robert Schumann’s "Novellette in F Major", Op. 21 no. 1. Musical Elements include but are NOT limited to: Musical form,  contour motion, tonal key centers (Major/minor), figurative motives, chordal progressions, modulations, Neapolitan and tonicization chords, thematic material, phrasing and arppegiated rhythms,chromatic mediant key relationships, rhythmic patterns and harmonic progressions. These and many other elements are explored through notational samples to better understand the analysis. Full scores are available online or can be purchased to further your own analysis.

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Robert Schumann "Novellette" Opus 21- No. 1 / Full Piano Score (Part 2), Dan Rager Dec 2015

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

Dan Rager

Full piano score to Robert Schumann’s "Novellette in F Major", Op. 21 no. 1. Find complete analysis of it in "Part 1".

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The Band Came Back (Sousa -1895/Clarke - 1926/Rager - 2016), Dan Rager Dec 2015

The Band Came Back (Sousa -1895/Clarke - 1926/Rager - 2016), Dan Rager

Dan Rager

PowerPoint Presentation:

The Band Came Back: For lack of a better description, this music was billed as a “fantastic episode.” To catch the audience by surprise it was always programmed by Sousa as the first piece after an intermission. The house lights were turned off, revealing an empty stage. Slowly and deliberately, the musicians entered, playing singly, in pairs, trios or quartets. Each played some popular tune upon entering, sometimes with an accompaniment provided by musicians already onstage. Only after all of his players had entered and were seated did Sousa make his appearance, conducting only the last note. Although …

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