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Full-Text Articles in Composition
The Modes Of Intervention In Alvin Lucier’S I Am Sitting In A Room, Daniel Fox
The Modes Of Intervention In Alvin Lucier’S I Am Sitting In A Room, Daniel Fox
Dissertations, Theses, and Capstone Projects
Alvin Lucier’s I am sitting in a room (1969) is an icon of experimental music and sound art. The sizable literature addressing the aesthetic and philosophical implications of this piece rarely discusses the performance practice beyond what is indicated in the score itself. This is problematic for two reasons: 1) The meaning that is derived from the piece often hinges not just on what sounds are obtained, but on how they are obtained. 2) Over the past 50 years, changes in the performance practice have altered what constitutes the work: magnetic tape was used until 2000 when it was replaced …
Martial Caillebotte’S Mélodies And Scènes Lyriques: Analytical Essays And Performance Guide, Dominique Mccormick
Martial Caillebotte’S Mélodies And Scènes Lyriques: Analytical Essays And Performance Guide, Dominique Mccormick
Dissertations, Theses, and Capstone Projects
Composer, pianist and photographer, Martial Caillebotte (1853–1910) was the unknown younger brother of famous Impressionist painter, Gustave Caillebotte. Martial studied piano and harmony at the Paris Conservatory from 1870–1874. Martial created a substantial number of musical compositions including mélodies, scènes lyriques, operas, symphonic poems, as well as sacred choral and symphonic works. Born into a wealthy Parisian family, he did not need to work for a living and did not self-promote, therefore his pieces were rarely performed and after his death, most of his compositions were left in family archives. In the late 1990’s a rebirth of interest in the …
Two Cello Works Of Pēteris Vasks: Structure, Symbolism, And Identity, Caroline Bean Stute
Two Cello Works Of Pēteris Vasks: Structure, Symbolism, And Identity, Caroline Bean Stute
Dissertations, Theses, and Capstone Projects
This dissertation presents analyses of two compositions for cello by Latvian composer Pēteris Vasks: Grāmata Čellam (1978), for solo cello, and Concerto No. 2, “Klātbūtne” (“Presence,” 2011–2012), for cello and string orchestra. It acquaints readers with defining elements of Vasks’s musical language and relates his music to the concurrent stylistic classifications of Baltic Minimalism and Neoromanticism. The paper also discusses the significance of Vasks’s national identity in his creative process and provides historical context on Latvia.