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Articles 1 - 30 of 93
Full-Text Articles in Composition
Music Of The Divine: Interweaving Threads Connecting Contemporary Chant-Based Piano Repertoire, Jeremy D. Duck
Music Of The Divine: Interweaving Threads Connecting Contemporary Chant-Based Piano Repertoire, Jeremy D. Duck
Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance
The purpose of this document is to prove chant remains an important source of inspiration among living composers, and, despite the number of piano works already incorporating chant, composers today are still finding unique ways to include chant in their music. To achieve this objective, representative works have been selected for research and analysis for four of the major chant traditions. Connor Chee’s The Navajo Piano, Victoria Bond’s Illuminations on Byzantine Chant, and Hayes Biggs’ E.M. am Flügel: Poem-Étude for Piano Solo, though the chants from which they are inspired are diverse in concept and style, they …
Chopin’S Piano Sonata No. 3 In B Minor Op. 58: A Structural Analysis, Maverick Harrold
Chopin’S Piano Sonata No. 3 In B Minor Op. 58: A Structural Analysis, Maverick Harrold
Theses/Capstones/Creative Projects
Chopin’s Piano Sonata No. 3 in b minor Op. 58 is an incredibly important composition to the world of music. This work will uncover many of the unique facets and features of this piece as well as discover the beautiful intricacies of each of the four movements. By learning about this sonata, the reader will gain an understanding of the importance of musical structure and musical form and will gain insight into the ways of Chopin’s compositional style and of romantic piano music as a whole.
From Story To Song: Exploring The Storytelling Potential Of Instrumental Music, Celine Darr
From Story To Song: Exploring The Storytelling Potential Of Instrumental Music, Celine Darr
Honors Projects
For this project, I have composed a piece of program music with the aim of capturing scenes from Hans Christian Andersen's "The Little Mermaid" through music. The project seeks to answer questions regarding the elements that make instrumental music "programmatic", or able to portray a story.
Don't Lose Your Keys: Exploring The Transition From Harpsichord To Piano, Justice Post
Don't Lose Your Keys: Exploring The Transition From Harpsichord To Piano, Justice Post
Capstone Projects and Master's Theses
This paper explores keyboard technology in music from the Baroque era to today. Central focus is on the initial dominance of the harpsichord in Western music and how this shifted to the piano. Using this context of evolving instrumentation, the paper considers how this coincided with changing styles of music composition. Finally, the paper considers the question of how a keyboardist of today should handle music written in eras before the piano existed, and whether it is appropriate to perform harpsichord music using a modern piano.
Jeremy Lee In A Student Composers Recital, Jeremy Lee
Jeremy Lee In A Student Composers Recital, Jeremy Lee
Honors Thesis
This recital and collection of original sheet music represent the culminating work for senior Music major (Contemporary Styles and Practices concentration) Jeremy Lee at Loyola Marymount University. The program features a selection of musical compositions that encapsulate different styles, genres, and unique compositional devices. Pieces also utilize a variety of arrangements and mediums, including compositions for multiple instruments and for film. Program notes for the included selections describe the historical influences and/or the personal stories and inspirations behind each piece. Performed live on April 21st, 2022, in Murphy Recital Hall.
A Bird’S Eye View: Large-Scale Tonal Structures In Robert Schumann’S Four Song Cycles (Op. 42, 24, 39, And 48), Peter Kramer
A Bird’S Eye View: Large-Scale Tonal Structures In Robert Schumann’S Four Song Cycles (Op. 42, 24, 39, And 48), Peter Kramer
Dissertations, Theses, and Capstone Projects
Some of Robert Schumann’s most notable works are his Lieder for solo voice and piano accompaniment. Schumann's Lieder are considered some of the best compositions in this genre, engendering various interpretations by performers and exciting vigorous debate among musicologists and theorists. Robert Schumann’s early music was almost entirely composed for the piano alone; it wasn’t until 1840 that he started to compose almost exclusively Lieder and song cycles inspired by his predecessors Beethoven and Schubert. This was a prolific year for Schumann compositionally, in part due to his marriage to Clara Schumann who was one of Europe’s most preeminent piano …
The Meaning Of Music, Caleb Loius Orenstein Carman
The Meaning Of Music, Caleb Loius Orenstein Carman
Senior Projects Fall 2021
This project combines solo performances of music on piano, collaborative playing/rehearsing, improvisation, and composition. In both parts of the project, I share my performances of François Couperin, J. S. Bach, Schubert, and Ravel, and include my own compositions alongside. I tackle certain pieces that lie within the ‘long eighteenth century’ and demonstrate how improvisation is an integral part of music-making for composers. I believe in order to fulfill my own desires as a musician, I need to develop my aptitude in multiple areas — performance, composition, improvisation, chamber music, etc. — in such a way that the practice of one …
Performing Rhythmic Dissonance In Ligeti’S Études, Book 1: A Perception-Driven Approach And Re-Notation, Imri Talgam
Performing Rhythmic Dissonance In Ligeti’S Études, Book 1: A Perception-Driven Approach And Re-Notation, Imri Talgam
Dissertations, Theses, and Capstone Projects
Interpretive approaches to the Études have been limited by Ligeti’s choice of notation, which creates several layers of difficulty in the presentation of complex rhythms. In order to resolve some of these difficulties, this dissertation includes a complete re-notation of four Etudes, using a methodology based on research in cognition and perception of rhythm.
Based on this new score, the notion of rhythmic dissonance is developed as an analytical tool to investigate in-time perception of rhythmic complexity, drawing on existing work on metric entrainment and metric dissonance. Different compositional strategies for the production of rhythmic dissonance are shown to have …
Abandoning Abuse: Acknowledging Adoption In The 21 Century, Deborah Elizabeth Ellis
Abandoning Abuse: Acknowledging Adoption In The 21 Century, Deborah Elizabeth Ellis
Graduate Theses and Dissertations
The inspiration for this set of pieces arose from a friendship with fellow grad student Morgen Cavanah. Morgen and I were both adopted as children, and it this common background that gave rise to these pieces. The poems chosen were written by Morgen about individuals or events in her life. Though I had planned to set 9 of the original 12 poems, this set is comprised of my four favorites. Each piece uses repetitive piano motives that underlie the melodic lines of the voice, flute, and cello. This choice explores harmonic and melodic possibilities that expand minimal accompaniment. Much of …
From Improvisation To Artistry: A Study Of The Piano’S 12 Sides By Carter Pann, Louis Claussen
From Improvisation To Artistry: A Study Of The Piano’S 12 Sides By Carter Pann, Louis Claussen
Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance
Intended as a resource for pianists who may analyze or perform Carter Pann’s The Piano’s 12 Sides, this study provides biographical information on the composer and explores his professional relationship with the pianist for whom it was composed, Joel Hastings. Each piece from The Piano’s 12 Sides is discussed in terms of form, melody, harmony, texture and Pann’s approach to the pianistic compositional idiom. The composition is also examined with regard to extra-musical details and programmatic elements as well as inspiration and dedications that influenced Pann’s compositional process.
Correspondence and interviews with the composer reveal the motivation and inspiration behind …
Transcending The Keyboard: The Development Of Non-Traditional Piano Techniques, Brian Hinkley
Transcending The Keyboard: The Development Of Non-Traditional Piano Techniques, Brian Hinkley
Music: Student Scholarship & Creative Works
No abstract provided.
A Comparative History And The Importance Of Chamber Music, Aaron M. Sacks
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 …
Golliwog's Cakewalk From Children's Corner Arranged For Clarinet Quartet, Elizabeth Johnson
Golliwog's Cakewalk From Children's Corner Arranged For Clarinet Quartet, Elizabeth Johnson
Honors Projects
By demonstrating integrated learning through interdisciplinary connections between music performance and arranging techniques, this honors project was the culmination of a process of using my knowledge of piano and clarinet performance techniques to arrange the piece “Golliwog’s Cakewalk” by Claude Debussy from piano to clarinet quartet. To arrange the piece for clarinet quartet, I utilized my experience in playing piano and clarinet to critically analyze the piano score and decide how it would best aurally transfer to an ensemble of four clarinets. The project also demonstrates critical thinking as I arranged the piece to be at a playing level appropriate …
Born To Conquer: The Fortepiano’S Revolution Of Keyboard Technique And Style, Rachel A. Lowrance
Born To Conquer: The Fortepiano’S Revolution Of Keyboard Technique And Style, Rachel A. Lowrance
Musical Offerings
The fortepiano had a rough beginning. In 1709 it entered a world that was not quite ready for it; a world that was very comfortable with the earlier keyboard instruments, especially the harpsichord. Pianists and composers were used to the harpsichord technique and style, which is drastically different from the piano. This is because the harpsichord was actually a very different instrument than the piano, as is explained in this paper. This paper traces the history of the piano's rise to dominance over the harpsichord, and how its unique hammer action began creating an idiomatic piano style. The piano also …
Mirrors, Zachary R. Ross
Mirrors, Zachary R. Ross
Undergraduate Honors Theses
MIRRORS is a cycle of songs composed for soprano voice and piano using five poems by Sylvia Plath. The work features the creation of a protagonist and tells a chronological story through the arrangement of the five poems colored and unified by the manipulation of a thematic twelve-tone row.
The Life And Selected Piano Works Of David Burge, Mary Chung
The Life And Selected Piano Works Of David Burge, Mary Chung
Dissertations
Although David Burge is recognized as one of the most important American pianists dedicated to contemporary music in the twentieth century, little is known about his contributions as a pedagogue, lecturer, writer, novelist, and, especially, as a composer. This biographical study focuses on three of his piano compositions: Second Sonata, Eclipse II, and Go-Hyang. Each work represents one of three distinct compositional periods: the first reflects the influence of Prokofiev and features characteristics of the neoclassicism; the second marks a turn to experimentalism, atonality, and serialism; and the final indicates the return to a more traditional style that makes use …
Nq + (X) (By Doug Lofstrom And The New Quartet), Doug Lofstrom, Michael Levin, Leandro Lopez-Varady, James Sanders, Sarah Allen
Nq + (X) (By Doug Lofstrom And The New Quartet), Doug Lofstrom, Michael Levin, Leandro Lopez-Varady, James Sanders, Sarah Allen
Doug Lofstrom
Music performed by Doug Lofstrom and The New Quartet, released on Emphasis Entertainment Group in Naperville, Illinois in 2007. The New Quartet: Michael Levin, clarinet and soprano saxophone; Leandro Lopez-Varady, piano; James Sanders, violin; Sarah Allen, percussion; Doug Lofstrom, bass and keyboards; with orchestra.
One Voice (By Doug Lofstrom And The New Quartet), Doug Lofstrom, Michael Levin, Leandro Lopez-Varady, James Sanders, Sarah Allen
One Voice (By Doug Lofstrom And The New Quartet), Doug Lofstrom, Michael Levin, Leandro Lopez-Varady, James Sanders, Sarah Allen
Doug Lofstrom
Music performed by Doug Lofstrom and The New Quartet, released on Little Miracles Music in Downers Grove, Illinois in 2004. The New Quartet: Michael Levin, clarinet and soprano saxophone; Leandro Lopez-Varady, piano; James Sanders, violin; Sarah Allen, percussion; Doug Lofstrom, bass and keyboards.
La Belle Au Bois Dormant (Opera Ouverture) - Piano Solo, Keith D. Rowley
La Belle Au Bois Dormant (Opera Ouverture) - Piano Solo, Keith D. Rowley
Keith D Rowley
This is the overture to my French opera, La belle au bois dormant (Sleeping Beauty). It was first performed in Nice, France in 1968. It was later performed at Brigham Young University by the French Club in collaboration with the Music Department and under the direction of Dr. Clifford Barnes.
The Structure Of Paul Creston's Narrative No. 2, Op. 79 No. 2 For Piano, Myrna Evelyn Johnson
The Structure Of Paul Creston's Narrative No. 2, Op. 79 No. 2 For Piano, Myrna Evelyn Johnson
All Master's Theses
This paper presents an analytical discussion of the structure of Paul Creston's Narrative No. 2. An explanation of Mr. Creston's approach to composition is followed by a general description of the free-sectional form. Next, each section is investigated separately according to its rhythm, harmony, and melody. However, at the same time relationships between the sections are mentioned also. Some characteristics of Mr. Creston's style which are revealed in this study are his use of various rhythmic structures, pantonality, the lydian mode, and tangential variation.
Volume 69, Number 04 (April 1951), John Briggs
Volume 69, Number 04 (April 1951), John Briggs
The Etude Magazine: 1883-1957
Dilemma in Detroit: Survivors of the Detroit Symphony Support Themselves with Odd Jobs and Look for a Successor to Sponsor Henry Reichhold
Zoltan Kodaly was my Teacher
How to Teach Adult Beginners
Music Has No Short-Cuts: Solid Careers Emerge Only for Unhurried, Systematic Training (interivew with Joseph Fuchs)
It's Free—It's Fun—It's Forum!
More About the Pharyngeal Voice: Widely-Used Method in the Golden Days of Italian Bel Canto
Class Piano Teaching Gets Results . . . A Successful Teacher Reveals the Formula She Has Developed Through Years of Trial and Error
Sing with Your Fingers
Volume 68, Number 03 (March 1950), John Briggs
Volume 68, Number 03 (March 1950), John Briggs
The Etude Magazine: 1883-1957
Richards Strauss . . . Conducting is a Difficult Business
Modern Piano Musical Metaphysics . . . Its Cause and Cure
How to Build a Voice Psychologists
Evaluate Music
So You Want to be a Piano Teacher
Structure of Music Clarence Dickinson—Pioneer of Church Music
Let's Simplify the Liebestraum Cadenzas Master Lesson on Brahms' Intermezzo in E-Flat Major, Op. 117,
No. 1 Musical Medicos
For TV Thrillers
Volume 67, Number 01 (January 1949), James Francis Cooke
Volume 67, Number 01 (January 1949), James Francis Cooke
The Etude Magazine: 1883-1957
On Keeping a Musical Diary
Eugène Ysaÿe as a Teacher (interview with Jeannette Ysaÿe)
Musical Fireworks Behind the Iron Curtain
Composer Needs Determination and Faith (interview with William Grant Still)
Musical Boston in the Gay Nineties: Haycyon Days at Harvard
Theodore Presser (1848-1925): A Centenary Biography (Part 7)
Mania for Speed by Performers of Music, Part 2
Do Musicians Live Longer Than Others?
Volume 66, Number 06 (June 1948), James Francis Cooke
Volume 66, Number 06 (June 1948), James Francis Cooke
The Etude Magazine: 1883-1957
Eternal Chopin
Orchestra As a Municipal Asset (interview with Harl McDonald)
Nest of the Nightingales: An Exquisite Musical Fairy Story
How Can I Become a Pianist? (interview with Artur Rubinstein)
Romeo and Juliet of the Mountains: How Music and Drama Ended the Notorius Hatfield and McCoy Feud
Natural—or Impossible! (interview with Cloe Elmo)
Concert Hall in Your Home
Approach to Elementary String Class Teaching
Pride of the Navy
Shifting—Sliding—Change of Position
Wednesday Afternoon With the Cecilians
Basis for Piano Technique
Volume 65, Number 05 (May 1947), James Francis Cooke
Volume 65, Number 05 (May 1947), James Francis Cooke
The Etude Magazine: 1883-1957
Voice of the Village Square
Tribute Dinner to a Great Conductor
Make the Right Start! (interview with Risé Stevens)
Was Music a Gift of Religion?
Beginning the Scale on Each Degree
Technique for the Amateur Pianist
Roy Newman, American Composer (1890-1946)
Master Lesson on Raff's Cavatina
Wonder of Bells
What About the Electric Organ? (interview with Ethel Smith)
Volume 62, Number 08 (August 1944), James Francis Cooke
Volume 62, Number 08 (August 1944), James Francis Cooke
The Etude Magazine: 1883-1957
Mind's Ear
Why Music Study Is a Priceless Investment
Keep Jazz Within Its Limits! (interview with Paul Whiteman)
Greatest Show On Earth Grew Out of Music (interview with Mrs. Charles Ringling)
Vital Use of Drudgery
Building Character Through Music
Music in the Chinese Theater
Coöperative Pupil's Recital Plan Which Succeeded
Protect your Precious Musical Instruments
If Parents Had Had Their Way
Musical Ideas Come First
Practice With Your Brains!
Technic of the Month—Prelude in F-sharp Major, Op. 28, No. 13, by Frédéric Chopin
Volume 59, Number 09 (September 1941), James Francis Cooke
Volume 59, Number 09 (September 1941), James Francis Cooke
The Etude Magazine: 1883-1957
Music at Bryn Mawr
Putting Assets to Work
Will Beethoven Stop Hitler?
My Most Momentous Musical Moment
Not as Written
Leader of the Famous Six (interview with Darius Milhaud)
Russian Nationalist Composers, Part 1
Musical Independence for America (interview with Rudolph Ganz)
Wanted Immediately: An Army of Musical Enthusiasts
Poise at the Piano
Great Musical Women of Yesterday
Putting Songs Across the Footlights (interview with Nino Martini)
Technic of the Month—Sixths
Volume 17, Number 10 (October 1899), Winton J. Baltzell
Volume 17, Number 10 (October 1899), Winton J. Baltzell
The Etude Magazine: 1883-1957
Ages of One Hundred Famous
Singers
On Program Printing
Unprofessional Advertising
Dumb Pianos
About Tuning
How Leschetizky Teaches Memorizing
Little Knowledge
First Step in the Instruction of Young Children
To a Piano (poem)
Mechanical Music
Honesty in Advertising
Actual Effect of Music Upon an Imagination
Types of Teachers, or Mayburn's Madness
Music or Notes?
Development of the Artistic Sense
Lost Ideals
Value of the Musical Magazine
How to Memorize
What Makes Music Successful?
Studio Experiences: Experiences with the Pedal
Uninterested Pupil
Conservatory and Private Teaching: Another Phase of the Subject
Musical Don'ts
What are Musical Clubs For?
Volume 16, Number 01 (January 1898), Winton J. Baltzell
Volume 16, Number 01 (January 1898), Winton J. Baltzell
The Etude Magazine: 1883-1957
Suggestions for the Musical Youth
How Shall We Teach Notation to Beginners
The Gospel of Work
Musical Memory in Its Relation to Pianoforte Playing
How to Make a Living
Problem of American Teaching
Song Writers of the Day
One-Sided Musicians
Nothing But a Name!
Success is the Reward of Toil
Musical Listener
Sight-Reading
Art of Self-Criticism
Helpful Letters to Young Musicians
Cost of Study Abroad
Factors of Musical Expression
Sight-reading in Pianoforte Instruction
Why Do You Take Music Lessons?
Principles of Musical Pedagogy
Thoroughness in Primary Work
Music Education
Moral Influence of Music
Convenient Maxims, Formulas, etc. for Voice Teaching …
Volume 15, Number 09 (September 1897), Winton J. Baltzell
Volume 15, Number 09 (September 1897), Winton J. Baltzell
The Etude Magazine: 1883-1957
Would-Be Paderewski
Music No Hindrance to Getting On
Some Don'ts for Students Who are Going to Germany to Study Music
Playing in Public
From Recent Programmes
Neglected Essential: Music and Languages
Self-Exaltation
Time Values
Flowers by the Wayside
Not Yourself, But Your Art
Four Stages of Student Life
Physical Exercises an Aid to Artistic Piano Playing
How a Pupil Rose to Success
Should Piano Students Attend Piano Recitals?
For the Student's Encouragement
Reading New Music
Extracts from Reinecke's Hints to Music Students
Materials and Workmanship
Ear Training
Study on Phrasing
Reed Organ as an Aid in Piano Instruction
Musical Listener …