Music Practice Commons^™

Theoretical Study And Performing Edition Of Sonata Iii By Javier G. Compeán, José Mario Ortiz Sánchez

Theses and Dissertations--Music

Mexican composer Javier G. Compeán finished Sonata III, his most recent composition for solo guitar, in December 2015. Since the composition of his first such work in 2003, the composer has been experimenting with texture, register, dynamic range, extended techniques, harmonic possibilities, timbre, and form in his solo guitar music. In Sonata III, Compeán applied the experience he gained in previous compositions for guitar.

This work represents the composer’s current style, in which he returns to a more traditional language but continues to experiment with the technical capabilities of the instrument. Sonata III is Compeán’s most ambitious guitar composition and …

A Musical-Historical Study Of Italian Influences In Three Regina Caeli Of The French Baroque Period, Marie-France Duclos

Theses and Dissertations--Music

The French baroque petit motet was the most prolific genre of seventeenth-century France. In this study, three petits motets, specifically Regina caeli settings of French composers Marc-Antoine Charpentier, Nicolas Bernier and François Couperin are examined with an emphasis on the motets’ historical context in relation to the French monarchy and the Italian concepts that the composers incorporated into each work. All three Regina caeli settings display some Italian compositional techniques of the stile moderno in various degrees and were written in different contextual ecclesiastic milieux.

The intersections of, as well as distinctions between, musical ideas of traditional French style …

Finding The “Tech” In Technique: A Pedagogical Approach To Electroacoustic Concert Percussion Performance Practice, William Brady Harrison Ii

Theses and Dissertations--Music

Premise and Objectives

In our increasingly technology driven society, the impact of technology touches nearly every aspect of our lives in some form or another. This has been acutely felt within the world of percussion, with electroacoustic works representing perhaps the most rapidly expanding area of concert percussion over the last twenty years. Electroacoustic music couples electronic technology with traditional acoustic instruments and/or performance practices.

Broadly, this paper outlines a systematic approach to teaching electroacoustic performance practice, based on elements found in a cross-section of percussion literature. In using such an approach, not only does each student become more capable …