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Full-Text Articles in Music Practice

Meaning Beyond Words: A Musical Analysis Of Afro-Cuban Batá Drumming, Javier Diaz Feb 2019

Meaning Beyond Words: A Musical Analysis Of Afro-Cuban Batá Drumming, Javier Diaz

All Dissertations, Theses, and Capstone Projects

This dissertation consists of a musical analysis of Afro-Cuban batá drumming. Current scholarship focuses on ethnographic research, descriptive analysis, transcriptions, and studies on the language encoding capabilities of batá. However, this artistically sophisticated tradition demands a more in-depth study of its musical manufacture. Drawing from experience as a ritual batá player and as an oricha priest, I have completed the current study by following three primary analytical modalities: (1) sonic landscape, which encompasses: sound vocabulary, form, individual drum parts, and balance of musical elements; (2) timbral design, how the different batá sounds articulate meaningful and functionally distinguishable structures; (3) the ...


A Pedagogical Study Of The "Four Lauds For Solo Violin" By Elliott Carter, Heesun Shin May 2018

A Pedagogical Study Of The "Four Lauds For Solo Violin" By Elliott Carter, Heesun Shin

All Dissertations, Theses, and Capstone Projects

Elliott Carter was one of the most influential composers of the past century, leaving a diverse and prolific body of over 150 works to posterity. Along with the Violin Concerto and “Mnemosyné,” the Four Lauds are the only works written for solo violin. Literature on these pieces is not extensive thus far, and this dissertation will provide an introduction to any student who is interested in learning about Carter’s violin music. In the first chapter, I will discuss relevant aspects of Carter’s musical language such as his use of all-trichord hexachord, all-interval trichord, complement union property, and his ...


A Performer’S Guide To Astor Piazzolla's Tango-Études Pour Flûte Seule: An Analytical Approach, Asis Reyes Feb 2018

A Performer’S Guide To Astor Piazzolla's Tango-Études Pour Flûte Seule: An Analytical Approach, Asis Reyes

All Dissertations, Theses, and Capstone Projects

This dissertation aims to give performers deeper insight into the style of the Tango-Études pour flûte seule and tango music in general as they seek to learn and apply tango performance conventions to the Tango-Études and other tango works. Significant research elements of this dissertation include a complete analysis of phrasing, tonality, and formal structure and how these relate to performance in each of the six Tango-Études and an examination of Piazzolla’s compositional use of descending chromatic chords and implied descending lines; my reductions of this voice leading as it appears in the Tango-Études are exclusive to this dissertation ...


Worlds Of If: Analyses Of The Composed And Improvised Works Of Robert Dick, Melissa Keeling Sep 2017

Worlds Of If: Analyses Of The Composed And Improvised Works Of Robert Dick, Melissa Keeling

All Dissertations, Theses, and Capstone Projects

Considered one of the most important publications in twentieth-century flute pedagogy, Robert Dick’s seminal method book, The Other Flute (1975),[1] is an extensive catalogue of multiphonic fingerings, microtonal fingerings, glissandi, circular breathing, and other extended techniques. The Other Flute and a handful of his published solos are widely studied, but these works only represent a fraction of Dick’s creative energies.

Equally comfortable in classical, jazz, rock, electronic, and world music, Dick’s oeuvre demonstrates a sophisticated, musical use of contemporary techniques and his pieces have become standard repertoire. Though Dick was not the first flutist to use ...


Anton Arensky’S String Quartet In A Minor, Op. 35, For Violin, Viola, And Two Celli, Miho Zaitsu Sep 2016

Anton Arensky’S String Quartet In A Minor, Op. 35, For Violin, Viola, And Two Celli, Miho Zaitsu

All Dissertations, Theses, and Capstone Projects

My dissertation consists of an in-depth analysis and study of Anton Arensky’s Quartet in A minor, op. 35, for violin, viola, and two celli. It also includes a short biography, a historical background of the work, and an exploration of thematic material. Perhaps the only piece written for this unique combination of instruments, the Quartet in A minor, published in 1894, was written in the months following Tchaikovsky’s death. It was first premiered on January 20, 1894, at the Imperial Music Society, Moscow, in remembrance of Arensky’s great friend and mentor. The unusual instrumentation was a curious ...


The Versatile Singer: A Guide To Vibrato & Straight Tone, Danya Katok Sep 2016

The Versatile Singer: A Guide To Vibrato & Straight Tone, Danya Katok

All Dissertations, Theses, and Capstone Projects

Straight tone is a valuable tool that can be used by singers of any style to both improve technical ideals, such as resonance and focus, and provide a starting point for transforming the voice to meet the stylistic demands of any genre. By employing a resonant, minimally vibrated, balanced sound as the core of the voice, the versatile singer can stylistically unbalance the voice by layering colors and effects in ways appropriate for many types of singing. In order to fully understand the inner workings of vibrato and how it can be healthily minimized, my discussion of vibrato and straight ...


Searching For Sounds: Instrumental Agency And Modularity In Electroacoustic Improvisation, Stephen (Red) Wierenga Jun 2016

Searching For Sounds: Instrumental Agency And Modularity In Electroacoustic Improvisation, Stephen (Red) Wierenga

All Dissertations, Theses, and Capstone Projects

In their radical departure from conventional instrumental technique and standardized instruments themselves, the practices of electroacoustic improvisation present a particular challenge to prevalent Western concepts of musical instruments. These concepts—which generally treat instruments as fixed objects—are ill-equipped to account for the ways in which electroacoustic improvisers foreground the agency of their instruments and abandon the quest for “mastery” typical especially of classical attitudes. Additionally, electroacoustic improvisers often approach instruments not as singular, self-contained, and static in their materiality, but rather as modular instrumentaria capable of myriad states and ever in flux, similarly problematizing conventional conceptions that view the ...