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Articles 1 - 30 of 1873

Full-Text Articles in Musicology

John Adams Composing Through Others: Modeling, Innovation, And Recomposition, Michael Edward Palmese Feb 2019

John Adams Composing Through Others: Modeling, Innovation, And Recomposition, Michael Edward Palmese

LSU Doctoral Dissertations

John Adams has frequently embedded allusions to the music of others in his work while also drawing on more general stylistic conventions and sensibilities of others to inform his creative output. Although this dynamic has been widely acknowledged in Adams’s body of work by scholars and critics generally, it has received little sustained attention or explanation. I argue that much of his work involves “composing through others,” a process in which he adopts, in various ways, the aesthetic conventions, styles, and sensibilities of other composers. By unearthing traces of this creative approach through a focus on short, but significant ...


Expanding Experimentalism: Art And Popular Music At The Kitchen In New York City, 1971-1985, Sarah A. Cooper Feb 2019

Expanding Experimentalism: Art And Popular Music At The Kitchen In New York City, 1971-1985, Sarah A. Cooper

School of Arts & Sciences Theses

This paper explores artists' engagement with popular music at the interdisciplinary alternative space, the Kitchen, from 1971 to 1985. It seeks a critical language to challenge institutional frameworks to account for the creative output of artists' bands and the relationship between parallel and hybrid popular music and avant-garde performance practices.


Studies Of Musical Borrowing: Borrowing As Compositional Tool In Béla Bartók's Second Piano Concerto And The Influence Of Luciano Berio On The Grateful Dead's Approach To Live Improvisation, Michael J. Crowley Feb 2019

Studies Of Musical Borrowing: Borrowing As Compositional Tool In Béla Bartók's Second Piano Concerto And The Influence Of Luciano Berio On The Grateful Dead's Approach To Live Improvisation, Michael J. Crowley

School of Arts & Sciences Theses

J. Peter Burkholder’s typology of musical borrowing provides new ways of thinking about and understanding how composers and musicians incorporated influential ideas into their own compositions. This paper explores two cases of musical borrowing in order to gain a deeper understanding of the compositional styles of the chosen subjects. In the first study, I explore Béla Bartók’s use of Paraphrase, Modeling and Stylistic Allusion in his Second Piano Concerto, demonstrating how Bartók used borrowing as a compositional tool to develop his own innovative ideas. In the second study, I investigate how Luciano Berio’s compositional style influenced the ...


Diy In Early Live Electroacoustic Music: John Cage, Gordon Mumma, David Tudor, And The Migration Of Live Electronics From The Studio To Performance, Lindsey Elizabeth Hartman Jan 2019

Diy In Early Live Electroacoustic Music: John Cage, Gordon Mumma, David Tudor, And The Migration Of Live Electronics From The Studio To Performance, Lindsey Elizabeth Hartman

LSU Doctoral Dissertations

This research examines early live electronic works by Gordon Mumma, David Tudor, and John Cage—three influential American experimental music composers who designed, built, and recontextualized electronics for live performance—and the Do-It-Yourself (DIY) aesthetic embodied by their instruments and the compositions written for them. This dissertation serves as a presentation of original research into the earliest composers of live electronic works and the necessary DIY approach used in building independent systems. Previous research on the DIY perspectives in music often touch on the grass-roots nature of contemporary electroacoustic systems but there is not yet research specific to the DIY ...


Musical Introductions To Cavalleria Rusticana: Giuseppe Perrotta's "Bozzetto Sinfonico" And Pietro Mascagni's "Preludio", Ronaldo Augusto Teles Dos Santos Dec 2018

Musical Introductions To Cavalleria Rusticana: Giuseppe Perrotta's "Bozzetto Sinfonico" And Pietro Mascagni's "Preludio", Ronaldo Augusto Teles Dos Santos

LSU Doctoral Dissertations

Giovanni Verga’s Cavalleria rusticana has inspired a variety of musical works, among them Giuseppe Perrotta’s “Bozzetto sinfonico” (an overture to Verga’s play), and Pietro Mascagni’s Cavalleria rusticana (a one-act opera based on a libretto by Giovanni Targioni-Tozzetti and Guido Menasci). Each composition represents a genre on which scholarship is scarce: late nineteenth-century incidental music and the late nineteenth-century operatic prelude. Considering both Perrotta’s “Bozzetto sinfonico” and Mascagni’s “Preludio” as musical introductions to stage works, this study undertakes a complete hermeneutic analysis of both works (chapters 2 and 3). The analysis of Perrotta’s “Bozzetto ...


A Graduate Recital, Patrick O'Halloran Dec 2018

A Graduate Recital, Patrick O'Halloran

Electronic Thesis Collection

This graduate thesis consists of a vocal recital and the accompanying program notes. The recital includes a compilation of traditional Neapolitan songs, “5 Songs of Laurence Hope” by the H.T. Burleigh, and selections from the French opera “Werther” by Jules Massenet,. The program notes for each selection will include biographical information, musical analysis, performance history and culture, as well as other pertinent information


The Challenges And Limitations Of Adapting Mozart's Così Fan Tutte For A Small University Setting, Christopher Lovely Dec 2018

The Challenges And Limitations Of Adapting Mozart's Così Fan Tutte For A Small University Setting, Christopher Lovely

Dissertations

In this dissertation, challenges and limitations related to presenting Così fan tutte within a small university setting are conveyed, as well as offering innovative ideas to create a manageable presentation. I recall my personal experience as Korepititor/Vocal Coach for The University of Southern Mississippi’s 2014 production of Mozart’s Così fan tutte. This document presents topics on the various workings of an opera production: pre-rehearsal preparation, language issues, rehearsal preparation, selection of singers, and production issues. It offers practical solutions to overcome various challenges a small university may encounter. Smaller university opera programs were surveyed regarding their adaptations ...


Midi: A Standard For Music In The Ever Changing Digital Age, Taylor Romo Dec 2018

Midi: A Standard For Music In The Ever Changing Digital Age, Taylor Romo

Capstone Projects and Master's Theses

MIDI (Musical Instrument Digital Interface) is the technology that allows synthesizers and controllers to communicate and manipulate other pieces of gear as well as computer software. This technology has permanently changed the way music is produced and performed. This paper will explore the importance of MIDI technology as a tool for music production as well as for music performance. This will be done by first examining the history and development of MIDI technology, including the reasons why it was created. Many examples will be given of how MIDI is a crucial component in recording studios, music production studios, and live ...


The English Voyage Of Pietrobono Burzelli, Evan A. Maccarthy Oct 2018

The English Voyage Of Pietrobono Burzelli, Evan A. Maccarthy

Faculty Scholarship

Praised by poets, scholars, and fellow musicians of his day, the singer, lutenist, and teacher Pietrobono Burzelli (ca. 1417–97) achieved international renown for his skill at improvisational performances on plucked instruments. Until recently, archival documents recorded his presence at many courts on the Italian peninsula and as far away as the Hungarian court. Documents until now unknown to musicologists reveal that Pietrobono also traveled to England. In August 1466 he signed a will and testament in advance of a risky trip “ad partes Anglie” that he was planning to begin the next day.

The testament offers new information about ...


The Battle Between Impeccable Intonation And Maximized Modulation, Timothy M. True Oct 2018

The Battle Between Impeccable Intonation And Maximized Modulation, Timothy M. True

Musical Offerings

Equal temperament represents a way of completing the musical circle, and systematically compensating for the Pythagorean comma. Pythagoras discovered this acoustical problem around 550 B.C., and since that time music theorists have debated how to deal with it. The problem is that no perfect solution exists—something must be compromised. As musical styles developed, specific factors and harmonic tendencies led to the gradual adoption of equal temperament. Early in music history, theorists preferred systems which kept acoustical purity relatively intact. Pythagorean intonation and just intonation serve as two examples. However, the move from modality to tonality decentralized the melody ...


The Federal Music Project: An American Voice In Depression-Era Music, Audrey S. Rutt Oct 2018

The Federal Music Project: An American Voice In Depression-Era Music, Audrey S. Rutt

Musical Offerings

After World War I, America was musically transformed from an outsider in the European classical tradition into a country of musical vibrance and maturity. These great advances, however, were deeply threatened by the Wall Street crash of 1929 and the consequent Great Depression. The nation that, for the first time, was developing an international reputation in the arts now faced a crisis of how to support them. Government sponsorship of the arts through the New Deal Federal One projects allowed struggling artists to survive economically during this era. In the realm of music, however, the Federal Music Project (FMP) had ...


Physicality And Devotion In Heinrich Ignaz Franz Biber’S Rosary Sonatas, Roseen Giles Oct 2018

Physicality And Devotion In Heinrich Ignaz Franz Biber’S Rosary Sonatas, Roseen Giles

Yale Journal of Music & Religion

The Rosary Sonatas of Heinrich Ignaz Franz Biber (1644–1704) for solo violin were likely composed in the late 1670s, and were dedicated to the composer’s patron, the Archbishop of Salzburg Maximilian Gandolph von Kuenburg. The sonatas in this remarkable set of fifteen are preceded by copperplate engravings, each depicting one of the mysteries of the rosary. The pieces display Biber’s extensive use of scordatura, an unusual “discordant” tuning, notated with a semi-tablature in which the visual contours of the notation on the page are at odds with the audible contours of the phrases. Biber’s sonatas are ...


The Material Of The Servant: Theology And Hermeneutics In Handel’S Samson, Sara E. Eckerson Oct 2018

The Material Of The Servant: Theology And Hermeneutics In Handel’S Samson, Sara E. Eckerson

Yale Journal of Music & Religion

George Frideric Handel’s Samson oratorio (HWV 57, 1743) has posed critical difficulty for scholars because of its libretto. The librettist, Newburgh Hamilton, is often accused of making a poor adaption of John Milton’s Samson Agonistes (1671). One of the main points of criticism centers on how Hamilton removed much of Samson’s deliberation from the source text. In this article, however, it will be argued that the way ideas and commentary pass through different voices (namely, from Samson and Micah to the Chorus of Israelites) contributes to the unique interpretation the oratorio puts forward of the Samson narrative ...


Musical “Covers” And The Culture Industry: From Antiquity To The Age Of Digital Reproducibility, Babette Babich Oct 2018

Musical “Covers” And The Culture Industry: From Antiquity To The Age Of Digital Reproducibility, Babette Babich

Articles and Chapters in Academic Book Collections

This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of the mass consumer but also a reflection on the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements a similarly brief reference to Jankelevitch’s “ineffable.”


1981: One Or Several Aesthetics?, Jacob Norris Sep 2018

1981: One Or Several Aesthetics?, Jacob Norris

Electronic Thesis and Dissertation Repository

Gilles Deleuze’s monograph on Francis Bacon, The Logic of Sensation (1981), proposes a theory of aesthetic experience that prioritizes the material depths of sensation over stable, identifiable forms. Deleuze’s key references in The Logic of Sensation to playwright Antonin Artaud arouse the suspicion that Artaud’s schizophrenic experience of language, wherein words are reduced to phonetic ramblings, illuminates how Deleuze interprets this chaos of sensation in Bacon’s art. My work therefore calls back to The Logic of Sense (1969) and the first section of his book on Masochism (1967) to explore the waves of consistency between Deleuze ...


Black Music Matters: Jazz, Funk And The Academy, Ed Sarath Sep 2018

Black Music Matters: Jazz, Funk And The Academy, Ed Sarath

Dayton Funk Symposium

This talk situates funk and its close relationship with jazz within the overarching context of black music in higher education.


The Land Of Funk: Dayton’S Stone Street Mural, Morris Howard, Brittni Long Sep 2018

The Land Of Funk: Dayton’S Stone Street Mural, Morris Howard, Brittni Long

Dayton Funk Symposium

Presentation is based on the completion of “The Land of Funk” mural on Stone Street in downtown Dayton. The mural honors bands of the funk era that are from Dayton, e.g., the Ohio Players, Heatwave, Lakeside, Slave, Fazeo, Sun, and Zapp featuring Roger Troutman.


The Sounds Of Black America: Funk And Dayton, Ohio, Matthew Valnes Sep 2018

The Sounds Of Black America: Funk And Dayton, Ohio, Matthew Valnes

Dayton Funk Symposium

This essay proposes a framework called the “sounds of black America” to argue that the social and cultural interactions unique to a specific locality results in a particular approach to funk as sound organization. Drawing on George Lipsitz’s concept of the “Black Spatial Imaginary” and using the music of the Ohio Players as a case study, I demonstrate how the music programs in Dayton-area schools can help us understand the particular approach to funk that came out of Dayton in the late 1960s through the 1970s.


Dayton Funk Symposium Welcome, Sharon Davis Gratto Sep 2018

Dayton Funk Symposium Welcome, Sharon Davis Gratto

Dayton Funk Symposium

Words of welcome from Sharon Davis Gratto, professor of music and Graul Chair in Arts and Humanities.


Analyzing Genre In Post-Millennial Popular Music, Thomas Johnson Sep 2018

Analyzing Genre In Post-Millennial Popular Music, Thomas Johnson

All Dissertations, Theses, and Capstone Projects

This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire. The dissertation explores not just popular music made after 2000, but popular music as experienced and structured in the new millennium, including aspects from a wide chronological span of styles within popular music. Specifically, with the increase of digital ...


Strauss And The City: The Reception Of Richard Strauss’S Salome, Elektra, And Der Rosenkavalier Within New York City, 1907–1934, Christopher G. Ogburn Sep 2018

Strauss And The City: The Reception Of Richard Strauss’S Salome, Elektra, And Der Rosenkavalier Within New York City, 1907–1934, Christopher G. Ogburn

All Dissertations, Theses, and Capstone Projects

New York City at the beginning of the twentieth century was growing into its status as one of the world’s great cultural centers. At the same time, across the Atlantic, Richard Strauss was emerging as Germany’s preeminent composer. The city and Strauss, although seemingly unrelated, were more intertwined than it would at first appear. This study examines this connection through a reception history of Strauss’s Salome, Elektra, and Der Rosenkavalier in the city, beginning in 1907 with the New York City premiere of Salome and concluding in 1934 when the opera returned to the Metropolitan’s stage ...


The Political Power Of Carlos Chávez And His Influence Upon Silvestre Revueltas And Blas Galindo, Yolanda Tapia Aug 2018

The Political Power Of Carlos Chávez And His Influence Upon Silvestre Revueltas And Blas Galindo, Yolanda Tapia

Electronic Thesis and Dissertation Repository

This monograph examines the political power of Mexican composer Carlos Chávez (1899–1978) during the first half of the twentieth century in Mexico, and his influence upon the careers and lives of composers Silvestre Revueltas (1899–1940) and Blas Galindo (1910–1993). I show how Carlos Chávez acquired institutional power through various cultural organizations such as the Orquesta Sinfónica de México, the Conservatorio Nacional, Departamento de Bellas Artes, and the Instituto Nacional de Bellas Artes, and how his desire to bind music and culture with politics positioned him as the head of the cultural committee of Miguel Aleman’s presidential ...


Orchestra Machines, Old And New, Jonathan De Souza Jul 2018

Orchestra Machines, Old And New, Jonathan De Souza

Jonathan De Souza

What is ‘orchestral’ about a networked laptop orchestra? And what is network-like about a classical orchestra? This article juxtaposes orchestras, nineteenth-century music machines, and twenty-first-century network music projects. Drawing on organology and cybernetics, it asks how these systems connect people and instruments. It considers interaction and coordination in particular networks, from the panharmonicon to PLork, but also their abstract informational topologies. Ultimately, orchestra machines, old and new, involve both technical and social organization—and, as such, they can be used to problematize the ontological separation of technology and society.


The Horror Queen's English: Elisabeth Lutyens And The Paradoxes Of Twentieth Century British Music, Rebeca Ramos Jul 2018

The Horror Queen's English: Elisabeth Lutyens And The Paradoxes Of Twentieth Century British Music, Rebeca Ramos

Music Theses and Dissertations

The purpose of this thesis is to illuminate the paradoxical work of British serialist Elisabeth Lutyens. Musical Englishness in the mid-twentieth century was mainly conceived of as tonal, narrative and folk or folk-inspired. Lutyens was an oddity in the English musical scene as a serialist, but she utilized many of the qualities of traditional Englishness while maintaining a modern, idiomatic sound. Although this combination seems paradoxical, Englishness can be understood in far more inclusive terms than simply tonal, narrative, or folk-like. I begin by defining Englishness as it was perceived and promoted through mainstream music festivals or radio broadcasts from ...


Soundscape Composition: Music As Environmental Activism, Megan A. Reich Jun 2018

Soundscape Composition: Music As Environmental Activism, Megan A. Reich

Honors Program Theses

Soundscape composition is an emerging genre of experimental music that incorporates sounds from natural environments. While soundscape composers utilize a wide variety of mediums, techniques, and performance contexts, they share a common purpose of encouraging audiences to question and reflect on their relationship to the environment in the age of the “Anthropocene,” enabling listeners to re-connect to the places in which they live through sound. This study asks how soundscape composers use their music as a rhetoric that communicates environmental issues in ways that depart from typical portrayals in mainstream media. Drawing from the works, interviews, and writings of a ...


The Handmaiden Of Gnosis: Music In Esoteric Societies, Justin Andrew Owen Jun 2018

The Handmaiden Of Gnosis: Music In Esoteric Societies, Justin Andrew Owen

LSU Doctoral Dissertations

Western esotericism, or the practice of trying to understand divinity through secret initiatic means, exists in several philosophical strains, which mystics through the ages have formalized into systems of teaching. One aspect that appears in many of the traditions is music. Music is a direct language of the consciousness within esoteric traditions because it does not rely on language to express higher concepts. Just as these societies teach truths mainly through symbolism, they use music, since it lends itself to interpretations beyond the connotation-laden nature of words. This dissertation focuses on three major strains of western esotericism: Rosicrucians, Theosophists, and ...


A Story Of Feminine Sacrifice: The Music, Text, And Biographical Connections In Amy Beach's Concert Aria Jephthah's Daughter, Clarissa E. Aaron Jun 2018

A Story Of Feminine Sacrifice: The Music, Text, And Biographical Connections In Amy Beach's Concert Aria Jephthah's Daughter, Clarissa E. Aaron

Honors Projects

Jephthah’s Daughter (Op. 53), a concert aria for soprano and orchestra written by Amy Beach (1867-1944) in 1903, has long suffered neglect due to the fate of its manuscript and the fate of Beach’s work in general. This investigation seeks to probe how Beach engaged the Biblical subject matter and mid-1800s French text in her setting. I discuss this engagement through stylistic comparison with the musical traits of her other work, translation comparison between the literal meanings of the original poem and Beach’s English rendition, and contextualization of Beach’s setting within the history of how this ...


Evolving Performance Practice Of Debussy's Piano Preludes, Vivian Buchanan Jun 2018

Evolving Performance Practice Of Debussy's Piano Preludes, Vivian Buchanan

LSU Master's Theses

Between 1910 and 1912 Claude Debussy recorded twelve of his solo piano works for the player piano company Welte-Mignon. Although Debussy frequently instructed his students to play his music exactly as written, his own recordings are rife with artistic liberties and interpretive freedom. Interestingly, many of the interpretive gestures that Debussy employs in these recordings are consistent with playing techniques utilized by French Baroque keyboardists. This paper will situate Debussy’s own performance in this Baroque playing style. I will first discuss the recording technology used by Welte-Mignon to establish the reliability of these recordings. By studying harpsichord manuals, I ...


Bali’S “Forgotten Stepchild”: The Cultural And Sonic Vitality Of The Balinese Rebab, Mikaela Marget May 2018

Bali’S “Forgotten Stepchild”: The Cultural And Sonic Vitality Of The Balinese Rebab, Mikaela Marget

Lawrence University Honors Projects

The rebab is one of the only traditional stringed instruments found on the island of Bali, Indonesia. Though it is ever-present in musical ensembles in Bali, the rebab has been consistently overlooked in scholarship of Balinese music by Western ethnomusicologists. Through participant observation, personal interviews, and library research, I explore the idea that the rebab deserves a place in the scholarship of Balinese music. In addition, I argue that the Balinese rebab not only persists in Balinese music culture as a vital object, but that it is also an active participant in shaping Balinese music culture. In this paper, I ...


Music Is The "Noise Of Remembering" Tracing The Origins, Influences, And Connectivities Of West African Music, Adam Friedman May 2018

Music Is The "Noise Of Remembering" Tracing The Origins, Influences, And Connectivities Of West African Music, Adam Friedman

Lawrence University Honors Projects

The popularity and universal reach of music genres such as Jazz and Hip Hop attest to the idea that these forms have been long established as a vital part of global musical culture. For people who are familiar with Afrocentric music, it is clear that styles such as Jazz and Hip Hop are rooted in, and inextricably linked with, African culture and history. What is more difficult to make sense of, however, is how and why transplanted African culture came to have such wide reaching impact in the new contexts in which it was taken up – because the stories behind ...