Composition Commons^™

Off The Rails: A Fusion Project Combining Bluegrass And Celtic Fiddle Music, Kate Ward

Composition/Recording Projects

The American culture of fiddle playing is rooted in fiddle styles from Ireland, Scotland, and England as a result of fiddle tunes being brought to America via immigrants from the British Isles.  Despite many of the fiddling styles prevalent today being rooted in the same traditions, each has unique technical and compositional distinctions.  This paper explores the technical, compositional, and cultural components of bluegrass and Celtic music and how they can be fused together. This project combines elements of both styles in unique ways to create a natural fusion born out of submersion in each genre.

The Searcy Story, Elise S. Spinder, Sheeva Chourazghi-Azad, Nate Krammerer, Anna Blubaugh, Sarah Brewer

SPARK Symposium Presentations

This presentation explores the planning and execution of our Honors project: a documentary highlighting local Nashville activists Joyce and Walter Searcy. It outlines our research process, the development of timelines documenting their lives, our collaboration with Fisk University, and the production of the documentary. Housed within the Belmont-Fisk Social Justice Collaborative, our work examines strategies that contributed to the systemic change during the Civil Rights Movement. This inquiry sparked deeper engagement with the Nashville community and illuminated the Searcys’ vital role in fostering community organizing and leading meaningful change. This documentary reflects on what it means to be a selfless …

Lost In Thought: An Exploration Of Musical Perception And An Original Piece For Orchestra, Matthew Moix

Electronic Theses and Dissertations

This thesis presents an original two-movement musical composition orchestrated for full orchestra titled Lost in Thought, based on Alice Oseman’s graphic novel series Heartstopper (2018-2023). The work explores the relationship between two different characters from the series, Nick and Charlie. It emphasizes the different perspectives of these characters and explores the concept of how two different points of view can tell the same story in different ways. An accompanying analysis of the work explains how the two movements illustrate the characters' individual mindsets throughout their version of the story, as well as showing their personal character development and how their …

2025-2026 New Music Festival: Emerging Composers, Iank Sanguino, Ingryd Herrera, Omar Mata, Joseph Muhl, Miguelangel Garcia Marquez, Devin Foster, Sarah Conley, Aneliya Novikova, David Noon, Gabrielle Sienna, Aidan Quintana, Ziling Wang, Matthew Chou, Laura Gonzales, Li Yang Liu, Lillian Platte, Roey Dushi

New Music Festival

No abstract provided.

Patriotism, Philia, And Stereotyping During World War Ii: Correspondence Between Black Composers, Selise Phillips, Joi Carr

Seaver College Research And Scholarly Achievement Symposium

The 20th century was a monumental time for Black composers, especially for those in the UK. Rudolph Dunbar was the first black musician to perform at Royal Albert Hall in London, England. During this time, correspondence between him and William Grant Still, a famous black composer based in America, exists. Still’s rhetorical choices in these letters demonstrate the attitudes of these composers, specifically Still, and how these choices reflect the success of Dunbar’s career. Still, whose compositions started gaining traction in the 1930s, often praised Dunbar for his achievements. These letters all take place during World War II and during …

The History, Development, And Continual Evolution Of The Percussion Theatre Genre, Steven L. Wimberley

LSU Doctoral Dissertations

During the twentieth century, artists in every discipline sought to create new, original art that would both challenge societal norms and expand their respective art to new extremes. This expansion in contemporary music saw the emergence of electronics, chance elements, “found sounds,” speaking, acting, and physical gestures. As we continue through the twentieth century, we also see the onset of the percussionist as an independent musical artist and a desire for original music for percussion. The intersection of these new developments created what is known as percussion theatre.

Percussion theatre can be broadly defined as a genre of musical composition …

Creative Constraints And Studio Ecology: Rethinking Collaboration In Contemporary Music Practice, Sean Foran

Staff Scholarship - Australia & Dubai

Presentation at SAE New Zealand Research Seminar Series

This presentation explores how creative constraints can function not as limitations, but as methodological tools within contemporary music production and musical improvisation. In an era of near-unlimited technological possibility in the recording studio, the question of how musicians make effective creative decisions becomes increasingly significant.

Drawing on two practice-based research projects, (1) a constrained studio recording study built around the aphorism “no more than four,” and (2) an interdisciplinary improvisation project using poetry as both stimulus and constraint, this research examines how deliberately imposed limitations shape collaboration, decision-making, and musical outcomes in …

William: The Musical, Tyler C. Green

Undergraduate Honors Thesis Projects

William: The Musical is the story of my parents’ struggle, and unfathomable loss while trying to start a family. The work follows the couple through their commitment to start a family together, through a devastating miscarriage, and up to the birth of my older brother, William. The work is still in progress, but is currently structured as a song-cycle including five songs in the style of contemporary musical theater. William: The Musical explores themes of loss and resilience, bringing to light the disturbingly common experience of miscarriage. While the creative goal aims to allow audiences to reflect and mourn their …

Architecture As Frozen Music: An Original Wind Ensemble Work Exploring Architectural Metaphors In Contemporary Music, Leighannah J. Turner

Electronic Theses and Dissertations

Architecture has long served as a source of inspiration for Western art music composers from the Early Renaissance through the Neoclassical period. While the relationship between music and architecture has been widely studied, much of the existing research focuses on traditional mediums such as the symphony orchestra. This project explores the concept of music as “frozen architecture” – introduced by Friedrich Schelling – and the metaphorical correlations as described by Vitruvius and Lupishko, applying these concepts to the contemporary medium of the wind ensemble through my original composition. My work integrates the architectural principles proposed by Vitruvius and Lupishko while …

A Standard Notation System For Beatbox And Vocal Percussion, Andrew W. Bass

LSU Master's Theses

Every instrument in the cannon has a standard notation system. Even percussion, with its hundreds of instruments, has a system of notation that can be understood. With that being said, Beatbox/ vocal percussion does not have a standardized notation for its music. As a beatboxer myself, when I perform, I often have to either create my own part to perform or I have to listen to a recording of a previous performance of a piece. In the rare occasion when there is sheet music, it is often not clear. Pentatonix is currently the premier A Capella group and when I …

The Way Of The Moderns: Six Perspectives On Modernism In Music, Edited By Antoni Pizà, Rob Haskins

Music & Musical Performance: An International Journal

No abstract provided.

Leonard Bernstein In Context, Edited By Elizabeth A. Wells, James Leve

Music & Musical Performance: An International Journal

No abstract provided.

Nadia Boulanger: War Years In America And Her Last Decades, By James Whipple Miller, Kimberly Francis

Music & Musical Performance: An International Journal

No abstract provided.

“It Takes A Big Thrust To Destabilize An Entrenched Practice”: On Taruskin And The Western Traditions, Ronit Seter

Music & Musical Performance: An International Journal

This memorial essay begins with a brief appreciation of Richard Taruskin’s The Oxford History of Western Music and its critical reception (Susan McClary, Charles Rosen). It continues with comments on the early stages of his career, noting his strategic pincer movement, that is, a pivot from his early research on Russian operas—to his 1980 groundbreaking JAMS article on Stravinsky’s The Rite of Spring on the one hand, and a source reading book (Weiss-Taruskin, 1984) on the other. Both became essential for launching his career, and for our field. I then delve into several of Taruskin’s core ideas—about current and past …

Taruskin’S Great Contributions And A Few Shortcomings, Ralph P. Locke

Music & Musical Performance: An International Journal

Among the most needed, and durable, features of Richard Taruskin’s life’s work was his consistent interpretation of music and music-making within and against their societal and cultural contexts. This stood in contrast to the positivistic methodologies that German, British, and American musicology valued in the 1960s–70s: instances of the latter include the making of reliable critical editions and, in a very different sense, various “the notes only” methods of music analysis.

The breadth of Taruskin’s vision and his command of musical and cultural history are apparent in the enormous “Nationalism” entry in the 2001 edition of Grove (now available at …

Thoughts Upon Richard Taruskin’S Yahrzeit, Scott Gleason

Music & Musical Performance: An International Journal

Teaching portions of Richard Taruskin’s The Oxford History of Western Music to non-music majors at Columbia University (in the early 2000s) offered special opportunities and challenges. Taruskin’s musical ethics, central to that book, are clearly embodied in his writings about John Adams’s The Death of Klinghoffer. The Princeton School of composer-theorists is a litmus test of Taruskin’s thinking: in particular, Taruskin’s emphasis on music criticism can aid in an analysis of Roger Sessions’s 1958 String Quintet. David Lewin’s unpublished 1959 analysis of that same piece (by his teacher) shows a very different approach; Lewin’s analysis is a vivid but rarely …

“Good For You!”: Remembering Richard Taruskin, Anna Dalos

Music & Musical Performance: An International Journal

Richard Taruskin was a major promoter of Eastern European music. His interest was also shaped by his personal contacts, particularly in Hungary, where he visited more frequently in his later years, presenting at conferences. He developed close relations with several representatives of Hungarian musicology, among them Katalin Komlós, László Somfai, László Vikárius, and Tibor Tallián. In addition to presenting conference keynote lectures, and later courses at the Doctoral School of the Liszt Academy of Music, Taruskin also participated in the advisory board of the Béla Bartók Complete Critical Edition, and became an honorary member of the Hungarian Academy of Sciences. …

Introduction, Ronit Seter, Ralph P. Locke

Music & Musical Performance: An International Journal

Richard Taruskin—the single most prominent and influential musicologist of the past half-century—died on July 1, 2022 at age 77. This Colloquy consists of extended versions of papers presented on July 2, 2023, at the annual meeting of the Israeli Musicological Society, and additional essays by scholars who knew Taruskin personally. The essays engage in critical reflections on his personality, ethics, teaching philosophy, methodologies, and massive and skillful literary output. Moreover, they illuminate developments in musicology over the past fifty years, from its positivistic roots and its focus on Western canonical works to challenges from ethnomusicological practices, feminist theory, and anti-racism/colonialism.

Front Matter

Music & Musical Performance: An International Journal

No abstract provided.

Orthography, Jeremy Gill

Music & Musical Performance: An International Journal

The myth of Pope Gregory I taking melodic dictation from a magical singing bird is the imaginative starting point of Western musicʼs love-hate relationship with the music notation systems it later developed. This essay traces that development through Thomas Tallis and J. S. Bach to the dichotomous modern examples of Brian Ferneyhough and Arvo Pärt. In it, I suggest that Western musicʼs eventual development hinged upon that earliest desire to document and codify melodies, answering Gregoryʼs contemporary Isidore of Seville, who lamented that “unless sounds are held by the memory of man, they perish, because they cannot be written down.”