Music Performance Commons^™

An Approach To Jazz Improvisation For Intermediate Saxophonists, Justin Evangelist

Williams Honors College, Honors Research Projects

This project is an organization of the author’s thoughts on teaching jazz improvisational concepts to saxophonists at a beginning to intermediate level of playing ability. Firstly, it discusses the skills students should acquire before studying jazz improvisation. It will focus primarily on building good practice habits through the development of desirable jazz tone and technique. Additionally, this project will offer explanations for understanding how jazz standards are constructed in terms of form and how they are performed. Lastly, this project will introduce several basic concepts the student can use to construct improvised melodies, such as modal scales, blues scales, seventh …

The Performer-Composer: A Reimagined Career Pathway For The Modern-Day Saxophonist, Jazmin Ealden

Theses : Honours

The ambiguity of the twenty-first century classical musician career pathway has resulted in a change of professional traditions and opportunities for musicians both within Australia and internationally. The literature discussing the portfolio career model of musicians demonstrates a clear place for this career in the current music industry; one such pathway is that of the performercomposer musician. The aim of this research project was to explore the career pathways of three performer-composer saxophonists. Specifically, this study aimed to identify the change and development of traditional composer-performer roles, explore the fluidity in the spectrum of composer and performer led creative outputs, …

Concert Recording 2019-04-14b, Kolby Palmore, Tanna Waltman, Carson Vanduch

Concert Recordings & Programs

[00:00]. Dis Architecture / Dave Hall -- [13:00]. Adagio / Samuel Barber; arranged by Nancy Zeltman -- [21:50]. Faded lines / Andrea Venet -- [25:06]. Three shells / Christopher Deane -- [36:14]. Pure imagination / Leslie Bricusse ; Anthony Newly ; arranged by Alex Stopa -- [40:17]. Chopstakovich / Jesse Sieff.

A Survey Of The History Of The Concertmaster Through The Baroque, Classical, And Romantic Eras, Leah E. Bonas

Theses and Dissertations

During the evolution of the orchestra from 1600-1900, the concertmaster remained a key leadership figure who held great influence over the ensemble. This paper examines the concertmaster’s changing role in the orchestra throughout the Baroque, Classical, and Romantic eras and studies the examples of exceptional concertmasters from each era, giving further historical insight into the lives and duties in of these orchestral leaders and musicians. During the Baroque era, when ensembles lacked conductors, the concertmaster shared control of the orchestra with the keyboard-player or time-beater. During the Classical Era, the concertmaster gained a larger role in the orchestra and often …

(Miss) Representation: An Analysis Of The Music Videos And Lyrics Of Janelle Monae As An Expression Of Femininity, Feminism, And Female Rage, Amy Dworsky

Honors College Theses

No abstract provided.

Concert Recording 2019-04-23a, Dennese Adkins, Ann Rye

Concert Recordings & Programs

[00:00]. Samson, HWV 57. Let the bright seraphim / George Frederic Handel -- [00:39].Les nuits d'été, H 81. 1. Villanelle ; 2. Le spectre de la rose / Hector Berlioz -- [08:56]. Auf dem Strom, D 943 / Franz Schubert -- [18:42]. Brentano Lieder, Op. 68. 1. An die Nacht ; 2. Ich wollt ein Sträußlein binden ; 3. Säus'le, liebe Myrte! / Richard Strauss -- [29:23]. Genius child. Winter moon ; To be somebody ; Joy / Ricky Ian Gordon --[35:29]. Cowboy songs. 1. Bucking bronco ; 2. Lift me into heaven slowly ; 3. Billy the kid / …

Cover

Soundboard Scholar

The scene of angel musicians on our cover is a detail shot of the topmost portion of the famous “Paradiso” fresco in the Cathedral of Orvieto, Italy. It was painted by Luca Signorelli in 1499, at the very time of Columbus’s third voyage, when (as Richard Pinnell explains in this issue) Spanish guitarras and vihuelas were first being introduced to the New World. The Signorelli fresco’s music-historical interest for us lies in the guitar-like instrument depicted in the hands of the highest angel in the heavenly ensemble—a position of no small honor for her or her instrument. It is approximately …

Los Romeros: Royal Family Of The Spanish Guitar By Walter Aaron Clark, Richard Long

Soundboard Scholar

A review of Los Romeros: Royal Family of the Spanish Guitar by Walter Aaron Clark.

Corbetta: La Guitarre Royalle (Elias), Ellwood Colahan

Soundboard Scholar

A review of Corbetta: La Guitarre Royalle, album by Elias, Izhar.

Mauro Giuliani And Austrian Folk Music, Stefan Hackl

Soundboard Scholar

Mauro Giuliani, one of the most important figures in the growth and development of the guitar in the earlier nineteenth century, spent his most productive years in Vienna from 1806 to 1819. He was well connected with the cultural and social life of the imperial city, at the time a melting pot which welcomed talented artists with diverse backgrounds from throughout the provinces and neighboring states. Here, Hackl discusses Giuliani's folk songs.

21st-Century Spanish Guitar (Levin), Nathan Cornelius

Soundboard Scholar

A review of 21st-Century Spanish Guitar, album by Levin, Adam.

Featured Facsimile: Mauro Giuliani’S ZwöLf Neue Wald-LäNdler (Twelve New Forest-LäNdler), Op. 23, Mauro Giuliani

Soundboard Scholar

Giuliani's Zwölf neue Wald-Ländler (Twelve New Forest-Ländler), Op. 23, in score. It was first published by the prestigious firm of Artaria & Co., with plate no. 2710, advertised for sale on 27 January 1810. Characteristic of these waltzes were the chordal (triadic) melodies, inspired stylistically by yodelers and yodeling. The intervallic tuning of the guitar favors the performance of such melodies as these, which evoke a style of folk music that runs deep in Austrian musical consciousness. Usually performed in sets of twelve, all in the same key, a Ländler-reihe (set, or row) usually began slowly, accelerated gradually toward the …

The Life And Work Of Alex Klein, Ramon Thiago Mendes De Oliveira

Graduate Theses, Dissertations, and Problem Reports (ETD)

Alex Klein is one of the best-known figures of the American oboe school. He is the winner of multiple international competitions, including the first prize at the Geneva’s Concours International d’Execution Musicale. Appointed principal oboe at the Chicago Symphony Orchestra in 1995, Klein is one of the most highly regarded musicians hired during the Barenboim era. His recording of Richard Strauss’ oboe concerto with the CSO was awarded Best Instrumental Soloist Performance (with Orchestra) at the 44th Grammy Awards. In 2004, his tenure at CSO was interrupted due to the onset of Focal Dystonia; which affected multiple fingers in …

How Does The Pronunciation Of Native Languages Affect Beginning Singers? A Research Focusing On Native Mandarin Chinese And American English Speaking Singers, Ruobing Zhao

Graduate Theses, Dissertations, and Problem Reports (ETD)

The classical style of singing is taught at music institutions around the world as a mainstream artform. The main languages of classical vocal repertoires are Italian, German, French and English, which means most classical singers need to sing in non-native languages. When people learn a new sound from a foreign language, they often search for reference points within their native language(s), which usually is the reason behind singers performing with incorrect accents or diction.

This research focuses on beginning singers whose native language is either Mandarin Chinese or American English. This research introduces the romanization system and basic pronunciation rule …

Contemporary Music Notation For The Flute: A Unified Guide To Notational Symbols For Composers And Performers, Ms. Eftihia Victoria Arkoudis

Graduate Theses, Dissertations, and Problem Reports (ETD)

David Cope stated: “There are two basic approaches to the study of New Music Notation: codification and comprehension […] what really needs to be done is not to keep listing the diverse ways each composer symbolizes his music or create substantially new and negating systems of notation, but to concentrate on codifying one way for future composers to symbolize their music.”^[1]

In an attempt to limit the inconsistency and complexity characterizing contemporary notation idiomatic to the flute, this paper is the first to adopt Cope’s statement and ultimately apply it in relation to the notation of non-standard extended flute …

The "Organ-Accompanied Solo Motet" In In La Maîtrise, 1857–1861, John David O'Donnell

Graduate Theses, Dissertations, and Problem Reports (ETD)

In his work, Motets for One Voice by Franck, Gounod, and Saint-Saëns, Richard Benefield began the scholarly study of a unique body of repertoire, the organ-accompanied solo motet repertoire of nineteenth century France. While Benefield chose to restrict his project to the work of only three major composers, he indicated other collections of Latin texted solo motets, one of which was the solo motets published in the Parisian church music journal La Maîtrise,between 1857–1861. These songs are examined in terms of historical context, musical features, and possible contemporary uses.

As France recovered from the ravages of the Revolution, …

Discovering The "Finnish Chopin"—Selim Palmgren's 24 Preludes, Op. 17, And Tres Piezas Para Piano, Op. 54, Sijia Wang

Graduate Theses, Dissertations, and Problem Reports (ETD)

Selim Palmgren (1878-1951) is one of the most significant musical figures in Finland. Unlike Jean Sibelius, who is undoubtedly the greatest Finnish symphonic composer of his time, Palmgren’s concentration is more on smaller-scale character pieces. His contribution to the piano and vocal repertoires earned him the reputation of being the “Chopin of the North” and also the “Schumann of the North.” Palmgren was not only prolific, having written over 300 piano works and 200 vocal pieces, but also versatile, frequently blending within his works various nationalistic, impressionistic, and other musical styles and elements within his works.

This paper is focused …

The Ancient-Future Of Worship Education: The Evangelical-Sacramental Movement's Effect On Modern Worship Education, Jordan Miles Covarelli

Masters Theses

This thesis looks at developments in evangelical/Pentecostal contemporary Christian worship music (CWM) in response to its theological critiques and analyzes the effects they are having on what training worship leaders will need. CWM has grown into a global phenomenon that largely either disregards or is ignorant of its theological critics. The rapid rate of churches adopting CWM practices in their services has led to numerous universities creating post-secondary degrees in Worship Leadership focused specifically on modern expressions of worship. This thesis uses a convergent parallel mixed methods research model to analyze how worship practices are changing in key evangelical-turned-sacramental churches …

Graduate Recital In Viola, Gabriel Mateo Forero Villamizar

Dissertations and Theses @ UNI

Gabriel Forero Villamizar performed his Master of Music Recital in viola on March 29, 2019, at 8:00 pm in the Gallagher-Bluedorn Performing Art Center’s Davis Hall. He was assisted by pianists James Mick and Sean Botkin. The program selected included the Sonata No.3 for Viola da Gamba in G minor BWV 1029 by Johann Sebastian Bach, the Concerto “Der Schwanendreher” by Paul Hindemith, Morpheus for Viola and Piano by Rebecca Clarke, Cadenza for Solo Viola by Krzysztof Penderecki, and Nahum by David Wallace. This program’s repertoire was selected to represent a wide variety of styles, techniques, and performance …

Latin American Influences On Selected Piano Pieces By Louis Moreau Gottschalk And Darius Milhaud, Hyejeong Seong

Graduate Theses, Dissertations, and Problem Reports (ETD)

This research document examines selected piano works by Louis Moreau Gottschalk (1829-1869) and Darius Milhaud (1892-1974) that are influenced by Latin American cultures.The paper traces the influence of Latin American music and the incorporation of characteristic melodic, harmonic, and rhythmic elements in the following compositions: Souvenir de Porto Rico, op. 31 (1857) and Souvenir de la Havane, op. 39 (1859) by Gottschalk; Saudades do Brasil, op. 67 (1920-1921) and Brasileira: Third movement of Scaramouche Suite, op. 165b (1937), for Two Pianos, by Milhaud. After a brief introduction, the study reviews the existing related literature about this topic. Then, Chapters Three …