Music Performance Commons^™

The Role Of Narrative In Performing Schumann And Chopin’S Music, Yu-Wen Chen

Dissertations, 2014-2019

Abstract

Recognizing how to present a narrative while performing the music of Schumann and Chopin helps the performer to transmit the spirit of the music and convey expression in the music. In the music-making process, what we cannot discount is that the performer plays a crucial role in conveying musical expression to the listeners, which tremendously affects the quality of the entire musical experience. In this document, I argue that there is a qualitative difference between the ways in which performers should express the central story conveyed in the music of Robert Schumann compared with the story conveyed in the …

A Musical Crusade: Reviving The Music Of Berlioz’S Benvenuto Cellini Through A Comparative Statistical, Pedagogical, And Theoretical Analysis, Jessica R. Spafford

Dissertations, 2014-2019

Abstract

Much of the operatic music of the eccentric French composer Hector Berlioz (1803-1869) is overlooked, especially from his first full opera Benvenuto Cellini. This is due in part to many misconceptions surrounding Berlioz’s vocal compositional style, which stem from the political atmosphere at the time of the opera’s premiere in 1838 Paris when ill-willed critics renamed it Malvenuto Cellini. A general ignorance of this work and its music pervades the world of vocal pedagogy, having been excluded from the standard repertoire anthologies, where it can ironically be the most useful. The research presented in this project comprises …

The Development Of A Fach System For The Tenor Oratorio Repertoire, Randall C. Ball

Dissertations, 2014-2019

Classical singers learn about the European Fach System early in their career. By determining which Fach a voice type fits, one can then understand which operatic repertoire is suited to study and perform. It is a reliable guide, protecting singers as they grow and function in their workplace. Since oratorio roles are predominantly not included in this system, it can sometimes be challenging for singers and pedagogues to place these roles unambiguously into a Fach. Without the security of a pedagogical system or guide, singers may be miscast in oratorio productions, which can result in a less effective performance, …

David Lee, Piano: Student Recital, David Lee

Setnor School of Music - Performance Programs

No abstract provided.

Savoring Life's Journey - Emily Mcandrew Degree Recital, Department Of Music

Student Degree Recitals 2016-2017

Emily McAndrew featuring works by Copland, Mahler and Bernstein.

2016-2017 Performance Forum - May 4, 2017, Michael Pittman, Bailey Michelle Collins, Virginia Mangum, Sheng Yuan Kuan, Cameron Hewes, Soojung Kwon, Stephanie Barrett, Amy Nickler, Evan Musgrave, August Berger, Julia Jakkel, Marija Trajkovska, Karolina Kukolova, Yu Lu

Performance Forum

No abstract provided.

Kyoungsoo Kim, Cello: Student Recital, Kyoungsoo Kim

Setnor School of Music - Performance Programs

No abstract provided.

Alan Lynch, Organ: Graduate Organ Recital I, Alan Lynch

Setnor School of Music - Performance Programs

No abstract provided.

Dreaming Of A Garden- Kara Kang Degree Recital, Department Of Music

Student Degree Recitals 2016-2017

Kara Kang featuring works by Verdi, Delibes and Strauss.

Kautsky Studio Recital, May 2, 2017, Lawrence University

Conservatory of Music Concert Programs

Harper Hall

2016-2017 Senior Recital - Anthony Trujillo (Composition), Anthony Trujillo

Junior and Senior Recitals

No abstract provided.

Student Recital: James Whittemore, Trumpet, James Whittemore, Jonathan Chesson

Student Recitals

No abstract provided.

Concerto And Aria Winner's Concert: Elaina Palada, Flute; Egor Antonenko, Cello; Emily Lane, Viola; Syracuse University Symphony Orchestra; James Tapia, Director, Syracuse University Symphony Orchestra, Setnor School Of Music, James Tapia, Elaina Palada, Egor Antonenko, Emily Lane

Setnor School of Music - Performance Programs

No abstract provided.

2016-2017 Senior Recital - Walker Harnden (Oboe), Walker Harnden, Darren Matias

Junior and Senior Recitals

No abstract provided.

Learning To Sing, Nicholas Tierney

Senior Honors Projects

Singing alone in the car was okay because no one was there to listen. I wanted to see if I could learn to sing, and do it successfully, with a group of people. By joining URI’s University Chorus this semester, I hoped to learn techniques for successful choral singing. Through a guided self-analysis I set out to chronicle my journey from the first rehearsal to the final concerts.

For me, the three most important questions I wanted to answer when staging my research--a blend of an academic analysis and my personal and qualitative data--were: Why do people sing? Why do …

Carnegie Hall Recital Poster, Kate Boyd

Scholarship and Professional Work – Arts

No abstract provided.

A Study Of The Performance Requirements Found In The Sonata For Solo Violin Op. 40 By Miklós Rózsa, James Moat

Glenn Korff School of Music: Dissertations, Theses, Student Creative Work, and Performances

Miklós Rózsa’s Sonata for Violin Solo, written in 1986, is his last work for violin and completes a collection of pieces written for the violin dating back to 1929. There have been various scholarly papers written about Rózsa’s violin works, including Nancy Jane McKenney’s dissertation: ‘The Chamber Music of Miklós Rózsa’, and the book written by one of Rózsa’s close friends, Christopher Palmer: ‘Miklós Rózsa, A Sketch of his Life and Work’. Neither of these works discusses the Solo Sonata; in fact, Christopher Palmer’s book was published in 1974, 12 years before the sonata was even composed.

This document discusses …

Worship Renewal Through Discipleship: How Discipleship And Mission Affects Our Worship, Kevin Haglund

Masters Theses

Numerous articles, blogs, and books have been written in recent years about the lessening of congregational participation in singing and many have called for a renewal of worship and changes in worship practice within the church. Yet, most of the solutions offered are aimed at bettering what happens inside the worship event—singing songs with more theologically rich lyrics, incorporating more scripture and prayer, striving for more creative ways to engage the congregation, more resources and training for worship leaders, and many other valuable ideas. As excellent as those solutions may be, they are incomplete unless we also focus on that …

Porch And Playhouse, Parlor And Performance Hall: Traversing Boundaries In Gottschalk's The Banjo, Laura Moore Pruett

Visual & Performing Arts Faculty Publications

This article reconsiders the cultural significance and historical impact of the well-known virtuosic piano composition The Banjo by Louis Moreau Gottschalk. Throughout the early nineteenth century, the banjo and the piano inhabited very specific and highly contrasting performance circumstances: black folk entertainment and minstrel shows for the former, white middle- and upper-class parlors and concert halls for the latter. In The Banjo, Louis Moreau Gottschalk lifted the banjo out of its familiar contexts and placed it in the spaces usually privileged for the piano. Taking its inspiration from both African American and minstrel banjo playing techniques, Gottschalk's composition relaxed and …

The Biomechanics Of Music Performance, Rachel F. Bellisle, Jessika Decker

Senior Honors Projects

When first learning to play a wind instrument, beginner musicians are taught how to hold their instrument and correctly position their body. They are taught how to sit, where to put their hands and fingers on the keys, and how to hold their arms. This initial lesson on posture and hand positioning is often short, as one quickly moves on to learn the embouchure and breathing techniques that allow sound to be produced. As a musician progresses in skill, positioning is emphasized more, and they learn that it can affect their risk of strain or injury and improve their sound …