Musicology Commons^™

Implementing A Paleographical Analysis To Provenance A Spanish Sanctorale, Amelia Lutz, Robert Fritz Ph.D

Posters-at-the-Capitol

A 17th-century Latin sanctorale held in the collection of the Saint Meinrad Archabbey features marginalia written in Spanish, but its place of origin and past ownership is otherwise unknown. Drawing on clues derived from a paleographical analysis of marginalia and a hymn pasted into the back cover, I have gathered evidence suggesting that the sanctorale originated in or was formerly owned by one of the religious orders in the Spanish city of Alcalá de Henares. A key piece of evidence is handwriting that adapts one of the chants to praise Saints Justus and Pastor, the patron saints of Alcalá. This …

Jazz And Politics: Was Ornette Coleman Inspired By The Civil Rights Movement?, Jason Dreher, Josiah Boornazian

The IASJ Journal of Applied Jazz Research

Due in part to increasing intellectual and political polarization in the United States in recent decades, there has been a resultant decrease in viewpoint diversity and an increase in instances of groupthink and widespread conceptual bias in the construction of many jazz history narratives. One example of these phenomena is the historiographical narratives linking free jazz and avant-garde jazz with the Civil Rights Movement in twentieth-century America. In the past several decades, the narrative that free jazz and/or avant-garde jazz was predominantly artistically inspired by the Civil Rights Movement has become broadly espoused by a wide variety of both scholarly …

Sentimental Aesthetics In D-Flat Major: Adagio Of Haydn’S Hob. Xvi:46, Keri Hui

HAYDN: Online Journal of the Haydn Society of North America

Although the concept of key characteristics was widely affirmed in the eighteenth century, the key of D-flat major was rarely adopted by composers. The so-called Romantic period, however, saw a remarkable increase in the use of this key, as demonstrated in the many well-known pieces written by composers such as Chopin. The article first reviews the different receptions of D-flat major in the eighteenth century and explores how the clavichord might have allowed Haydn to hear D-flat major as a key of sentimentality, one that echoes Christian Daniel Friedrich Schubart’s interpretation. It then examines ways in which Haydn presents the …

Lee Konitz’S Use Of Standards’ Melody In Improvisation, Gonçalo Pazeres, Ricardo Pinheiro

The IASJ Journal of Applied Jazz Research

The main goal of this article is to examine the mechanisms through which Lee Konitz uses the melody of jazz standards in his improvisation process. Beginning with the transcription and comprehensive analysis of five improvised solos, and using the thematic analysis method, we identified melodic ideas coming from the songs on which the saxophonist builds some of his solos. Our conclusion is that Lee Konitz, besides clearly quoting the melody of jazz standards on which he improvises, also frequently uses some of its notes as target-notes, and develops melodic motifs inspired by that same melody.

Scale Choices, Modal Harmony, And The Interpretation Of Slash Chord Notation For “Naima” By John Coltrane, Josiah Boornazian

The IASJ Journal of Applied Jazz Research

This analysis of Naima is intended to provide useful conceptual tools for those who are interested in analyzing the harmonic language of modal jazz. The goals: to demonstrate the value of thinking about jazz harmony using slash chords, to suggest specific scale choice options to fit each chord in “Naima,” and to offer an explanation of how jazz composers can use modal harmony to create a sense of harmonic tension, release, and motion. Such an approach can provide a useful framework which will open new vistas of harmonic and melodic vocabulary for jazz composers, performers, and educators.

Audiotactile Music Theory And Jazz Education: Historical And Pedagogical Perspectives, Stéphane Audard

The IASJ Journal of Applied Jazz Research

The Audiotactile Music Theory offers new perspectives for considering the issues associated with the institutionalization of jazz education and the gradual transition from informal transmission situations to formalized curricula. The aim of this article is to show how certain central the concepts of the ‘Audiotactile Music Theory’ can be used in a dual historical and pedagogical perspective, to overcome certain dichotomies that structure discourses on jazz teaching at different times: written/oral, formal/informal and art/popular music. The Audiotactile Music Theory also allows us to question the place of jazz in music teaching institutions today, and our own pedagogical practice.

Twin Sons Of Different Mothers: Harmonic Convergence In Jazz And Classical Music, Kurt Ellenberger

The IASJ Journal of Applied Jazz Research

Jazz and classical music are two of the most celebrated genres of “art music.” Their origins could not be more disparate. The two genres are, on the surface, very different from one another. Yet, the humanity and creativity that shines through across time and space speak to something else at play: an unfathomably deep connection that defies the temporal, geographical, racial, and cultural differences, revealing instead the shared human spirit that is manifested in these powerful artistic expressions.

The Shape(S) Of Jazz To Come. Jazz Studies, Interpretation, Theory And Education Research Project, Ricardo Pinheiro

The IASJ Journal of Applied Jazz Research

Jazz Studies: interpretation, theory and education is a research project developed at Escola Superior de Música de Lisboa, Polytechnic University of Lisbon, that involved the collaboration between the Jazz and Composition Departments. The focus of the project coordinated by Ricardo Pinheiro (with the collaboration of Carlos Caires and Carlos Marecos) was to rethink artistic research outputs in the field of jazz studies, questioning the hegemony of the current musicological paradigm (Cook, 2014; Pinheiro and Caires 2019; Pinheiro, Caires and Neto 2024), and to explore the broad academic, scientific and artistic scope that this field can provide.

European Jazz Does Not Exist, Wouter Turkenburg

The IASJ Journal of Applied Jazz Research

Marion Dunkel and Josiah Boornazian have critically analyzed and evaluated important questions such as: What is jazz, and what it is not? How have its histories been written in the past? What are the various approaches in jazz historiography? Both authors provide useful suggestions to move past the confusing, standard teleological presentation of jazz history, and the methods used in the construction of jazz historiographies. I argue that jazz history must function as a dynamic and life-long applicable tool assisting the jazz musician in the decisions to be taken in musical, social, and cultural interactions.

Toxic Jazz Narratives - Dispelling The Illusory Relationship Between Suffering And Creativity, Rob Foster

The IASJ Journal of Applied Jazz Research

The trope of the suffering artist is a persistent theme in discussions about jazz, often overshadowing the music itself. The focus on the negative aspects of an artist's biography can inadvertently shape students' perceptions, leading them to associate artistic greatness with personal turmoil rather than with the technical and expressive aspects of the music. The emphasis on tragic life stories in introductory jazz courses can detract from a holistic understanding of the genre. Jazz should be explored as a rich tapestry of musical innovation, cultural expression, and collaborative effort, rather than through the lens of individual suffering. Highlighting the achievements …

Chenoweth Prevails: The Connection Between Social Standards And The Marimba’S Development In The Western Art Music Tradition, Jackson Hall

Theses, Dissertations and Capstones

Among percussionists, the names of many marimbists come to mind before that of Vida Chenoweth (1928-2018), the pioneer of the modern marimba recital. Chenoweth began her first recital tour in the early 1950s at a time when the marimba did not yet have a dedicated solo repertoire, and women were largely excluded from performing on orchestral instruments. This thesis explores the musical and social contexts in which Chenoweth performed and worked, with particular attention to her recital history, critical reviews, and, through works written specifically for her performance, her technical abilities. She not only sparked the evolution of marimba technique …

Minority In Baroque Trumpet Repertoire: Minor-Key Literature For Baroque Trumpet, Wing Heng Victor Yuen

Theses and Dissertations--Music

The repertoire for trumpet in the Baroque era is overwhelmingly in major keys for obvious reasons. As natural trumpet is limited by design to play the notes of the harmonic series, most players have little access to sonorities outside the major scale and arpeggios within the series without the help of technical innovations such as the slide, and much later, vent-holes. Baroque trumpet makers built valveless natural trumpets, which are limited by design to play the notes of the harmonic series. Since the fundamental physics limit the musical notes available to the natural trumpet, minor key is not an essentially …

How Has Popular Types Of Musicals Throughout Time Affected Reed Book Pit Musicians?, Bailey Coon

Williams Honors College, Honors Research Projects

This research project will work to answer the question of how reed books in musicals have evolved over the years, and how those changes affect the woodwind players who take on those jobs and roles.

Additionally, this project aims to pinpoint outside factors that have helped to create the changes that reed books have experienced. This will help to create eras of musical theater. Also, if these changes can be attributed to specific changes, then a strategy can be created to help musicians who work for musicals; as most of those roles are by contract and not long-term full time …

Haven: Viewing The Concept Album Through The Classical Lens, Maria Keane

Graduate Theses, Dissertations, and Problem Reports (ETD)

This research project analyzes the album Haven by Canadian pop-rock band Marianas Trench and compares it to the seminal song cycles of Franz Schubert, Winterreise and Die schöne Müllerin, as well as those of Robert Schumann, Dichterliebe and Frauenliebe und Leben.

Haven is a concept album that is based on the hero’s journey framework outlined in Joseph Campbell’s The Hero With a Thousand Faces. Josh Ramsay, the lead singer of the group, crafted his hero’s journey by drawing on his own life experiences. The songs on the album represent different plot points from Campbell’s framework, telling a cohesive story over …

"Acoustical Bedlam": A Contextualization Of Beethoven's Christus, Leanna R. York

The Beethoven Journal

The premiere of Beethoven’s Christus am Ölberge at the Theater an der Wien on April 5, 1803, marked the composer’s first and only contribution to the complex tradition of the German oratorio. Since the genre’s inception at the turn of the eighteenth century, it reflected artistic, literary, and theological controversies of its day. Beethoven’s chosen theme, the passion of Christ, came with its own set of ever-shifting compositional and textual expectations, influenced by older traditions of sepolcri and staged oratorios (common in Vienna and at the court of the elector of Cologne after mid-century) and lyric works such as Graun’s …

Second Thoughts? Czerny, Beethoven, And The Ninth Symphony’S Choral Finale, Mark Evan Bonds

The Beethoven Journal

Sometime after the premiere of the Ninth Symphony, according to Carl Czerny, Beethoven told a small circle of friends that he had made a “wrong choice” in writing a choral finale, that he was resolved to write a purely instrumental finale in its place, and that he already had an idea in his head for the new finale. Czerny never committed this report to writing, but he did transmit it orally to three others who did: Leopold von Sonnleithner, Otto Jahn, and Gustav Nottebohm. Anton Schindler would later deny the report, but the available evidence strongly supports the veracity of …

Innovative Sonorities: Atypical Pitch Orders In Beethoven's Piano Trios, Yoko Maruyama

The Beethoven Journal

In his chamber music with keyboard, Beethoven famously emancipated the cello from its bass function to make it equal with the other instruments, as has been repeatedly noted. Some studies have also highlighted, partly in relation to this emancipation, the sonorous balance between strings and piano in Beethoven’s chamber works. The pitch relationship between the cello and violin in his piano trios has been less discussed, yet attending to both parts reveals a tendency to use an atypical order in which the cello’s pitch is set above the violin or between the violin’s chord tones. This tendency increases from Beethoven’s …

Review Of From The Ruins Of Enlightenment: Beethoven And Schubert In Their Solitude By Richard Kramer, Sarah Waltz

The Beethoven Journal

No abstract provided.

Review Of The Catholic Beethoven By Nicholas Chong, David Wyn Jones

The Beethoven Journal

No abstract provided.

Conference Report: 200th Anniversary Of Beethoven's 1824 Academy Concerts (Beethoven-Haus, Bonn, 2024), Mary Kirchdorfer, Cheston Humphries

The Beethoven Journal

No abstract provided.