Musicology Commons^™

Soundboard Scholar No. 3: Editor's Letter, Thomas Heck

Soundboard Scholar

An introduction to the contents of this issue.

The Way We Were: A Review Of Early Efforts To Find Classical Guitar Music In Collections, Ellwood Colahan

Soundboard Scholar

This article was originally copublished online with the author's article, "Guitar Music in Collections: A New Web-Based Index Is Launched," Soundboard Scholar, no. 3 (2017), https://digitalcommons.du.edu/sbs/vol3/iss1/6.

Soundboard Scholar No. 3: Cover

Soundboard Scholar

The color portrait of Fernando Sor which appears on the cover of this issue, not previously published as far as we know, is a hand-colored version of a printed (b&w) copy of a painting—an original portrait (now lost) of Sor—by one Innocent Louis Goubeau. Before it disappeared it was copied, in the mid-1820s, by both a lithographer and an engraver, probably in response to public demand. The lithograph, according to the British Museum exemplar now online and well documented (No. 1893,0123.45), bears the attribution “Goubeau pinxit / Lith de Engelmann / Lithod par Bordes,” which means that the original painter …

Soundboard Scholar No. 3 (Complete)

Soundboard Scholar

No abstract provided.

Springsteen: In The American Tradition, Alex Mcdonough

Faculty Curated Undergraduate Works

Springsteen’s music serves as a platform for not only the working poor, but also the pariahs of American society. Like other classic American singer-songwriters, Springsteen uses his music to explore tragedy in the American life, imbuing each song with a quiet, sometimes darkly humorous humanity. Through his songs, Springsteen has defined an altogether different type of American story, one that weaves tragedy, comedy, and the tedious minutiae of daily life. Springsteen considers each element of every story he tells to be distinct and important in its own way, creating a sense of purpose for even the lowest of the low.

Villa-Lobos's Compositional Techniques And Treatment Of Folk Melodies In Cirandas For Piano, Gustavo Schafaschek

Dissertations

Despite his significance as the most important Latin American composer of the twentieth century, serious analytical studies on the music of the Brazilian composer Heitor Villa-Lobos are still few and far between. Recent scholarship has started to demystify the figure of Villa-Lobos as an intuitive composer with no technique, revealing an artist that strove to develop an idiosyncratic musical language. The present document aims to contribute to this new trend in Villa-Lobos’s scholarship by analyzing pieces from the piano cycle Cirandas, W220, considered one of the most important works from the composer’s mature style. Each of the sixteen pieces …

Closing The Gap: An Analysis Of The Musical Elements Contributing To Hip-Hop’S Emergence Into Popular Culture, Grant Knox

Scholars Week

This paper explores the musical evolution of hip-hop and the techniques that have influenced such growth. Hip-hop music’s pioneers established a genre that would not only prove to be self-sustaining, but allow for a diverse array of influences to contribute to its growth. An art form that was once preserved for minorities and often considered a lower form of intellectual art is growing closer to mainstream music. Topics such as the orchestration and production of music, influence of other genres, harmonic analysis, and the diversity within the genre itself are discussed with an emphasis on hip-hop artists of the previous …

Towards The Recovery Of Authentic Organ Continuo Practice In Haydn's Concerted Sacred Music, Tom Mueller

HAYDN: Online Journal of the Haydn Society of North America

During the classical era, full-size church organs were used in the performance of concerted sacred music. Historical evidence such as treatises and surviving organs offer useful information that can be used to reconstruct organ continuo performance practices. In spite of this evidence, modern performances and recordings of this repertoire often make use of small positive organs that cannot match the capabilities, timbre, and dynamics of larger instrument. Furthermore, the continuo realizations published in modern performance editions rarely reflect the style and techniques of historic practice.

This article explores issues in the performance practice of continuo playing on large church organs …

About This Issue, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

A Model For Patron-Driven Acquisition Of Print Music Scores: From Conception To Reality, Alan Asher, Trey Shelton, Jason Heckathorn, Aimee Barrett

Charleston Library Conference

This paper and presentation will explore the process of developing a unique patron-driven acquisition program for print music scores and monographs from concept to reality at an American Association of Research Libraries institution. Areas to be discussed include collection development considerations, information technology infrastructure needs, acquisitions workflows, and plan evaluation. The paper and the presentation will examine how partnering with a vendor to implement an innovative collection development plan can support the needs of the library users and the goals of library collection development officers and increase access to music scores and monographs in a fiscally responsible way. Readers can …

Northern Music Culture In Antebellum New Orleans, Warren Keith Kimball

LSU Doctoral Dissertations

In the three decades before the Civil War, immigrants from the Northern United States flooded into New Orleans in search of new economic opportunities. These newcomers brought to the Southern city many elements of Northern life, such as Protestant churches, English-language newspapers, public schools, and distinct political views. They also brought with them musical practices specific to that region: Protestant church music, amateur choral societies, instrumental concerts, music publication, and English-language opera all flourished from the late 1830s until the late 1850s. This dissertation situates the musical practices of New Orleans during the decades preceding the Civil War within the …

Mood And Mode: The Impressionistic Commonalities Of Claude Debussy And John Coltrane, Simon B. Needle, Edward Eanes

The Kennesaw Journal of Undergraduate Research

There are marked parallels in scale use, the use of modality and harmonic construction and movement in the music of John Coltrane as compared to impressionist composers like Claude Debussy. The modal harmonic exploration employed in the works of Coltrane is often attributed to the Indian raga and other music, but it can also be likened to Impressionist works by Debussy. A fascination with exoticism and a search for new veins in music to draw from propelled both of these artists forward musically. While Debussy learned medieval modality from the Russians, Coltrane looked further East to the Arab world and …

The Acoustics Of Justice: Music And Myth In Afro-Brazilian Congado, Genevieve E. Dempsey

Yale Journal of Music & Religion

For the Afro-Brazilian musicians of popular Catholicism, or Congadeiros, who live precariously on the urban and rural margins of Brazil, ritual undergirds their struggles for subsistence, spiritual fulfillment, and racial equality. When Congadeiros create ritual, they enter into a tradition begun in the seventeenth century in Brazil by their enslaved African and Afro-descendant ancestors who intoned songs of redemption. In keeping with their ancestors’ evocations of dignity during slavery, worshipers in the present day embed multiple kinds of vested interests within ritual festivity to achieve racial equality. This article explores Congado, the ceremonies of these disenfranchised musicians, to …

Worlds Of If: Analyses Of The Composed And Improvised Works Of Robert Dick, Melissa Keeling

Dissertations, Theses, and Capstone Projects

Considered one of the most important publications in twentieth-century flute pedagogy, Robert Dick’s seminal method book, The Other Flute (1975),[1] is an extensive catalogue of multiphonic fingerings, microtonal fingerings, glissandi, circular breathing, and other extended techniques. The Other Flute and a handful of his published solos are widely studied, but these works only represent a fraction of Dick’s creative energies.

Equally comfortable in classical, jazz, rock, electronic, and world music, Dick’s oeuvre demonstrates a sophisticated, musical use of contemporary techniques and his pieces have become standard repertoire. Though Dick was not the first flutist to use or notate these …

A New Approach To The Analysis Of Timbre, Megan L. Lavengood

Dissertations, Theses, and Capstone Projects

Two distinct approaches to timbre analysis exist, each with complementary strengths and limitations. First, music theorists from the 1980s adopt a positivist mindset and look for ways to quantify timbral phenomena, often using spectrograms, while avoiding any cultural dimensions in their work. Second, writings of the past five years focus on the cultural aspects of timbre but make no use of spectrograms. This dissertation builds upon these two approaches by synthesizing them: discussion is grounded in spectrogram analysis, but situated within a broad cultural context, through interactions with listener experience and ethnographic study of music periodicals and other published interviews. …

The Musicality Of The Water Lilies/La Musicalité Des Nymphéas (Library Resources), Holy Cross Libraries

Library Resources for Campus Events

A bibliography of resources available through the Holy Cross Libraries which provide additional information related to the Iris and B. Gerald Cantor Art Gallery exhibition “Gabrielle Thierry: The Musicality of the Water Lilies/La Musicalité des Nymphéas” from Aug. 30 through Oct. 7.

Thierry’s series of eight large-scale paintings were inspired by her rediscovery of the “Water Lilies” landscapes by Claude Monet on view at the the Musée de l’Orangerie in Paris. With special permission from the museum, Thierry painted in front of Monet’s originals over a period of 18 months from 2010 to 2012, where she explored the inner musical …

Constructing Music Of Rebellion In The Triumphant Empire: Punk Rock In The 1990s United States, David Pearson

Dissertations, Theses, and Capstone Projects

In the late 1980s, the punk scene in the United States was plagued by Nazi skinheads, the macho violence of “straight-edge hardcore,” and musical stagnation. Moreover, Ronald Reagan, the symbol of all that punks detested, was no longer president, the Cold War was coming to an end, and the United States was fast becoming the world’s sole superpower. These dilemmas put punk rock’s viability as a music of rebellion against the dominant order in a state of crisis.

Emerging out of this late 1980s malaise was a new wave of (leftist) political bands that took lyrical aim at the New …

The Varieties Of Tone Presence: On The Meanings Of Musical Tone In Twentieth-Century Music, Aaron Harcus

Dissertations, Theses, and Capstone Projects

This dissertation is about tone presence, or how musical tone shows up for experience in twentieth-century music. In exploring the subject of tone presence, I rethink notions of “pitch structure” in post-tonal theory and offer an alternative that focuses on the question of what it is to be a musical interval for experience, drawing on a wide range of research from social theory, semiotics, theories of emotion, African American studies, literary theory, usage-based linguistics, post-colonial theory, and phenomenology. I begin by offering a critique of three basic assumptions that constrain understandings of what we mean by pitch structure in post-tonal …

Inculturation Of Liturgical Music In The Roman Catholic Church Of Igbo Land: A Compositional Study, Benedict Nwabugwu Agbo

Journal of Global Catholicism

A study of inculturation, composition and music among Catholics in Igboland, Nigeria. The article insects with contemporary discussions of inculturation/enculturation after Vatican II and the recommendation of St. John Paul II in his Ecclesia in Africa.

“Ever To The Right”?: The Political Life Of 1776 In The Nixon Era, Elissa Harbert

Music Faculty publications

No abstract provided.