Music Commons^™

2010-2011 Timothy Cobb In Recital, Timothy Cobb, Tao Lin

Faculty Recitals

No abstract provided.

New Mexico Musician Vol 58 No 2 (Winter 2010)

New Mexico Musician

No abstract provided.

2010 Student Composer Recital, Adelaide Coles (Composer), Thomas Joseph (Composer), Joseph Kasper (Composer), Matthew Perez (Composer), David Nguyen (Composer)

Student Recitals

No abstract provided.

Learning That Is Greater Than The Sum Of Its Parts: Efforts To Build An Integrative Learning Model In Music Management, David Chase, Keith Hatschek

Conservatory of Music Faculty Articles

How can music industry programs best prepare students for the near constant change and ambiguity engendered by the rapid pace of technological and structural change to the global music and entertainment business? For the authors, the answer to this question has been to develop a new model for teaching and learning in the Music Management degree program they direct. This article provides an explanation for the process of developing this revised program. It is structured in two parts, which follow a brief introduction: the fi rst part looks at the changing landscape of approaches to student learning and its meaning …

Buddy Defranco, The Standard Bearer, John M. Cipolla

Music Faculty Publications & Performances

Interview with Buddy DeFranco, master jazz clarinetist.

Human Things: Rethinking Guitars And Ethnography, Matthew L. Hale

Masters Theses & Specialist Projects

This work is about objects and their makers, their relationship, and the negotiation between tradition and innovation in the creation of things. I explore the relationship between tradition, innovation, and technology as it pertains to the creation, perception, and interaction with acoustic steel string guitars and ethnographies. First, I focus on the works of two Nashville based guitar makers, Grant and Cory Batson. I investigate the ways in which the Batsons critically evaluate traditional construction techniques and design features as they create their instruments, looking at their theories of tone production, methods of construction, and their perceptions and uses of …

Convocation, Belinda Martinez, Aaron Delahuerta, Christina Riegert, Kendall Demavivas, David Warner, Jeannie Walker, Samantha Alterman, Jaimie Lynn Gargantos, Megan Hanson, Ava Thibodeau, Saxon Lewis, Steven Trinkle, Michiko Nakata, Jae Ahn-Benton, Jieun Kim, Nancy Porter

Convocations

Program listing performers and works performed

Three Works For Flute By Ian Clarke: An Analysis And Performance Guide, Shelly L. Monier

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

British flutist Ian Clarke is currently recognized as one of the leading flutist/composers of today. His compositions have been performed at national conventions and used in competitions hosted by the British Flute Society and the National Flute Association and have been included in the Peters Edition reference of the Edexcel GCSE (General Certificate of Secondary Education) Anthology of Music as a music example of extended instrumental techniques. Many of his works, while heavily influenced by popular music, explore unconventional sounds, using inventive avant-garde flute techniques and notations that are unfamiliar to many flutists. Since there has been little scholarly research …

A Metrical Analysis And Rebarring Of Paul Creston's Sonata For Alto Saxophone And Piano, Op. 19, Christopher Kyle Sweitzer

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

The Sonata For Alto Saxophone and Piano Op. 19 is one of the most popular pieces in the saxophone literature, commonly played by professional saxophonists during their training. It features exciting rhythmic devices like irregular and mixed meter, the notation of which is the main focus of this paper. Although Creston often used irregular and mixed meter in his compositions, he rarely specifically notated them, choosing instead to use accents, beams, slurs, and other phenomenal cues at the musical surface to create the effect of these metric plans. Time signatures often remained constant throughout entire movements. Creston believed this would …

Innovation And Tradition In Lisan Wang’S Piano Suite Other Hill, Rongjie Xu

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

Lisan Wang is one of the most celebrated musical figures in China. His five-movement piano suite Other Hill (1980) is the composer’s response to the “New Wave”, a compositional trend generated in China after the 1977 Cultural Revolution. Gaining fame as a piano composition for showing the application of multiculturalism and syncretism to music, Other Hill is regarded as a prime example of cross-cultural piano composition in China. Wang challenges Chinese traditional piano composition with different artistic media—philosophy, calligraphy, poems, and various folk elements in Other Hill. This document proposes an interdisciplinary study of Lisan Wang’s musical fusion of …

Introducing Creativity In The Ensemble Setting: National Standards Meet Comprehensive Musicianship, Charles E. Norris

Peer Reviewed Articles

This article explores realistic ways with which ensemble conductors can facilitate the conceptual acquisition of their students via creative activities. Creativity, as included in the National Standards, is presented through the “eyes” of comprehensive musicianship.

An Analysis Of The Career And Solo Style Of Jazz Trombonist Carl Fontana, John Wesley Parker

Dissertations

Carl Fontana’s ability and creativity as a jazz trombonist is held in high regard by his contemporaries, as well as by those who followed him. The significant aspects of his career were highlighted in a brief biography with historical and anecdotal information provided by jazz trombonists who new him and were influenced by him. Fontana’s solo style was analyzed and compared through transcriptions of three improvisations performed during contrasting points in his career: “Intermission Riff” from 1956, “Just Friends” from 1978, and “It Might As Well Be Spring” from 1985. His influence on the jazz trombone community was discussed through …

Concert Recording 2010-12-01, Sophie Kirmanidou

Concert Recordings & Programs

French suite no. 2 in c minor / Johann Sebastian Bach -- Pictures at an exhibition / Modest Mussorgsky

The University Symphony Orchestra, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Student Chamber Music Concert, December 1, 2010 [Program], University Of Northern Iowa. School Of Music.

Music Recital Programs

Program of a music recital given by faculty, students, or guest artists from the School of Music at the University of Northern Iowa.

Pauline Viardot's Russian Compositions, Amy Jo Hunsaker

UNLV Theses, Dissertations, Professional Papers, and Capstones

Pauline Viardot-Garcia (1821-1910), an internationally famed opera singer well known for her vocal dexterity and range, was an intelligent and sophisticated woman who circulated easily among the brightest stars of the nineteenth century. Viardot, who was fluent in five languages, composed over 100 songs and was one of the first Western Europeans to set Russian words to music. Many of her French, German, Spanish, and Italian songs were translated into Russian and published in St. Petersburg. Viardot’s interest in Russian music began early in her career, when she performed with the Imperial Opera in St. Petersburg from 1843 to 1846. …

Beloved, Thou Hast Brought Me Many Flowers And Sifting Through The Ruins: An Analysis Of Two Chamber Song Cycles By Libby Larsen, Juline Erika Barol-Gilmore

UNLV Theses, Dissertations, Professional Papers, and Capstones

American composer Libby Larsen is one of the most active, prolific composers living today. Although she is known for composing in many musical genres, her vocal works are among her most recognized compositions. When selecting song texts, Libby Larsen carefully chooses poems that speak to her personally, both in the rhythm of the language and in the text’s depth of meaning and spirit. In addition, a large number of her vocal works are based on texts by or about women.

In sum, authors and poets have profoundly influenced Larsen, specifically in her chamber song cycles Beloved, Thou Hast Brought Me …

Silence: Exploring Salvatore Sciarrino’S Style Through L’Opera Per Flauto, Megan R. Lanz

UNLV Theses, Dissertations, Professional Papers, and Capstones

The purpose of this paper is to examine the works in Salvatore Sciarrino’s (b. 1947) collection L’opera per flauto written for solo flute and to examine Sciarrino’s compositional style, focusing on his characteristic markings, creative sonorities, and other pertinent facts about pieces in the collection. The first chapter in this paper discusses the value of silence in music and how Sciarrino provides the illusion of perceived silence. Chapter Two discusses elements of Sciarrino’s compositional style and the presence of complex notation. The final chapter provides flutists with a technical guide to the seven pieces in his L’opera per flauto collection. …

An Annotated Guide To Flute And Guitar Music, Kristi Benedick

UNLV Theses, Dissertations, Professional Papers, and Capstones

This document will contain an annotated bibliography of all of the flute and guitar music that is currently available. The annotations, organized by level of difficulty, will include title, composer, arranger, publisher, date of publication, level of difficulty, description of difficulties, and description of the piece.

The pieces will be located and obtained by diverse sources, including libraries, various collections, and catalog listings. The study will be completed after careful examination of each piece listed in the document. The end result will be a publishable resource for both flutists and guitarists of all levels.

Five Songs Of Northeastern Brazilian Folklore By Ernani Braga, Harmonized For Voice And Piano: A Performance Guide, Sergio A. De Moura Miranda

Theses and Dissertations

This paper provides a performance analysis of one of Ernani Braga's most well-regarded compositions, Cinco Cancoes Nordestinas do Folclore Brasileiro (Five Songs of Northeastern Brazilian Folklore). I include a biography of the composer, a complete catalogue of his songs, and an analysis of the music construction and technical performance challenges of his folk song cycle. By doing so, I also hope to draw attention to Braga's compositional output for voice and piano, and to raise awareness of his importance as great Brazilian musician and accomplished composer.