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"O My Luve's Like A Red, Red Rose": Does Burns's Melody Really Matter, Kirsteen Mccue

Studies in Scottish Literature

Examines the musical sources and later published settings for Robert Burns's song "O, my luve is like a red, red rose," with particular focus on Niel Gow's setting "Major Graham's Strathspey."

A Conductor’S Guide To The Poetic And Musical Style Of The Cante Jondo Based On The Work Of Mario Castelnuovo-Tedesco’S Romancero Gitano, Op.152, For Choir And Guitar With Selected Poems Of Federico Garcia Lorca’S Poema Del Cante Jondo, Elsa Patricia Ramierz-Hacker

Dissertations

Composers around the world have found the poetry of Federico García Lorca a source of inspiration for solo and choral works. Mario Castelnuovo- Tedesco used seven texts from Lorca’s Poema del Cante Jondo (Deep Song Poems) in his work Romancero Gitano, op. 152, for choir and guitar.

The purpose of this study is to provide a conductor’s guide to the poetic, historical, and musical structure of the cante jondo. Cante jondo or “deep song” is considered the most serious and profound collection of songs in Flamenco music. These songs express the history and landscape of the Andalucían region. Donn Phoren …

Marshall University Department Of Music Presents The Marshall University African Drumming & Dance Ensemble, Steven Hall, Betsy Jordan

All Performances

No abstract provided.

Chapter 11, Songs In Intimacy And Community In A Changing World: Sikaiana Life 1980-1993, William Donner

Sikaiana Ethnography

A chapter on song composition and performance in the Sikaiana ethnography. Songs were an important part of Sikaiana life in 1980-1993. There were two major song types: songs composed in a traditional Polynesian style, and songs composed for the more recently introduced guitar.

A related website is www.sikaianaarchives.com

If There's No "Fat Lady," When Is The Opera Over? An Exploration Of Changing Physical Image Standards In Present-Day Opera, Emily L. Stephenson

Electronic Theses and Dissertations

Though present-day American society generally assumes opera is one of the few remaining entertainment fields where talent matters more than physical appearance, as the 2004 firing of Deborah Voigt demonstrates, present-day opera singers are increasingly being held to stricter image standards. In 2004, Covent Garden dismissed Voigt from their production of Ariadne auf Naxos, in which Voigt was supposed to reprise her critically acclaimed interpretation of the title role. According to Voigt, Covent Garden's casting director Peter Katona felt that she was too large to fit into the black dress the new production required of the character. Voigt's removal …

Opera And The Modern Culture Of Film: The Genesis Of Cinemopera, Its Intertextuality And Expansion Of Operatic Source Material, Yuell "Chuck" E. Chandler Iv

Theses and Dissertations--Music

The boundaries of opera, as in all art forms, are constantly being re-evaluated. This analysis examines one of the most recent developments in opera-the use of film as source material, and connections to the film world- through analyzing three operas: Austrian composer, Olga Neuwirth’s opera, Lost Highway, Chinese-American composer, Tan Dun’s opera, The First Emperor, and acclaimed American film composer, Rachel Portman’s opera, The Little Prince. Each of these works exemplifies the modern relationship of opera and film in different ways. To classify these newly film-influenced works, the term cinemopera is used in describing operas connected to …

The Social Life Of Musical Instruments, Eliot Bates

Publications and Research

Accordion Crimes, a novel by E. Annie Proulx, traces the life of and routes travelled by a green diatonic button accordion: its birth in Sicily in the workshop of “The Accordion Maker,” its numerous changes of ownership in the Americas during encounters between various immigrant communities, and its death when it finally falls into disrepair in the town of Old Glory, Minnesota. There are other accordions in the book, and many temporary human owners, but it is one particular green accordion that is the book’s protagonist. We meet and experience other characters largely through their interactions with the green accordion, …

Cuban Spectacular: A Night At The Tropicana, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Midwest Institute Of Opera: Die Zauberflöte, July 31, 2011, John Koch Artistic Director, Joshua Greene Conductor, Brenden Moffitt Director

School of Music Programs

Center for the Performing Arts
July 31, 2011
Sunday Afternoon
3:00 p.m.

Midwest Institute Of Opera: Die Zauberflöte, John Koch, Artistic Director, Joshua Greene, Conductor, Brenden Moffitt, Director

School of Music Programs

Center for the Performing Arts
July 30, 2011
Saturday Evening
8:00 p.m.

Community Singing As Troubled Learning: Exploring Musical, Social, And Ethical Dimensions Of Safety And Risk Among Adult Singers, Deanna Yerichuk

Music Faculty Publications

How are safety and risk negotiated within community singing? Many group facilitation techniques within adult education take as foundational that participants must feel safe to participate fully in group learning. This concern for participants safety acknowledges that power and privilege circulate unequally within any social learning context, shaped by race, gender, class, ability, sexual orientation, and in the case of singing, musical competencies. However, community singing can be safe without being comfortable. Comfort, therefore, is not the same as safety, although the two concepts are often conflated. A lack of ease with the process and/or content suggests a possibility of …

Whence Comes Black Art?: The Construction And Application Of “Black Motivation”, Derrell Acon

Lawrence University Honors Projects

George Schuyler, in his tragically misguided 1926 essay for The Nation magazine, “The Negro-Art Hokum,” suggests that the only difference between Blacks and Whites is the color of skin, and that both races experience the same social, psychological and educational forces in America. He blatantly disregards American racism and inequality, and in his attempt to put forth his advocacy of color-blindness he merely projects and perpetuates the most racist of ideals within our country. Schuyler views the concept of Black Art very narrowly and insists on the impossibility of such an idea because of the supposed Americanness of the art. …

Passing For Black: Coon Songs And The Performance Of Race, Patricia R. Schroeder

English and Creative Writing Faculty Publications

No abstract provided.

Mixing For Parlak And Bowing For A Büyük Ses: The Aesthetics Of Arranged Traditional Music In Turkey, Eliot Bates

Publications and Research

In this paper I explore the production aesthetics that define the sound of most arranged traditional music albums produced in the early 2000s in Istanbul, Turkey. I will focus on two primary aesthetic characteristics, the achievement of which consume much of the labor put into tracking and mixing: parlak (“shine”) and büyük ses (“big sound”). Parlak, at its most basic, consists of a pronounced high frequency boost and a pattern of harmonic distortion characteristics, and is often described by studio musicians and engineers in Turkey as an exaggeration of the perceived brightness of the majority of Anatolian folk instruments. Büyük …

Ron’S Right Arm: Tactility, Visualization, And The Synesthesia Of Audio Engineering, Eliot Bates

Publications and Research

Most scholarship on audio engineering analyzes practices and practitioners in terms of musical and technical knowledges. The few references to sensory perception typically center on critical listening practices (“golden ears” engineers), audiophilia, and technologies of audition. However, particularly in light of computer-based workflows, the practice of audio engineering features carefully developed synesthesias of critical listening, visualization of digital audio, and tactile manipulations of interfaces, which can’t adequately be explained as cognitive processes or as conscious knowledge.

I draw on literature in the emerging field of sensory scholarship, in particular Brian Massumi’s theorization of synesthesia and affect and Charles Hirschkind’s analyses …

World Music Festival, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Spring 2009 Concert Tour: Joseph Haydn: Commemorating The 200th Anniversary Of The Composer's Death, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

World Music And Dance Concert, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

2008-2009 Philharmonia Season Program, Lynn University Philharmonia, Jon Robertson, Sergei Babayan, Albert George Schram, Carol Cole, Ralph Fielding, Nadine Sierra

Philharmonia

Philharmonia No. 1

• October 11, 2008 at 7:30 PM and October 12, 2008 at 4:00 PM
• Jon Robertson, guest conductor ; Sergei Babayan, piano
• Overture to La Forza del Destino / Giuseppe Verdi -- Adagietto from Symphony No. 5 in C-sharp Minor / Gustav Mahler -- Capriccio Espagnol, op. 34 / Nikolay Rimsky-Korsakov -- Piano Concerto No. 3 in D Minor, op. 30 / Sergei Rachmaninoff

Philharmonia No. 2

• November 8, 2008 at 7:30 PM and November 9, 2008 at 4:00 PM
• Albert-George Schram, music director and conductor
• Leonore Overture No. 3, op. 72 a / Ludwig van Beethoven -- …

Instrumental Tango Idioms In The Symphonic Works And Orchestral Arrangements Of Astor Piazzolla. Performance And Notational Problems: A Conductor's Perspective, Alejandro Marcelo Drago

Dissertations

Tango performance practices and notational conventions included in the orchestral works of Astor Piazzolla belong in two groups. The first is tango performance manner, or the specific way of rendering the written musical text; and the second is tango special effects, which could be defined as a group of non-traditional (for European music) instrumental techniques specific to tango music. Both groups are part of a performance style that has been poorly systematized, if at all, and kept alive only by means of face-to-face transmission. The purpose of this dissertation is to identify and analyze the challenges that Piazzolla faced while …

Open End: New Works And Improvisations, Open End

Setnor School of Music - Performance Programs

No abstract provided.

Ensemble Concert: Illinois State University Chamber Orchestra, November 1, 2007, Glenn Block

School of Music Programs

Center for the Performing Arts
Thursday Evening
November 1, 2007
8:00 p.m.

Ur Jazz Ensemble & Jazz Combo, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Schola Cantorum Spring 2007 Spain Concert Tour, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Marshall University Music Department Presents The Fifth Annual Festival Band Weekend, Finale Concert, Conductors, Lt. Col. Steven Grimo, Dr. Stephen Lawson, David Phillips, Stephen Lawson

All Performances

No abstract provided.

Tan Dun's Eight Memories In Watercolor: Insights Into Performance, Zhen Zeng

Theses : Honours

"Shostakovich, as· a composer also living under a dictatorship, taught me to express deep humanity. From Takemitsu, I learned that Western and Eastern instruments can be part of the same color palette. John Cage led me to discover structures and sounds as yet unknown, by always keeping an open mind. I owe deepest thanks to these three composers, whose contributions to music have also helped me develop myself---as a composer from a·. traditional culture, growing up in a high-pressure society, living in a now international world." (Tan Dun) The global reach of Tan Dun's music reached its zenith recently at …

Concert Recording 2006-01-29, Christopher Lacy, Holly Gash, Luis Giron May, Robert Richardson, Treva Thoms, Sarah Mesko, Andjela Subotic, University Of Arkansas, Fayetteville. Opera Theater

Concert Recordings & Programs

Thais / Massenet

Marshall University Music Department Presents The Third Annual Festival Choir Weekend, David Castleberry

All Performances

No abstract provided.

Le Nuove Musiche, March 18, 2003, Michelle Vought, Glenn Block

School of Music Programs

Center for the Performing Arts
Tuesday Evening
March 18, 2003
8:00 p.m.

Women In Music Symposium Iv: Today And Tomorrow, March 3, 2003, James E. Major

School of Music Programs

Center for the Performing Arts
March 3, 2003
8:00 a.m.