Arts and Humanities Commons^™

Trumpet Transcription Of Frederic Chopin’S Nocturnes For Piano, Opuses 9, 15, 27, And 32, Logan Anderson, David Brown

Journal of Undergraduate Research

The art of trumpet playing has existed for thousands of years, but today’s trumpet is a relatively new instrument. The addition of piston valves in the early 19th Century (see figure 1) allowed the trumpet to play in every key, while its predecessor (see figure 2) was limited to the harmonic series of only one key. The piston trumpet came about at the start of music’s Romantic period, but little Romantic music was written for the new instrument. As a result, there is a large gap in the trumpet repertoire. There are a number pieces for trumpet without valves from …

Studio Orchestra Club, Dallas Crane, Ron Saltmarsh

Journal of Undergraduate Research

Studio Orchestra Club was successfully initiated and its first stages of implementation were successful. We were able to accomplish the following goals:

1. Establish Studio Orchestra Club as an Academic Association under the Commercial Music program. This lends official recognition to the group, as well as funding from the Commercial Music program (ideally, see below). This also allowed Studio Orchestra Club to schedule room usage as an independent unit, instead of relying of faculty.
2. Record various projects, including two film scores, a graduate audition and a concept album. Link to the audio files: https://soundcloud.com/studio-orchestra-club.
3. Create a growing roster of BYU …

Dr. Gordon Childs And The Viola D’Amore, Caryn Jackson, Dr. Claudine Bigelow

Journal of Undergraduate Research

The viola d’amore, a unique instrument that many are not familiar with, is more important than we give it credit for, not only musically but also for the research opportunities it presents. I was first introduced to the viola d’amore two years ago when I received my mission call to the Scotland/Ireland mission. As a music major and violist at BYU, I became deeply interested in Scottish and Irish music both before and after my mission. Around that time, I learned of Irishborn Garth Knox, a prominent violist/viola d’amore player and composer who has written many Scottish/Irish pieces for the …

An Introduction To Baroque Interpretation For The Modern String Player, Molly Cowley, Alexander Woods

Journal of Undergraduate Research

Historically informed performance, or playing music how we think it would have sounded within the era that it was written, is becoming increasingly popular. Because recordings are not available for anything played in the 17th or 18th century, we rely on books and treatises of that era to determine style (phrasing, tempi, pitch, articulations, etc.) Although many scholars have published on the subject of Baroque Era playing, I have discovered that these, often large, books can be intimidating to the average music student. Watching students avoiding the texts and attempting to learn the style from mere imitation has motivated me …

Ornamentation In Bach’S 21st Century Evangelist, David Seay, Dr. Robert Brandt

Journal of Undergraduate Research

Vocal performers of the past century appeared to be unaware of Bach scholars’ discoveries regarding ornamentation. Despite scholars having written more about ornamentation than any other performance-related topic, recordings from 1945-1975 indicate that vocalists performed Bach’s music with “basic principles [of ornamentation] but took little account of scholarly detail or stylistic specifications.” ¹ It was also discovered that despite Bach scholars’ efforts to reach their vocalist-audience, discussion on how to ornament the recitative – a music form most unique to vocalists – was largely overlooked.