Arts and Humanities Commons^™

Reflections On The Construction Of Meaning Through Immanent Visual Association, Samuel P. Gillies, Lindsay R. Vickery

Research outputs 2013

Since the advent of digital video editing and projection, multimedia presentation in the concert space is no longer exclusive to the music of stadiumsized popular music events. Increasingly, many in the field of new music are incorporating elements of mixed media presentation. Examples of this trend include performances across the spectrum of new music such as Sensorband, Nico Muhly, Leafcutter John, and more. This paper discusses the artistic and thematic accomplishments of four different approaches to audio-visual association before discussing the influences of these approaches, their incorporation or rejection, into my own work Red River. (Gillies, 2011)

The Psychological Benefits Of Participating In Group Singing For Members Of The General Public, Marianne D. Judd, Julie Ann Pooley

Research outputs 2013

The last decade has produced a growing number of studies examining the potential psychological benefits of singing in a choir. Studies have tended to focus on the benefits for groups that might be described as marginalized or criminal. In contrast, the current study focused on members of the general public who regularly participate in choral singing. An in-depth qualitative design was utilized to explore the meaning and importance of group singing for 10 participants. Thematic analysis based on an interpretive approach was utilized to analyse the data. Psychological benefits emerged as two themes: individual and group. A third theme, mediating …

Utilizing Classical Saxophone Articulation Techniques In Jazz Performance, Jeremy Trezona

Theses : Honours

No abstract available.

An Investigation Of The Benefits Of Improvisation For Classical Musicians, Rebecca S. Kossen

Theses : Honours

For centuries improvisation has been an integral part of European classical music culture. Until the nineteenth century most musicians were composers, improvisers and performers. Today, improvisation is less common in the classical music scene with most classical musicians being either performers or composers and only a minority of them having the ability to improvise. Is improvisation relevant to the classical musician whose main concern is the performance of written repertoire?

Learning how to improvise and practicing improvisation requires a musician to develop particular skills which can be directly applied in the performance and interpretation of precomposed music. This make improvisation …

Joe Henderson's Harmonic Approach To Improvisation Within The Duo Setting In His 1992 Quintet Album, Lush Life: The Music Of Billy Strayhorn, Patrick Van Der Moezel

Theses : Honours

Jazz improvisation can be greatly influenced by the combination of instrumentation, influencing the role of the instruments and the way they relate to each other. Notably, the stripped-back nature of the duo emphasises these differences. Musicians such as Sonny Rollins, Stan Getz and Joe Henderson are three of many saxophonists who have employed this particular combination to explore different ways of improvisation.

This paper will draw on Joe Henderson’s 1992 album Lush Life: The Music of Billy Strayhorn, which uses the duo setting on three tracks. Each of these three tracks has a slightly different combination (saxophone with bass, with …

Ronald Stevenson, Composer-Pianist : An Exegetical Critique From A Pianistic Perspective, Mark Gasser

Theses: Doctorates and Masters

This exegetical critique makes a conceptual summation of Ronald Stevenson’s life’s work for the piano and his contributions as a composer‐pianist. Chapters one and two provide a profile of Stevenson as a pianist, examining the aesthetic and musical concerns that defined his long career, as well as precedents and antecedents of his pianism. Of particular interest are the ways that Stevenson coalesces aspects of the ‘grand manner’ and his obsession with a pianistic bel canto style. Chapter three examines Stevenson’s remarkable output in terms of piano transcriptions. His conceptualization of this as ‘capturing the essence’ of the original composer is …