Music Commons^™

Sentential Structures In Alexander Scriabin's Op. 8 Etudes, John Paul West

Theses and Dissertations

Historically, the sentence has proven to be one of the most versatile and pervasive forms in music, appearing since the mid-sixteenth century with occurrences too frequent to quantify. Sentential musical phrases emerged from music and poetry during the late-sixteenth and early-seventeenth centuries with the same short-short-long rhythmic impulse, originating from poetic and sing-song texts. Although the sentence is most often tied to the Classical period, it is not associated with any single era. Patterns of sentential phrases were already apparent and plentiful before the late eighteenth century, and composers used it as a device to expand musical form throughout the …

Controlling Death: Analyzing Formal Structures In The Music Of Chuck Schuldiner, Cory Cogley

Theses and Dissertations

From 1987 to 1999, the metal bands Death and Control Denied released eight total albums, with music primarily composed by guitarist and vocalist Chuck Schuldiner. This corpus study analyzes the form of these records to demonstrate Schuldiner's compositional idiolect adhering to recognizable formal structures, specifically AABA and ABA.

Reimagining The Cadenza: Bluegrass And Mozart, Linna Zheng

Honors Theses

The bluegrass-inspired cadenza for the first movement of Mozart’s Violin Concerto No. 5 is a parallel with the “Turkish” episode of Mozart’s composition. While introducing the bluegrass idiom into a Classical concerto may not be idiosyncratic, it can be understood and seen as an extension of Mozart’s own practice and approach to stylistic disruption. This approach can be understood through the concepts of Sonata Theory, revealing the cadenza as a site of productive deformation within a normative formal framework. Along with this, Robert S. Hatten’s concept of troping further supports the idea that the interaction between Classical and bluegrass idioms …

The Influence Mariachi Music On Regional Mexican Music, Alexis Suastegui

SACAD: Scholarly Activities

How has Mariachi music influenced other regional music in mexico?

Japanese Music Theory, Elias N. Nichols

SACAD: Scholarly Activities

This research project explores Japanese music theories. By analyzing the basic components of Japanese music, including historical and modern approaches, this presentation demonstrates the similarities and differences in the formation of music in western thought when compared to the methodology of Japan. This research dives deep into tones, scales, melodic approaches, historical development and the effect on modern compositions today. This project informs the audience on the nuances of Japanese music theories in the hope to dispel stereotypes about music theories from different cultures, apart from western thought.

The Paradox Of Musical Vernaculars, By Marina Ritzarev, Jacob Gran

Music & Musical Performance: An International Journal

No abstract provided.

Contributors To Issue 7

Music & Musical Performance: An International Journal

No abstract provided.

On Music Theory And Making Music More Welcoming For Everyone, By Philip Ewell. Ann Arbor: University Of Michigan Press, 2023 [Review]., George Adams

Music & Musical Performance: An International Journal

No abstract provided.

Remembering John Rothgeb (1940–2020), Jürgen Thym

Music & Musical Performance: An International Journal

No abstract provided.

Bach And Mozart And Space And Time, Robert L. Marshall

Music & Musical Performance: An International Journal

Karol Berger’s influential study, Bach’s Cycle, Mozart’s Arrow, argues that

“what matters to Bach . . . is not the linear flow of time from past to future . . . Rather, time is made to follow a circular route or neutralized. . . . Mozart and his contemporaries “straighten[ed] the temporal cycle into an arrow.”

The present essay suggests that, in considering the music of Bach and Mozart we are not dealing with two different concepts of time but rather with two different analogies: one with space, the other with time. It argues that, for Bach, the spatial metaphor …

Thoughts Upon Richard Taruskin’S Yahrzeit, Scott Gleason

Music & Musical Performance: An International Journal

Teaching portions of Richard Taruskin’s The Oxford History of Western Music to non-music majors at Columbia University (in the early 2000s) offered special opportunities and challenges. Taruskin’s musical ethics, central to that book, are clearly embodied in his writings about John Adams’s The Death of Klinghoffer. The Princeton School of composer-theorists is a litmus test of Taruskin’s thinking: in particular, Taruskin’s emphasis on music criticism can aid in an analysis of Roger Sessions’s 1958 String Quintet. David Lewin’s unpublished 1959 analysis of that same piece (by his teacher) shows a very different approach; Lewin’s analysis is a vivid but rarely …

Orthography, Jeremy Gill

Music & Musical Performance: An International Journal

The myth of Pope Gregory I taking melodic dictation from a magical singing bird is the imaginative starting point of Western musicʼs love-hate relationship with the music notation systems it later developed. This essay traces that development through Thomas Tallis and J. S. Bach to the dichotomous modern examples of Brian Ferneyhough and Arvo Pärt. In it, I suggest that Western musicʼs eventual development hinged upon that earliest desire to document and codify melodies, answering Gregoryʼs contemporary Isidore of Seville, who lamented that “unless sounds are held by the memory of man, they perish, because they cannot be written down.”

In Praise Of Simplicity: Marie Hinrichs’S Op. 1, Neun Gesänge, Stephen Rodgers

Music & Musical Performance: An International Journal

In a chapter from German Lieder in the Nineteenth Century (1996), Jürgen Thym describes the historiography of the German Lied as “a hike through the high-peak area of a mountain landscape where the trail along the ridge leads from one glorious peak to the next.” Beneath the high peaks of Schubert, Schumann, Brahms, and Wolf, he notes, are smaller peaks not reachable by trail. Thym clears paths through this unexplored landscape by surveying the Lieder of Carl Loewe, Fanny Hensel, Franz Liszt, Robert Franz, Clara Schumann, and Peter Cornelius. My essay extends one of these paths, exploring the songs of …

William Albright's Whistler (1834-1903): Three Nocturnes: "Why The Hell . . . Should Anyone Listen To This?!", R. Douglas Reed

Music & Musical Performance: An International Journal

The article explores William Albright's Whistler (1834-1903): Three Nocturnes (1989) through historical context, musical analysis, performance practice, and the composer's essay on the relationship between his composition and Whistler's paintings. Commentary by composer Sydney Hodkinson gives information about the 1960s new music scene in Ann Arbor (the ONCE Group, The Grate Society) composition study with Ross Lee Finney.

Defying The Conventional: Musical Performance, Embodied Cognition, And The Reconfiguration Of Institutional Discourse, Dillon Parmer

Music & Musical Performance: An International Journal

This essay confronts the dialectic between theory and practice through a comparison of an idea basic to how we understand music (the notion that pitch moves up and down in vertical space) with how pitch is thought of in actual music-making. The comparison leads to both a new conceptual model for thinking about pitch, what might be called Pitch Horizontality, as well as a proposal for how to bring institutional discourse about music into sync, not with how scholars in other disciplines think about their subject matter, but with the thinking that goes on in contexts of real-world artistic production.

Cecil Taylor, 1950–1976: Theory & Practice In His Own Words, Michelle A. Yom

Dissertations, Theses, and Capstone Projects

Cecil Taylor (1929–2018) was a poet, composer, pianist, and dancer who is widely regarded as one of the founding figures of Free Jazz. Despite this historical significance, Taylor has not been a subject of substantial archival research. Some scholars have written his name into music scholarship through explicitly or implicitly reiterating the notion of “freedom” that circulated among contemporary jazz critics of the late 1950s and the 1960s. Others have focused on analyzing Taylor’s solo piano music, often reducing Taylor’s musical theories and practices into the formal structures of the music itself. To date, the scholarship has simplified Taylor’s work …

Chaotic Complexity: Order And Chaos In Works Of Cage, Xenakis And Boulez, Levi Graham

Music Theses

My thesis explores specific applications of chaos theory in contemporary twentieth-century music and analyzes the relationship between order and chaos in their creation. I will do this by referencing the levels of chaos presented by Katherine Hayles and categorized by Judith Lochhead. These levels of chaos include “Expressive Chaos,” “Denotative Chaos,” and “Ontological Chaos,” which provide a framework for grouping expressions of chaos in music.  I will analyze works of John Cage, Iannis Xenakis and Pierre Boulez through the lens of these types of chaos, with a particular focus on “Ontological Chaos,” which describes chaos as both dependent on and …

Hear & Now: Culturally Responsive Music Education Through Digital Audio Workstations & Musique Concrète, Benjamin T. Connolly

Pitzer Senior Theses

Hear & Now: Culturally Responsive Music Education Through Digital Audio Workstations & Musique Concrète is a two-part ethnomusicological study of how the capacities and affordability of modern electronic instruments could be utilized within school curricula as an affordable alternative to traditional music classes. I explore the musique concrète movement from mid-20th century France, aiming my examination towards the movement’s emphasis on the materiality of sound production and utilization of modern technology during the composition process. From there, the paper transitions into a study on the affordances of contemporary music technologies through a series of interviews with electronic composers, tracing the …

Hegemonic Microtonality: Decolonizing The Soundscape Of Music Theory Pedagogy, Ash K. Wetty

Honors Theses

This thesis examines how Western music theory pedagogy—long organized around tonal and twelve-tone equal-temperament frameworks—structures both what is taught and how students are trained to listen. Through a literature review tracing the historical construction of tonal universality in undergraduate curricula, the project argues that dominant models of music theory reproduce broader epistemic hierarchies inherited from Western conservatory traditions. Situating these histories within my own experience as a student navigating institutional listening norms, the thesis combines critical self-reflection with ethnographic research conducted across five liberal arts institutions, including the CBB consortium and JanPlan research at Wesleyan University and Amherst College. Rather …

Interpretable Repertoire Search For Computer Supported Aural Skills Teaching: A Searchable Sia Based Digital Companion, Peter G. Fielding

Bailey School of Music Faculty Publications

Aural skills teaching depends heavily on repertoire selection, yet many large print and heritage song collections remain difficult to search in pedagogically meaningful ways. Teachers may need melodies with limited pitch collections for early solfège, modal examples for comparative listening, or repertory with controlled chromatic complexity, but such features are rarely indexed in printed sources. This paper proposes a computer-supported response to that problem: a searchable, rights-aware digital companion built around tonic-centered successive interval arrays (SIAs). SIAs provide an interpretable representation of pitch space by encoding the cyclic step pattern among the pitch classes present in a melody after tonic …

Shadows And Stars: How To Bring Student Compositions To Life, Dylan K. Ahrens

SPARK Symposium Presentations

Student composer Dylan Ahrens will present a session titled 'Shadows and Stars: a Symphony for Band,' premiered by the Belmont University Wind Ensemble on April 17, 2026. The composer will provide an analysis of the piece, discuss compositional processes, and outline the experience of learning to conduct one's own work with a collegiate ensemble. This presentation will include audio and video sample of rehearsal and performance, as well as images from the score.

Structuring The Musical Year: Dance, Topic, And Semiosis In Eighteenth-Century Calendar Music, Braden Shaw

Theses and Dissertations--Music

In this thesis, I apply a multifaceted analytical approach to examine a niche category of music called calendar music. In chapter one, I discuss Gregor Joseph Werner’s composition, the New and Very Curious Musical Calendar, and specifically address the minuets found within this work. Werner composes irregular measure groupings in his binary minuets and did so to represent the number of hours in day and night. This irregularity of measure groupings might superficially suggest that Werner’s pieces are stylized minuets only, unintended to accompany physical dancing and far removed from any actual choreographic influence of embodied performance. Werner, …

A Performance Practice Guide To Raleigh Dailey's Sonata For Trumpet And Piano, Kody Jernigan

Theses and Dissertations--Music

Raleigh Dailey is recognized internationally as a jazz pianist, composer, and educator whose compositions span solo works, chamber music, and jazz ensembles. While his music is well known within the jazz community, a significant portion of his catalog remains unknown in the classical performance repertoire. Among these pieces is his Sonata for Trumpet and Piano, a composition that integrates jazz stylistic elements within a classical chamber work.

The purpose of this project is to conduct primary-source research on Dailey’s Sonata for Trumpet and Piano in order to create a comprehensive performance guide for trumpet players. This is accomplished through interviews …

The Public Relations Of Microtonal Music Through The Eyes And Ears Of Microtonalists, Tristan B. Young

Anthós

In this article, I attempted to answer the question of how microtonal musicians and music theorists view the general public's perception of microtonal music. To do this, I had three one-on-one interviews and one focus group with microtonal musicians, which were all audio recorded with consent from the participants. Patterns that emerged from their responses included blaming corporate and academic establishments for their conservatism in music theory, mentioning the different possible definitions one may make for microtonality based on geographic culture and so on, and bringing up the idea that people think that microtonality is less diverse than it actually …

Beyond The Book: Charting New Progressions Through Improvisational Experience In Higher Education Jazz Performance Programs, Jacob L. Manny

West Chester University Graduate Theses, Dissertations, and Final Projects

Jazz improvisation is a historically rich and culturally relevant art form that is also an underutilized pedagogy in higher education music performance programs (HEMPPs). Previous research has extensively unmasked the relationship of creative, social, and cognitive benefits of improvisational learning. Yet, postsecondary institutions continually rely upon Western European colonialist practices through the isolation of music history, music theory, piano, and compositioncourses. This disconnect results in curricular designs that fail to recognize the importance of experiential learning. In this qualitative inquiry semi-structured interviews were conducted with ten participants who perform and educate globally. Participant stories unearthed not …

Analytical Commentary And Performer's Guide To Carlos R. Martinez's Four Pieces For Trombone, Bailey Jean Hardy-Price

Theses and Dissertations--Music

Musicians with hearing loss are documented in prominent figures, such as Ludwig van Beethoven. In the age of developing medical technology, hearing aids can turn the course for many musicians. Music can serve as an audio medium for this journey.

Carlos R. Martinez (b. 1978) is an active composer and pianist commissioned to create a piece that explores the journey of hearing loss in a musician. Martinez’s Four Pieces for Trombone and Piano illustrate a musician’s discovery of their hearing loss, its consequences, and joy in implementing the use of a hearing aid. The detailed discussion of the composer and …

Jazz And Classical Form In Selected Movements Of Nikolai Kapustin's Eight Concert Etudes Opus 40, Hsiaofen Lin

Graduate Theses, Dissertations, and Problem Reports (ETD)

This research focuses on three etudes from Kapustin’s Eight Concert Etudes, Op. 40, offering analyses for “Prelude,” “Reverie,” and “Toccatina,” The analysis explores several interrelated issues: the extent to which jazz-derived formal structures may be discerned in Kapustin’s piano works beyond traditional classical models; the ways in which jazz structural frameworks interact with forms such as sonata, ternary, and through-composed designs; and the degree to which jazz formal procedures influence sectional organization, phrase structure, and large-scale form. A further concern is whether Kapustin’s use of jazz form serves merely as a stylistic reference or operates as a structurally determinative …

A Digital Audio Workstation-Based Analytical Framework For Contemporary Acoustic Music: Modeling Selected Excerpts By Viet Cuong, Robert Daniel Traugh

Graduate Theses, Dissertations, and Problem Reports (ETD)

The Digital Audio Workstation (DAW) has made sound recording, manipulation, MIDI sequencing, and digital live performance accessible to nearly anyone with a computer and an interest in digital music-making. A DAW’s functionality is modeled on decades of development in analog modular electronic instrument design and sound recording techniques. Theorist and composer Jonathan D. Kramer, through his work in the 1980’s, referred to the invention of sound recording as a catalyst of a temporal discontinuity experienced by Western-trained musicians. Since that time, these same sound recording techniques have become increasingly prevalent in modern society. This document proposes a DAW-based analytical framework …

More Than A Man: An Ethnomusicological Survey Of The Folklore Of John Henry And Resource Guide For “More Than A Man” By Shanyse Strickland, Clayton R. Heath

Graduate Theses, Dissertations, and Problem Reports (ETD)

“John Henry” exists as an enduring folk legend in the United States of America, representing the confluence of the Reconstruction Era, the economic utility of Appalachia and the Westward expansion of industry which left it behind. Though based on historical events, Henry’s fictional representation has diverted and evolved in music and other media from its inception in the oral tradition to the modern age. Through this progression, shared symbols have circulated, gathering embedded meanings and associating the folklore with specific communities. Henry’s representational identity has been signaled with the creation and distribution of each version of his story, both complicating …

Left-Hand Technique And The Limits Of The Possible, Ricardo Iznaola

Soundboard Scholar

This article conceptualizes classical guitar left-hand technique through a physiomechanical framework that places coordinated movement—particularly shifting—at the center of technical practice. Challenging traditional positional doctrines that privilege static hand forms and digital independence, the author argues that such approaches often disregard the functional anatomy of the limb, resulting in inefficiency, unnecessary tension, and potential injury.   Advancing the principle that form must follow function, the study proposes shifting as the fundamental technical category governing all left-hand procedures. A systematic typology—interpositional, intrapositional, and compound shifting—serves as the basis for analyzing arm-wrist-hand coordination across diverse technical contexts, including extensions and contractions, barrés, slurs, …