Music Commons^™

"Westward Journey" For Trombone Quartet (Original Composition), Dominic Dousa

Selected Works Temporary Series

A performance of my composition by the Continental Trombone Quartet. Presented at Concert I of Works by CMS Composers.

"The Winds Of A Summer Night" For Viola And Piano, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by Stephanie Schweigart (viola) and Dominic Dousa (piano).

'Iii. The Sky's The Limit' From "High Vistas" For Piano 4-Hands, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by Dena Kay Jones (piano) and Dominic Dousa (piano) at the annual beginning-of-year Faculty Departmental Recital.

"A Winter Pastorale" For Violin And Piano, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by Lesley Chen (violin) and Dominic Dousa (piano).

"New Day Dawning" For Orchestra, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by the El Paso Symphony Youth Orchestras, conducted by Benjamin Loeb. Piece was commission as part of activities as EPSYOs Composer-in-Residence.

"Sail On!" For Satb Choir And Concert Band, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by the UTEP University Chorale and University Wind Symphony, conducted by William McMillan. Commissioned by the UTEP Music Department for the annual Departmental Gala concert.

"Sculptors Of Life" For Satb Choir And Piano, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by the UTEP University Chorale, conducted by William McMillan.

Volume 20, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

Inside Unlv, Shane Bevell

Inside UNLV

No abstract provided.

'Iii. Crossing The Bar' From "Songs Of Sea And Life" For Tenor/Baritone Voice And Piano, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by Christopher Meerdink (tenor) and Dominic Dousa (piano).

What Adorno Makes Possible For Music Analysis, Kofi Agawu

Publications and Research

Conceived as a commentary on four responses to Adorno’s 1928 essay, “Schubert,” by Esteban Buch, Jonathan Dunsby, Scott Burnham, and Beate Perrey, this article explores some of the implications of Adorno’s essay as they center on notions of hybridity, the interstitial and especially the provisional. It urges a critical strategy that is self-critical, that seeks to name without naming, and that draws on rigorous formal analysis without presenting its outcomes as ends but as means toward various narrative ends.

"Little Suite - 'In Early Spring' " For Soprano Saxophone And Piano (Finland / 3 Performances), Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by Dan Gordon (soprano saxophone) and Jari Piikki (piano), as part of a recital of contemporary music for soprano saxophone and piano presented at three Finnish musical venues.

"Evening Piece And Summer Dance" For Viola And Piano, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by John Holguin (viola, student senior recital presenter) and Dominic Dousa (piano).

"The Tears Of Heaven" For Satb Choir And Piano, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by the UTEP University Chorale, conducted by William McMillan.

"Songs Of Sea And Life" For Tenor/Baritone Voice And Piano (Fairbanks, Ak), Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by Christopher Meerdink, tenor and Jamila Hla Shwe, piano at a Faculty/Guest Artist Recital.

Volume 19, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

"Everything I'Ve Listened To With Love" : A Study Of Guitarist Wolfgang Muthspiel And His Integration Of Classical Music Elements Into Jazz, Johanne Druitt

Theses : Honours

No abstract provided.

"Aedh Wishes For The Cloths Of Heaven" For Satb Choir And Piano (South Bend, In), Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by the Vesper Chorale, conducted by Robert Briggs.

The Feeling Of Music Past: How Listeners Remember Musical Affect, Alexander Rozin, Paul Rozin, Emily Goldberg

Music Theory, History & Composition Faculty Publications & Performances

No abstract provided.

Computer-Assisted Music Composition In The 32-Bar Jazz Standard Form, Chad Hogg

Computer Science Honors Papers

The goal of this research project was to explore the potential for teaching a computer to compose jazz music. Specifically, the hope was to develop a method in which every decision could be made based on information about the entire system. If this problem were solved, the ancillary goal of allowing the user to set any arbitrary constraints that have global effects would be a trivial addition.

Fantasy And The Concert Hall: Musical Performance In The Electroacoustic Age, Matthew Malsky

Reconstruction: Studies in Contemporary Culture

[First paragraph]

In 1941, the famously despondent Theodor Adorno worried about the detrimental effects of radio broadcast upon the symphony. He theorized that much of value was lost when listeners experienced an orchestral performance of a composition in symphonic form through its electronic transmission to their kitchens rather than in a concert hall. Based upon empirical research done in collaboration with Paul Lazarsfeld and the Princeton Radio Research Project, he argued that the presence of music was lost to the radio listener, and with it a part of music's auratic spell, its uniqueness in time and place, its ritual, cultish …

Volume 18, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

Eric Ewazen: A Critical Analysis Of Ballade For Trombone, Harp, And Strings, Kathryn Roslee

Honors Capstones

Capstone submitted as a graduation requirement for the BSU Honors Program.

On The Influence Of Jazz Rhythm In The Music Of Aaron Copland, Stanley V. Kleppinger

Glenn Korff School of Music: Faculty Publications

Surveys scholarly views of jazz's rhythmic and metrical structures in the 1920s (at the outset of Copland's career) focusing especially on Copland's own writings on the subject. Analyses of selected passages from Copland's piano concerto, the second piece of Four piano blues, the Piano variations, the piano sonata, the clarinet concerto, and Appalachian spring help to assess the ambiguity surrounding the identification of jazz-based rhythmic influences in Copland's music.

Volume 17, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

The Direction Of Memory For Music For Popular And Novel Songs, Susan Rose Sibma

Theses : Honours

Previous research on memory for music has typically measured participants' reaction times (RTs) and accuracy in tests of recall and recognition of songs presented to them. The current study was interested in what occurs during the time that elapses between stimulus onset and the generation of a response. It has been suggested that people sing or hum to themselves as they search for an answer (Rubin, 1977), but a question that has been overlooked to date is in what direction this occurs. As music unfolds in time, it was proposed that in memory for music, 'forward is best'. In the …

Inside Unlv, Diane Russell, Betty Blodgett, Kevin Force, Jennifer Vaughan, Cate Weeks, Jonathan Paver

Inside UNLV

No abstract provided.

Volume 16, Various Authors

Journal of Music Theory Pedagogy

No abstract provided.

"From The High Tatras" For Orchestra (Virginia Beach, Va), Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by the Bay Youth Orchestras of Virginia, conducted by Steven Loy. Presentation of winning piece for 2000 BYOV's Composition Competition.

Metrical Issues In John Adams's Short Ride In A Fast Machine, Stanley V. Kleppinger

Glenn Korff School of Music: Faculty Publications

Employs several potential rebarrings of this fanfare's opening measures to represent the ways in which a listener might apprehend the music's complex metrical features. Meter is manipulated by this music in such a way as to make its very presence uncertain at best, though enough regularity (i.e., periodicity) is present at multiple hierarchical levels to tease the listener into making constant attempts to discover and latch on to a metered surface. The resulting aural sensation reflects that of wrestling to keep control over a powerful machine, as the work's title suggests. Concludes with a consideration of the music's potential metrical …