Music Commons^™

Marshall University Department Of Music Presents A Graduate Recital, Aaron Statler, Percussion, Aaron Statler

All Performances

No abstract provided.

Marshall University Department Of Music Presents The Belle And Lynum Jackson Competition Winner’S Recital Andrew O’Neal, Andrew O'Neal

All Performances

No abstract provided.

Marshall University Department Of Music Presents A Junior Recital Laura Campbell, Soprano, Laura Campbell

All Performances

No abstract provided.

Graduate Recital: Brook Davis, Piano; April 22, 2012, Brook Davis

School of Music Programs

Kemp Recital Hall
April 22, 2012
Sunday Evening
8:00 p.m.

Master's Recital, Belinda Jackley, Michelle Lee, Dmytro Nehrych, Elizabeth Bedrosian, David Chavez, Jeremy Russo, Jonathan Mancheni

Graduate Student Recitals

Program listing performers and works performed

Guest Artist Recital: Kenneth Tse, Alto And Tenor Saxophone; April 22, 2012, Kenneth Tse

School of Music Programs

Kemp Recital Hall
April 22, 2012
Sunday Afternoon
5:00 p.m.

Ensemble Concerts: Symphonic Winds, April 22, 2012, Stephen K. Steele

School of Music Programs

Center for the Performing Arts
April 22, 2012
Sunday Afternoon
3:00 p.m.

Marshall University Department Of Music Presents The Chamber Choir Invitational 2012, Pamela Elrod Huffman, David Castleberry

All Performances

No abstract provided.

Northern Iowa Wind Symphony Alumni And Wind Symphony, April 21, 2012 [Program], University Of Northern Iowa. School Of Music.

Music Recital Programs

Program of a music recital given by faculty, students, or guest artists from the School of Music at the University of Northern Iowa.

Artist In Residence, Alexander Lapins, Stephen Kunzer, Sharon Weyser

Faculty Recitals

Program listing performers and works performed

Artist In Residence, Rhonda Taylor

Faculty Recitals

Program listing performers and works performed

Master's Recital, Sara Geiger, Angela Chan

Graduate Student Recitals

Program listing performers and works performed

Uconn Opera Guild Special Newsletter Spring 2012, Janet Zimmerman, Uconn Opera Guild

Vocal Studies Program

UConn Vocal Studies' "special edition" Opera Guild newsletter. This edition highlights the Guild members who supported the spring production of The Grand Duchess of Gerolstein.

Ellizar Abalos, Conductor, Ellizar Abalos

School of Music Graduate Recitals

• ELLIZAR ABALOS, Conductor
• with the University Symphonic Band

Ellizar Abalos is a graduate student from Battle Creek majoring in conducting. He studies with Dr. Robert Spradling.

Marshall University Music Department Presents The College Of Fine Arts 17th Annual Awards Convocation, April 20, 2012, Marshall University

All Performances

No abstract provided.

Nevada Music Educators Association Host Concert, Unlv Wind Orchestra, Thomas Leslie, Unlv Chamber Chorale, David B. Weiller, Unlv Jazz Ensemble I, David L. Loeb, Nathan Tanouye, Cecilia Violetta Lopez, Unlv Opera Theater, Linda Lister, Unlv Symphony Orchestra, Taras Krysa

Wind Ensemble

Program listing performers and works performed

Ensemble Concerts: Jazz Ensembles I And Ii, April 20, 2012, Tom Marko

School of Music Programs

Center for the Performing Arts
April 20, 2012
Friday Evening
8:00 p.m.

Nevada Music Educators Association Host Concert, Taras Krysa

Orchestra

Program listing performers and works performed.

Graduate Recital: Matt Brusca, Percussion; April 20, 2012, Matt Brusca

School of Music Programs

Kemp Recital Hall
April 20, 2012
Friday Evening
6:00 p.m.

Marshall University Department Of Music Presents A Music Theatre Studio Recital Featuring Voice Students Of Larry Stickler And Marlayna Maynard, Larry Stickler, Marlayna Maynard

All Performances

No abstract provided.

Marshall University Department Of Music Presents The Marshall University Jazz Ensemble Big Band 12.0, Ed Bingham Dr.

All Performances

No abstract provided.

2011-2012 Master Class - Elmar Oliveira (Violin), Elmar Oliveira, Takuya Yamamoto, Anna Tsukervanik, Cassidy Moore, Roman Yearian, Zhen Yang Yu, Tao Lin

Master Classes

No abstract provided.

Student Ensemble: Music Factory, April 19, 2012, School Of Music

School of Music Programs

Kemp Recital Hall
April 19, 2012
Thursday Evening
8:00 p.m.

Uni Symphonic Band, April 19, 2012 [Program], University Of Northern Iowa. School Of Music.

Music Recital Programs

Program of a music recital given by faculty, students, or guest artists from the School of Music at the University of Northern Iowa.

Review Of Foundations Of Diatonic Theory, By Timothy A. Johnson, Matthew Santa

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

No abstract provided.

Webern’S “Heavenly Journey” And Schoenberg’S Vagrant Chords, Matthew Shaftel

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

The five Dehmel Lieder (1906–08) act as a bridge in Anton Webern’s musical development. Along with the earliest of the fourteen George Lieder, they represent an initial exploration of a new musical style, while still maintaining substantive ties with the Romantic Lied of Webern’s predecessors. Because the five Dehmel settings are the only songs written by Webern under the direct tutelage of Arnold Schoenberg, they also provide unique insight into Schoenberg’s role as Webern’s teacher at this moment of stylistic shift. This article focuses particularly on the fair copy and sketches of the most extended of the Dehmel songs, …

Fauré, Through Boulanger, To Copland: The Nature Of Influence, Edward R. Phillips

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

Using tonal and post-tonal analytical methods, this article examines two early songs of Aaron Copland and compares them with the music of Gabriel Fauré, in order to determine if the notion that the compositional techniques of the older composer had an influence on those of Copland is valid and worthy of further research.

This article is part of a special, serialized feature: A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part III).

Redating Schoenberg’S Announcement Of The Twelve-Tone Method: A Study Of Recollections, Fusako Hamao

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

Arnold Schoenberg recalled that he gathered about twenty of his students in 1923, in order to announce his new compositional method based on twelve tones, which he had kept confidential for nearly two years. His reminiscences about this announcement appear several times in his writings, yet his reference to the date of the occasion varies from recollection to recollection. The reminiscences of his students are not consistent in this regard either, although “February 1923,” identified by Josef Polnauer, has been widely accepted as the date of the meeting. However, this date has become a point of debate in recent studies, …

Schenker’S First “Americanization”: George Wedge, The Institute Of Musical Art, And The “Appreciation Racket”, David Carson Berry

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

A quarter of a century ago, William Rothstein first spoke of the “Americanization of Heinrich Schenker,” meaning the accommodation that had to be made to bring his ideas into the American academy. The focus of this process has largely been on activities following the Second World War. However, the earliest attempt at Americanizing Schenker seems to have come from an American-born pedagogue who had not studied with Schenker or his pupils: George A. Wedge, a theory instructor at New York’s Institute of Musical Art (a precursor to The Juilliard School). He started teaching something about Schenker in his classrooms as …

The Marriage Of Note And Word In Two Songs By The Gershwins, Allen Forte

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

The author investigates various ways in which George Gershwin’s music and Ira Gershwin’s lyrics are ingeniously interconnected in two songs: “How Long Has This Been Going On?” (1927) and “Who Cares” (1931). The music’s melodies, motives, harmonies, and forms are tied to the lyrics’ rhymes, alliterations, and semantic meanings. The author demonstrates that the designs found in the songs are multi-directional: notes refer to other notes and words, and words refer to other words and notes; the relations are symmetrical.

This article is part of a special, serialized feature: A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part III) …