Music Commons^™

Understanding Music: Past And Present, N. Alan Clark, Thomas Heflin, Jeffrey Kluball, Elizabeth Kramer

Fine Arts Open Textbooks

Understanding Music: Past and Present is an open Music Appreciation textbook co-authored by music faculty across Georgia. The text covers the fundamentals of music and the physics of sound, an exploration of music from the Middle Ages to the present day, and a final chapter on popular music in the United States.

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Leon Fleischer: Baker Guest Artist Piano Master Class, Leon Fleischer

Setnor School of Music - Performance Programs

No abstract provided.

Music In Poetry And Poetry In Music: Tumanian's Anush, Beata Asmik Navratil

Dissertations, Theses, and Capstone Projects

The poem Anush by the Armenian poet Hovhannes Tumanian (1869-1923) is rooted in traditional Armenian music. Tumanian's poem reflects a number of manifestations thereof: (1) It borrows in its style from Armenian lyrical songs (such as lalik and khagh), from the parerg style (the traditional dance-song), and from the voghb style (laments such as funeral laments, bayati, and tragic odes). (2) Ashug style of storytelling/singing as a main form of conveying the storyline and emotions of protagonists are present. (3) Dancing and music making during Armenian traditional rituals -- in particular, the Hambarsum celebration (Feast of Christ's Ascension), …

"The Planet Is The Way It Is Because Of The Scheme Of Words": Sun Ra And The Performance Of Reckoning, Maryam Ivette Parhizkar

Dissertations, Theses, and Capstone Projects

This constellatory essay is a study of the African American sound experimentalist, thinker and self-proclaimed extraterrestrial Sun Ra (1914-1993) through samplings of his wide, interdisciplinary archive: photographs, film excerpts, selected recordings, and various interviews and anecdotes. In composing this essay, I particularly consider how these fragments resonate against each other, offering insight into how Ra radically subverts the restraints imposed upon him as a black man in the United States and thus transfigures his racial alienness into a liberatory, literally alien performance. This self-transfiguration allows Ra to transform such impossible restraints into a condition of possibility for reckoning. I …

Siento Una Flauta: Improvisational Idiom, Style, And Performance Practice Of Charanga Flutists In New York From 1960 To 2000, Jessica Lynne Valiente

Dissertations, Theses, and Capstone Projects

Siento una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960-2000.

The charanga, the Cuban dance music ensemble consisting of flute, strings, piano, bass, timbales, congas, and güiro, and vocals, underwent five decades of evolution in Cuba, beginning in the early 20th century. It was the breeding ground for two significant popular dance music genres, the mambo and the cha-cha-chá, before being transplanted to New York City in the mid-1950's. Charangas came to New York when the popularity of the mambo and the cha-cha-chá was well-established there. Once in New York, the charanga gave …

The Problem Of Tonal Disunity In Sergeĭ Rachmaninoff's All-Night Vigil, Op. 37, Olga Ellen Bakulina

Dissertations, Theses, and Capstone Projects

Recent English-language scholarship has given considerable attention to the issue of tonal disunity, particularly the concepts of tonal pairing, directional tonality, and double-tonic complex. Relatively little attention, however, has been given to Russian music, specifically liturgical repertoires, where tonal centricity has historically been weaker than in most tonal music. This dissertation investigates tonal disunity in Russian sacred works, with special emphasis on Rachmaninoff's All-Night Vigil (1915). This work, though in many ways tonal, relies largely on the structural principles of Russian sacred repertoire, a reliance that is especially evident in movements that challenge traditional Western norms of monotonality.

The order …

Reconsidering Organicism In Milton Babbitt's Music And Thought, Zachary Bernstein

Dissertations, Theses, and Capstone Projects

This dissertation makes two related but distinct claims. The first explores the influence of organicism, particularly in the hierarchical formulation developed by Heinrich Schenker, on Milton Babbitt's thought. This influence is shown to inform Babbitt's writings on a range of issues, guiding his analyses, his view of music cognition, and his understanding of the tonal and twelve-tone systems, including his own compositional twelve-tone techniques. Analysis of Babbitt's compositions, however, reveals several complications with the organicist model: there are a number of pieces and situations that conflict with the expectations of hierarchical organicism. As a result, this dissertation advocates for a …

The Symbiosis Between Villa-Lobos's Carnaval Das Crianças And Momoprecoce: A Comparative Study, Vanessa Rodrigues Cunha

Dissertations, Theses, and Capstone Projects

Heitor Villa-Lobos (1887-1959), one the most important figures in Brazilian music, played a crucial role in establishing nationalism in Brazil through musical explorations of the unique character of Brazilian culture. This culture, a cacophonous mix of European lineage and African and indigenous influences, is exemplified in the country's most popular and authentic celebration: the carnival. This dissertation explores Villa-Lobos's musical portrait of the carnival through analysis of Carnaval das Crianças for piano, and that work's reconfiguration as the piano fantasy Momoprecoce, focusing on a comparison of the two works to illuminate how Villa-Lobos kept the core of the original …

Essays In The Theory And Practice Of The Suzuki Method, Kara Eubanks

Dissertations, Theses, and Capstone Projects

This dissertation speaks to an audience of string pedagogues inside and outside the Suzuki community to offer a richer understanding of how the Suzuki Method fits into American educational and string-pedagogical practice.

The first chapter presents a history of the Suzuki Method and the current global state of Suzuki theory and practice. This introductory chapter frames the two chapters that follow; it provides the background information necessary to understand them. The second and third chapters each address an aspect of the Suzuki Method that is widely misunderstood by the string-pedagogy community, including the Suzuki community itself. While chapters 2 and …

Musical Regularity And Rhythmic Patterns: A Quantitative Analysis Of Birdsong Structure, Eathan Ezra Janney

Dissertations, Theses, and Capstone Projects

Birdsong is a complex, learned behavior that, like music, has meaningful units at multiple timescales. Birds perform by constructing extended presentations of their phrase repertoire. Each bird's repertoire is built from small units, such as syllables, or groups of syllables with characteristic pitch, rhythm, and timbre. Like a musician each bird has its unique structure of performance that communicates its individual identity. Also contained within a bird's performance, is information about its group identity and species identity. Like a musician's performance, a bird's singing affects the behavioral state of listeners'birds perform to attract mates and defend territory.

Subjectively, many can …

The Impact Of French Opera In Nineteenth-Century New York: The New Orleans French Opera Company, 1827–1845, Jennifer C. H. Jones Wilson

Dissertations, Theses, and Capstone Projects

This dissertation examines the influence of French opera through the touring New Orleans French Opera Company’s summer seasons in early nineteenth-century New York City. In that burgeoning operatic environment, I provide an account of the company’s interaction with both resident and traveling opera companies, beginning with the visit of Manuel García’s company in 1825–26. The French Opera Company, which performed in 1827–33, 1843, and 1845, brought new approaches in performance practice and current opera repertoire to the New World. While Italian opera companies were sought after, I demonstrate that the works coming from Paris—either in French or in English translation—were …

Jazz Combos Concert, September 29, 2015 [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.

Specialist Patrick Nyren, Euphonium, September 28, 2015 [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.

Guest Artist: Rene Izquierdo, Classical Guitar; September 28, 2015, Rene Izquierdo Classical Guitar

School of Music Programs

Kemp Recital Hall
September 28, 2015
Monday Evening
7:30 p.m.

Old Dominion University Wind Ensemble, Old Dominion University Wind Ensemble, Dennis J. Zeisler (Director), William Carr (Graduate Conductor), Lindsey Eskins (Graduate Conductor), Benjamin Glosser (Saxophone Soloist)

Ensemble Performances

No abstract provided.

Faculty / Guest Recital, September 26, 2015, Lawrence University

Conservatory of Music Concert Programs

Memorial Chapel

Junior Recital: Elliott Godinez, Percussion; September 26, 2015, Elliott Godinez Percussion

School of Music Programs

Kemp Recital Hall
September 26, 2015
Saturday Evening
6:00 p.m.

Alumni Gala Concert, Stephen Zork, Alan Mitchell, Claudio Gonzalez

Concerts and Event Programs 2015-2016

Alumni Gala Concert presents:

Wind Symphony

Symphony Orchestra

University Singers

Family Weekend Concert, Syracuse University Wind Ensemble, Setnor School Of Music, Bradley P. Ethington, Concert Choir, Setnor School Of Music, Elisa Dekaney, Women's Choir, Setnor School Of Music, Barbara Tagg, Windjammer, Setnor School Of Music, Jeffrey Welcher, University Singers, Setnor School Of Music, John Warren, Hendricks Chapel Choir, Setnor School Of Music, Jose Calvar

Setnor School of Music - Performance Programs

No abstract provided.

Ensemble Concert: Jazz Ensemble I, September 25, 2015, Jonathan Beckett Director

School of Music Programs

Center for the Performing Arts
September 25, 2015
Friday Evening
8:00 p.m.

2015-2016 Performance Forum - September 24, 2015, Xiaonan Huang, Sheng Yuan Kuan, Munkhshur Enkhbold, Matthew Calderon, Mozhu Yan, Chen Liang, Zongxi Li, Emily Nichols, Mariana Cisneros, Hallgrimur Hauksson, Kevin Karabell, Guillermo Garcia Cuesta, Robert Williams, Sodienye Finebone

Performance Forum

No abstract provided.

The Art Of French Melodie: A Manual For Recital Preparation, Kristen Abraham

Honors Theses

This is a documentation of my journey through the research, development and execution of a voice recital, with a focus on the creation of guidelines for how one may achieve success in a future recital. Moving through three phases: Thinking, Doing, and Reflecting, I highlight the important processes required to transition seamlessly through the phases. During the entirety of this project, I kept a journal of each step, documenting everything to maintain the integrity of the process, and organizing the information into sections to make the findings easier to understand, learn, and replicate. My end goal is to produce a …

Graduate Recital: Andy Harnsberger, Percussion; September 24, 2015, Andy Harnsberger Percussion

School of Music Programs

Kemp Recital Hall
September 24, 2015
Thursday Evening
8:00 p.m.

Marshall University Music Department Presents, The Historical Trumpets And Flutes, From The, United States Army Old Guard Fife And Drum Corps, Elizabeth Reed Smith

All Performances

No abstract provided.

Studio Recital: Trombone, September 23, 2015, Mark Babbitt

School of Music Programs

Kemp Recital Hall
/="/">September 23, 2015
/="/">Wednesday Evening
/="/">7:30 p.m.

Authenticity In Music Performance: Evidence From The Singer-Songwriter Community, Jon Littlefield

Atlantic Marketing Association Proceedings

Experiencing music provides a unique lens to study identity. The alienation resulting from increased technological mediation in both music production and consumption might drive consumption (Potter 2010), hence authenticity may be an appealing positioning strategy for marketers. Singer-songwriters, for example, write and perform their own music with minimal technological interference. This represents a direct connection with the musician that we characterize as more historically authentic (Thornton 1996), however this characterization is not universal. In this paper, I seek to gather insight into the myriad expressions of authenticity within the music consumption environment by detailing a study of performance musicians.

Music As A Positional Good: Why Market Success Might Actually Drive Away Some Fans?, Timothy J. Schibik

Atlantic Marketing Association Proceedings

The Oxford Dictionary of Economics defines “goods” as things that people (e.g., consumers) prefer to consume more of rather than less. Further, these “goods” overwhelmingly adhere to a relationship between price and quantity known as the Law of Demand wherein consumers will purchase more of a good at lower prices than at higher prices. How the demand for these “goods” reacts to non-price stimuli is also well known and yields a place in the market system for marketing. Traditionally, the adoption of marketing techniques to alter the consumer satisfaction process and thus consumer demand has predictable impacts on the market …

Tragedy Triumph Transformation, Fry Street Quartet, Robert Waters, Rebecca Mcfaul, Brad Ottesen, Anne Francis Bayless

All Music Department Programs

A premiere of the Crossroads Project: Emergence.

David Esleck Trio, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Faculty Recital, Vocal Works Of Samuel Barber, September 20, 2015, Lawrence University

Conservatory of Music Concert Programs

Memorial Chapel