Music Commons^™

The Romanian Church Musician: Biblical Foundations For Training Musicians To Serve The Romanian Evangelical Church, Gary Mathena

Doctoral Dissertations and Projects

Emanuel University of Oradea, Romania, was founded in 1986 as an underground training school for pastors and missionaries during the brutal regime of communist dictator Nicolae Ceaușescu. In December of 1989, Ceaușescu’s government was overthrown. The new democratic government not only officially recognized the school (then the Baptist Biblical Institute) as a theological seminary, but also commissioned the institution to train teachers for the newly emerging, publicly funded religious schools being established across the country. The school accepted that mandate and in 1998 changed its name to Emanuel University of Oradea. The music program began in those early days for …

The Use Of Vocal Vibrato In Contemporary Performances Of Early Music, Kaylee Ann Simmons

Undergraduate Honors Capstone Projects

The aim of this project is to help collegiate vocalists reconcile opposing views of applying vibrato to contemporary performances of early music. First, written materials, both modern and historical, were evaluated and compiled in a comprehensive review. Some early authors appeared to dislike vibrato-like qualities, while others believed them to be pleasant so long as they were used in moderation. Modern authors displayed an array of views about vibrato, with arguments ranging from "vibrato use only" to "straight-tone use only." They were found to generally base their opinions on vocal health and/or personal interpretations of historical data, though there was …

A Stiff, Brocaded Gown: Patterns In The Life Of Amy Lowell, Emily Jinju Cottam

Undergraduate Honors Capstone Projects

Amy Lowell's poetry serves as a reflection of the challenges and struggles that permeated her life. Her late entry into the world of published poetry at the age of 38 resulted in the presentation of already-solidified beliefs that she had developed since childhood. Although the techniques she employed and the quality of her writing varied in the last decades of her life, Lowell's focus on imagery, rhythm, and mood remained consistent in many of her works. Published in 1916, the poem "Patterns", from Men, Women, and Ghosts, contains themes that are of particular note when placed into the context of …

Robert Burns's Hand In 'Ay Waukin, O': The Roy Manuscript And William Tytler's Dissertation (1779), Patrick G. Scott

Studies in Scottish Literature

Discusses Robert Burns's sources and manuscripts for his expansion of the song "Ay waukin, O," first published as song 213 in James Johnson's Scots Musical Museum, III (1790); highlights an often neglected and misdated printed item, William Tytler’s Dissertation, as Burns's source for two of the four stanzas; considers the two full-length manuscripts, identifying one as being an Antique Smith forgery, and detailing the provenance and purpose, of the other, now at the Birthplace Museum; examines and reproduces the Roy manuscript and its pencilled additions; and so clarifies the relationship among the three genuine manuscripts to argue that …

No Stone Unturned: Defining The Role Of A Worship Assistant, Brittany Mcgilberry

Masters Theses

This paper will encompass information and the philosophy of the role of a worship assistant in ministry regarding the vision of the church, the use of appropriate equipment, and effective rehearsal strategies.

Of Sharks And Spaceships: The Role Of The Tuba In John Williams's Film Scores For Jaws And Close Encounters Of The Third Kind, Stephen Davis Turner

UNLV Theses, Dissertations, Professional Papers, and Capstones

This document examines John Williams’s use of the tuba in his film scores. This unique timbral element has significant narrative implications in these movies. Film music scholarship is more often concerned with the questions of psychoanalysis, gendered readings, and other theoretical apparatuses than with how film composers score for individual instruments. My research aims to shift this focus by demonstrating that Williams used the tuba in his scores for more than typical “underscoring” or standard sectional playing, but as an integral part of the film narrative to be noticed and “read” by audiences. In both Jaws (1975) and Close Encounters …

Tres Danzas Cubanas By Alejandro García Caturla: A Transcription For Wind Orchestra With Accompanying Biographical Sketch And Transcription Method, Darrell Brown

UNLV Theses, Dissertations, Professional Papers, and Capstones

Alejandro García Caturla was a Modernist Cuban composer of the early 20th Century. In his compositions and orchestrations, Caturla predominantly featured woodwind, brass, and percussion instruments (and incorporated Afro-Cuban percussion instruments). Caturla’s musical vernacular is a hybridization of styles, not just of the colloquial idioms of Cuba and the music of the European avant-garde, but of the unification of the island’s musical cultures. One of Caturla’s earliest, international successes was his orchestral work Tres danzas cubanas written in 1929. This document includes the creation of a new transcription for wind orchestra of the three-movement work. A biographical sketch of Caturla’s …

Finding The Shakespeare In Ambroise Thomas' Hamlet: A Comparison Of Plot And Character In The Seventeenth-Century English Play And The Nineteenth-Century French Opera, Bonita Elissa Bunt

UNLV Theses, Dissertations, Professional Papers, and Capstones

Although the 17th century play Hamlet by William Shakespeare was originally performed in English, its popularity grew throughout Europe, entering France’s robust theatre tradition around the turn of the 19th century. Multiple versions of the translated play became available and the story began to take on French characteristics as it was adapted for French audiences. By the time Hamlet was set by librettists Michel Carré and Jules Barbier and composer Ambroise Thomas, the story had morphed somewhat from the original Shakespeare. Much of the story was condensed and the ending was significantly changed. Originally successful after its 1868 premiere, the …

Going Old School: Using Eighteenth Century Pedagogy Models To Foster Musical Skills And Creativity In Today's Students, Monique Arar

UNLV Theses, Dissertations, Professional Papers, and Capstones

Recent research has illuminated a pedagogical approach to keyboard improvisation of the Italian conservatories of the seventeenth and eighteenth centuries, namely that of partimenti: single-stave, multiple clef exercises in which students were trained to improvise (Gjerdingen 2007, Sanguinetti 2012, van Tour 2015). This approach was passed down through oral instruction until the mid-twentieth century, when pedagogical priorities shifted away from improvisation and compositional creativity towards virtuosity, technique and adherence to the printed page. Simultaneously, the tradition of decade-long musical apprenticeship was replaced with semester-long courses in music theory and harmony.

The existing research on partimenti presents a compelling historical narrative …

Grand Solo Op.14 & Rondo Op2. N3: The Sonority Of The Classical Era, Hugo Maia Nogueira

UNLV Theses, Dissertations, Professional Papers, and Capstones

During the early nineteenth-century, the writing for classical-guitar elevated the instrument to

the solo concert stage. The appearance of the six-string guitar changed guitar writing.1 With this new

instrument, guitarists had an array of new possibilities to explore in terms of sound and technique.

Fernando Sor (1778-1839) and Dionisio Aguado (1784-1849) were the main artists promoting and

advocating the six-string guitar as a serious concert instrument in Spain.2

This document will focus on two guitar masterworks: Fernando Sor's Grand Solo Op.14 and

Dionisio Aguado's Rondo Op2. N3. It will explain why Grand Solo Op.14 and Rondo Op2. N3 can

synthesize …

Songs Of The Cajuns: A History And Analysis Of Joie De Vivre: Five Impressions Of Acadian-America, Wendy Kay Moss

UNLV Theses, Dissertations, Professional Papers, and Capstones

My exploration of Cajun song, from its origins as a French ballade into popular American song, will reveal the musical characteristics of Cajun music. My study’s purpose is to increase ones understanding of the history of Cajun song and its music, and then determine why it is missing from the canon of American song repertoire. My study will include an analysis, performance and recording of Cajun song settings composed and arranged by Arles Estes. My investigation will research five traditional Cajun songs as they pertain to Estes’ settings in order to broaden the roots of American song literature and enhance …

Etudes For The Bassoon: An Annotated Bibliography And Pedagogical Guide, Eric Joaquin Fassbender

UNLV Theses, Dissertations, Professional Papers, and Capstones

There are well over one hundred published methods and etude collections written for the bassoon. However, many bassoon teachers and students are only familiar with a few of them, primarily those composed by Julius Weissenborn and Ludwig Milde. This is evidenced by the frequent mentions of these etudes in writings about bassoon literature, repertoire surveys, university syllabi, articles in the journal of the International Double Reed Society, and more. While these specific studies remain an invaluable part of the bassoonist’s repertoire, there are several aspects of bassoon playing they do not address, particularly where post-Romantic musical styles are concerned. When …

John Philip Sousa And The Wagner Overture: A New Transcription Of The Overture To Der Fliegende Holländer For Wind Orchestra, Stephen H. Goldeck

UNLV Theses, Dissertations, Professional Papers, and Capstones

This research examines John Philip Sousa’s 1893 wind band transcription of Richard Wagner’s overture to Der fliegende Holländer, and focuses specifically on how Sousa reconceived orchestral sonorities and solved particular problems posed by Wagner’s complex orchestrational textures. Findings include that, while appropriate for the era and instrumentation of Sousa’s band, his transcription contains certain limitations for the twenty-first-century wind orchestra. Due to the fact that Sousa’s compositions, arrangements, and transcriptions were written to accommodate frequent outdoor performances, Sousa’s transcription uses more doubled voicings than would be necessary in an indoor concert hall setting. Further, while Sousa’s instrumentation approximates that of …

An Analysis And Band Transcription Of Eric Whitacre's The River Cam, Charles Amon Maguire

UNLV Theses, Dissertations, Professional Papers, and Capstones

Orchestral transcriptions for wind band have been historically vital to the expansion and success of the medium. As original compositions have increased in number, string solos accompanied by wind band continue to represent an under-utilized area of the literature. The “Wind Repertory Project” has documented twenty-three compositions that fall within this area of wind band music. A transcription of Eric Whitacre’s The River Cam for solo cello and string orchestra expands the contemporary area of the repertoire by contributing to the list of works written for solo string instruments and band. Comparative and harmonic analyses provide correlative evidence as to …

Tommy Nakashima, Violin: Student Recital, Tommy Nakashima

Setnor School of Music - Performance Programs

No abstract provided.

Bryan Watson, Guitar: Student Recital, Bryan Watson

Setnor School of Music - Performance Programs

No abstract provided.

An Exploration Of Recording And The Music Business, Erika Nalow

Honors Projects

A creative project focused on the ability of an independent musical artist to compose, arrange, record, produce, mix, master, market, and promote their own musical composition.

Chamber Studio Recital, Department Of Music

Concerts and Event Programs 2016-2017

Chamber Music performed by the students of professors, Karin Thompson, Carla Trynchuk and Chi Yong Yun

University Of Wisconsin Russian Folk Orchestra, April 29, 2017, Lawrence University

Conservatory of Music Concert Programs

Memorial Chapel

Junior Recital- Kiah Spjute, Kiah Spjute, Nicole Vander Does, Dallas Heaton

All Music Department Programs

No abstract provided.

A Classic Rock Spectacular, 2016/2017 Season, Performing Arts Department

Edgerton Center Programs

The Sacred Heart University Choirs presents A Classic Rock Spectacular, Saturday, April 29, 2017 at 7:30 PM, Edgerton Center for the Performing Arts.

Opera Scenes, Janet Brown, Eric Johnson, Kathleen Roland-Silverstein, Sasha Turner, Sean Jordan, Opera Workshop, Setnor School Of Music

Setnor School of Music - Performance Programs

No abstract provided.

John Oliveira String Competition 2017 - Winner's Recital, Trace Johnson, Sheng Yuan Kuan, Alla Sorokoleova, Sergei Skobin

John Oliveira String Competition

Winner

• Trace Johnson, cello

Standards Revisited: The Morton Schiff Jazz Ensemble; Dr. John Coggiola, Director, Morton Schiff Jazz Ensemble, Setnor School Of Music, John Coggiola

Setnor School of Music - Performance Programs

No abstract provided.

Cody Alexander Paul: Master's Composition Recital, Cody Alexander Paul

Setnor School of Music - Performance Programs

No abstract provided.

Mario Petra, M.M. Composition: Student Recital, Mario Petra

Setnor School of Music - Performance Programs

No abstract provided.

"Performance Practice In The Music Of Steve Reich," By Russell Hartenberger, Pwyll Ap Siôn

Performance Practice Review

Pwyll ap Siôn discusses Russell Hartenberger's 2016 work.

Hartenberger, Russell. Performance Practice in the Music of Steve Reich. Cambridge: Cambridge University Press, 2016. ISBN 978-1-107-15150-5.

The Journey Senior Recital, Chantry Olsen

All Music Department Programs

No abstract provided.

John Wassmuth, Piano: Student Recital, John Wassmuth

Setnor School of Music - Performance Programs

No abstract provided.

Expression And Emotion In Music: How Expression And Emotion Affect The Audience’S Perception Of A Performance, Kelly Lynn Palusis

Selected Honors Theses

Expression and emotion in a musical performance affects how the music is perceived by the audience. A study of a song’s composer and the background of the music aids in improving the expression and understanding of vocal music. A study of theatre brings an extra dynamic to a musical performance. Maria Callas, for example, was a pioneer in combining these many factors into her performances. Her application of music and drama in opera makes her an ideal example of a complete and dynamic vocalist. The expression and emotion she poured into each performance transformed how people saw opera and music …