Music Commons^™

Tom Dickey, Bassoon, Jason Yarcho, Piano, Music Department

General and Sophomore Recitals

This sophomore recital features Tom Dickey (bassoon), and Jason Yarcho (piano) with Susan Teicher (piano), W. David Hobbs (piano), and Kimberly Persia (bassoon).

Laura Wampler, Piano, Music Department

Senior and Graduate Recitals

This senior accompanying recital from April 6, 2003 featured Laura Wampler (piano) with Rachael Harvel (soprano), W. David Hobbs (piano), Stephanie Milkert (flute), and Beth Ruholl (flute).

Laura Wampler, Piano, Music Department

Junior Recitals

This junior recital from April 2, 2002 features Laura Wampler (piano) with Tim Gillins (trombone), Amanda Alburtus (soprano), Lucas Goodrich (tenor), Rachel Shannon (cello) and Joshua Palmer (marimba).

Travis Hoover, Piano, Music Department

General and Sophomore Recitals

No abstract provided.

Megan Probst, Piano, Music Department

Senior and Graduate Recitals

This senior recital from March 9, 2002 features Megan Probst (piano).

Jennifer Colgan, Piano, Music Department

Junior Recitals

This junior recital from February 7, 2002 features Jennifer Colgan (piano) with Mark Woolwine (piano).

Erica Graceffa, Piano, Music Department

Senior and Graduate Recitals

This senior recital from February 2, 2002 features Erica Graceffa (piano).

Bart Rettberg, Piano, Music Department

Junior Recitals

This junior recital is from January 13, 2002 and features Bart Rettberg (piano).

Alexis Ignatiou, Piano, Music Department

Senior and Graduate Recitals

This senior recital from December 5, 2001 features Alexis Ignatiou (piano).

Wassermann Festival 2000: Recitals, Utah State University, Gary Amano, Eugene Watanabe, Charles Rosen

All Music Department Programs

I am delighted to welcome you to the 2000 Wassermann Festival. This is truly a unique and wonderful opportunity for many people with diverse backgrounds to come together to discuss, explore and experience great music. During the course of this festival's history, Utah State University has been fortunate to host many great musicians and hear exceptional performances. Most certainly, the 2000 Festival will continue this tradition by providing unique and memorable musical experiences for all those that attend.

Poster - Master Piano Class For Middle School And High School Students, Calvin Institute Of Christian Worship

Symposium on Worship Archive

A poster advertising a Piano Class for middle and high school students with Mark Hayes.

"Wolfgang Amadeus Mozart: Music For Solo Keyboard." Trevor Stephenson, Fortepiano, Marischka Olech-Hopcroft

Performance Practice Review

Olech-Hopcroft reviews and critiques Stephenson's recording of Mozart Keyboard Music.

University Of Akron Dustin Seifert Senior Recital (Mar 27, 1996), Robert D. Jorgensen

Selected Programs of Robert D. Jorgensen

Presenting Mr. Jorgensen on Euphonium, and Mrs. Anne Jorgensen on piano.

"Makers Of The Piano, 1700-1820." By Martha Novak Clinkscale, Malcolm S. Cole

Performance Practice Review

Cole reviews Clinkscales 1993 book.

Enrique Granados And Modern Piano Technique, Carol A. Hess

Performance Practice Review

Discusses parallels between Granados's approach to piano technique and that of Ludwig Deppe and Tobias Matthay, two pioneers in the reshaping of pianistic principles that took place at the turn of the century. Despite his relative isolation in Barcelona, Granados pursued strikingly modern ideas in piano playing, including principles of weight and relaxation, avoidance of finger-lifting, and preoccupation with fine gradations of tone. Primary sources include the composer's diary, treatise on pedaling, and the detailed memoirs of one of his students.

Pedaling The Piano: A Brief Survey From The Eighteenth Century To The Present, Sandra P. Rosenblum

Performance Practice Review

Before World War II, most composers notated relatively few pedal indications, usually to create unsuspected effects. Mutations (Veranderungen) on the early pianos and the uses of hand stops, knee levers, and pedals are discussed based on information from extant instruments, composers' autographs, and comments in tutors by such teachers as Johann Milchmeyer and Louis Adam. Pedaling techniques and uses of the damper, una corda, and sostenuto pedals on the changing instruments of the 19th and 20th c. are described, with particular attention to compositions of Beethoven, Schumann, Chopin, Brahms, Debussy, Villa-Lobos, Boulez, Cage, and Stockhausen.

"Beethoven On Beethoven: Playing His Piano His Way." By William S. Newman, Barry Cooper

Performance Practice Review

Cooper discusses and reviews Newman's 1988 book.

"Performance Practices In Classic Piano Music" By Sandra P. Rosenblum, A. Peter Brown

Performance Practice Review

Brown discusses and reviews Rosenblum's 1988 book.

Brahms's Pianos And The Performance Of His Late Works, Camilla Cai

Performance Practice Review

Brahms's late piano works (opp. 116-19) reveal his sensitivity to the characteristics of conservative, late 19th-c. pianos. A more accurate understanding of Brahms's performance indications and special piano textures would lead to performances relevant to his own playing style.

Masters Recital, Deanne Gardner Johnsen Vanderford

All Graduate Plan B and other Reports, Spring 1920 to Spring 2023

If music is indeed that "eternal essence" man claims it is, it is through the voice and sinew of the living that it receives its' immortality. Through the living student, performer, listener, or critic, it is transformed from the silent sheets of past symbols, channelled through the present feeling and being of one's intellect and knowledge, interpolated into meaningful messages, and once perceived, given again to the timeless sounding halls of tomorrow's memory.

It is through the choosing, the sifting, the chewing, and the internalizing of one's unique vehicle of capability that material is chosen, studied, and rendered. This paper …

Brass Trio At Salve Regina College, Newport Cultural Foundation

Press Release Archive

PG5-4_PressRelease_197403_03

The Structure Of Paul Creston's Narrative No. 2, Op. 79 No. 2 For Piano, Myrna Evelyn Johnson

All Master's Theses

This paper presents an analytical discussion of the structure of Paul Creston's Narrative No. 2. An explanation of Mr. Creston's approach to composition is followed by a general description of the free-sectional form. Next, each section is investigated separately according to its rhythm, harmony, and melody. However, at the same time relationships between the sections are mentioned also. Some characteristics of Mr. Creston's style which are revealed in this study are his use of various rhythmic structures, pantonality, the lydian mode, and tangential variation.

The Performance Interpretation Of Paul Creston's Six Preludes, Opus 38 For Piano, Ginger Anne Jensen

All Master's Theses

It was the purpose of this study to help enable a pianist to make the best possible interpretation of the work for piano, Six Preludes, Opus JS by Paul Creston. The procedure used was (1) devising alternate melodic, rhythmic, and tempo interpretations and alternate ways of pedaling; (2) consultations with the composer, which included performing the work for him and questioning him concerning the alternate methods; and (3) finally deciding upon the composer's preferred interpretation for performance of the work.

Sonata For Violin And Piano, Op. 3, Lynda K. Forbes

University of the Pacific Theses and Dissertations

This is a musical score written to fulfill the requirements of a master of music.

A Performer's Analysis Of Eight Piano Sonatas Of Nicholas Medtner, Sarah Louise Kinley

Undergraduate Honors Thesis Collection

The piano sonatas of Nicholas Medtner are only a portion of the great heritage bequeathed to the piano by one of the most unique and significant, although relatively unknown, modern Russian composers. Medtner's personality penetrates his compositions but can be truly discovered only through considerable study of and acquaintance with his music. "But to the earnest and sincere student approaching with goodwill and sympathetic spirit, this music will yield treasures of grave and sad, but great and most moving, beauty.

Marshall University Music Department Presents A Graduate Recital, Elizabeth Kinder, Piano, Elizabeth Kinder

All Performances

No abstract provided.

Sonata For Clarinet And Piano, Opus 4, No. 2, Edwin L. Schoen

University of the Pacific Theses and Dissertations

No abstract provided.

Marshall University Music Department Presents A Faculty Recital, William Davidson, Piano, William Davidson

All Performances

No abstract provided.

Graduate Recital, Robert D. Frankovich

All Graduate Plan B and other Reports, Spring 1920 to Spring 2023

The pursuit of musical excellence is the goal of the professional music educator. The author believes that the intensive study afforded to him by the graduate program was one way in which he could improve his teaching techniques.

In addition to preparing a graduate recital. the author wanted to experience the personal growth and satisfaction of composing music. He felt that the area of composition could offer many insights which would lead to a more complete musical understanding. The graduate program also offered advanced courses in the psychology of teaching and the philosophy of education, which the author hoped would …

An Analysis Of The Styles Of C. Saint-Saëns And W. A. Mozart With Emphasis On Their Clarinet Compositions, Gerald Kenneth Steele

All Master's Theses

This paper has represented an effort by the writer to learn something about two major clarinet compositions and about their composers, and to provide for the readers of this paper a means of better understanding Wolfgang Mozart and Camille Saint-Saëns and their clarinet compositions. The study of these compositions has been in connection with the preparation for their performance in a Graduate Recital by the writer. The two composers studied in this project represent two periods of music history, two different styles of composition and two different personalities.