Music Commons^™

Claudia Anderson And Hannah Leffler, Flutes, With Robin Guy And Polina Khatsko, Piano, October 22, 2013 [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.

Faculty Artist Recital, October 22, 2013 [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.

A Britten Centennial Celebration, October 20, 2013 [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.

Michael Norsworthy, Clarinet, David Gompper, Piano, October 19, 2013 [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.

Marshall University Music Department Presents A Music Alive Faculty & Guest Artist Collaboration Series, "A Tour Around The World", Salzburg, Ann Bingham

All Performances

No abstract provided.

Beginning Clarinet Fundamentals And Ways To Instill Them At A Young Age, Jade Reynolds

Honors Theses

No abstract provided.

Connecting Analysis And Performance: A Case Study For Developing An Effective Approach, Annie Yih

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

Although theorists and performers both engage in score study, we often say that performers “interpret” and theorists “analyze” because, in general, performers are more interested in interpreting the meaning of the music, which usually involves extracting and projecting the mood, character, or drama in the music, whereas theorists focus on understanding the structure of the music. Recognizing that there is need for connecting the practices of analysis and performance, the author suggests developing an effective approach to this concern. It is proposed that both theorists and performers understand structure as process, and that this particular process expresses the unfolding …

Russian Pitch-Class Set Analysis And The Music Of Webern, Philip A. Ewell

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

Prompted by a live performance of Webern’s Op. 6 in Moscow, in 1965, brother and sister Yuri Kholopov and Valentina Kholopova began to analyze the music of Webern; from 1965 to 1970 they wrote two books thereon. Working from scores and a few writings by Europeans (i.e., Stockhausen, Pousseur, Metzger, Kolneder, and Karkoschka), Valentina Kholopova devised a system of pc set analysis, which Yuri later named “hemitonicism.” She first presented her findings to the Soviet “Union of Composers” in the early 1970s, and then published a follow-up article in 1973. In the present essay, the author explicates this important development …

John Harbison’S Use Of Music Of The Past In Three Selected Compositions, Peter Silberman

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

John Harbison’s music is rich in allusions to music of the past. Many of his compositions incorporate excerpts from pre-existing works or newly written passages in earlier styles, predominantly jazz. This article discusses the interaction of pre-existing and new music in three compositions by Harbison (Twilight Music, the Gatsby Etudes, and November 19, 1828), as well as three modes of borrowing used by Harbison (misreading, pastiche, and quotation). Each analysis examines how Harbison transforms pre-existing tonal material to create a post-tonal work, and shows that Harbison’s integration of tonal and post-tonal materials varies depending on the …

Modal Tonicization In Rock: The Special Case Of The Lydian Scale, Brett Clement

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

This article reexamines modal techniques in rock music, using the “problematic” Lydian mode as a test case. I argue that the Lydian scale plays a larger role in rock music than has been previously acknowledged, particularly in songs of the 1970s and ’80s. First, I outline a hierarchy of pitches and chords in the scale, which will aid in recognition of Lydian patterns in rock. Then, I address existing controversies surrounding Lydian interpretations of chord progressions, which will be viewed in light of three “tonal stability rules” necessary for convincing Lydian centricity. This will lead to a general theory of …

Classical Models, Sonata Theory, Equal Division Of The Octave And Two Nineteenth-Century Symphonic Movements: Comparing Analytical Approaches, Howard Cinnamon

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

The first movements of Tchaikovsky’s Fourth and Brahms’s Third Symphonies are examined from the perspective of earlier models of sonata form (those of Kollmann, Galeazzi, and Czerny). The author demonstrates how they adhere to the models in remarkably consistent ways, and shows how analyses based on the models can prove valuable in the study of a group of pieces with similar unconventional harmonic structures. Aspects of Hepokoski and Darcy’s Sonata Theory are incorporated in each case to show how its conclusions differ from—and how they might complement—those arrived at through the application of earlier models.

Table Of Contents, David Carson Berry

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

No abstract provided.

2013-2014 Dean's Showcase, Yasa Poletaeva, Yordan Tenev, Jesse Yukimura, Jared Cooper, Cassidy Moore, Sheng Yuan Kuan, Josue Jimenez, Hsin Hui Liu

Dean's Showcase

No abstract provided.

Marshall University Music Department Presents The Marshall University Symphonic Band And The Marshall University Wind Symphony, Shirelle Yuhase, Steve Barnett

All Performances

No abstract provided.

Percussion Department, Fall Concert, October 17, 2013 [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.

The Unlv Choral Ensembles, David B. Weiller, Jocelyn K. Jensen

Choral Ensembles

No abstract provided.

Marshall University Music Department Presents A Jazz Ensemble I, Martin W. Saunders

All Performances

No abstract provided.

Convocation, Cassandra O'Toole, Britta Epling, Olivia Sirota, Ekaterina Bessmeltseva, Angelica Colon, Dylan Musso, Andrew Macadangdang, Kelsey Van Such, Alfredo Rodriguez Martirena

Convocations

No abstract provided.

School Of Music Alum Honored For Service In Music Education, Hannah Dhue

News and Events (Discontinued Series)

No abstract provided.

Jazz Ensemble’S Halloween Concert, Tia Patsavas

News and Events (Discontinued Series)

No abstract provided.

2013-2014 Music Of The Mind: From The Studio Of Roberta Rust, Roberta Rust, Stephen Seto, Heqing Huang, Winnie Santia Soekojo, Hsin Hui Liu, Vladislav Kosminov

Other Seasonal Concerts

No abstract provided.

Ann Bradfield, Alto And Soprano Saxophones, October 15, 2013 [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.

Unlv Jazz Ensemble L And Unlv Latin Jazz Ensemble, Dave Loeb, Nathan Tanouye, Uli Geissendoerfer

Jazz Ensembles

List of performers and performances.

Student Composition Concert, Kinzie Schweigert

News and Events (Discontinued Series)

No abstract provided.

Vayo Composes Inventive Piece Inspired By Nature, Tia Patsavas

News and Events (Discontinued Series)

No abstract provided.

Woodwind Doubling In Musical Theater Orchestras: Taking The Insanity Out Of Crazy For You, Bret Pimentel, Ray Smith

Journal of Undergraduate Research

Crazy for You is a Broadway-style stage musical by Ken Ludwig. The show, which premiered in 1992, uses songs written by George and Ira Gershwin for musicals in the 1930’s. In January and February, 2003, the Brigham Young University Department of Theatre and Media Arts and School of Music produced the show.

Or Gadol: Composition For Orchestra, Ryan Thomas Gee, Murray Boren

Journal of Undergraduate Research

Four objectives guided the composition Or Gadol. I will discuss the impact each had on the resulting music.

A Catalog For The Capitol Records Manuscripts At Byu, Daniel A. Henderson, Dr. Steve Call, David Day

Journal of Undergraduate Research

Early one morning in 1966 Billy May stood helpless and devastated on the first floor of the Capitol Records Tower in Hollywood, California. He watched as a group of men swiftly loaded a semi truck to the brim with boxes of original music scores. Somewhere in those boxes were all the original arrangements he had written for the likes of Frank Sinatra, Nat “King” Cole, Dean Martin and Peggy Lee – music that had won him Grammy Awards, Gold Records and the admiration of every arranger in the business – the entire collection of 10,000 original Capitol Records scores from …

Concerto Competition Final Round, Roberta Rust

Concerto Competition

Competition Coordinator

• Dr. Roberta Rust

Jury

• Julian Martin, piano (The Juilliard School)
• Eric Ruske, horn (Boston University)
• Ilya Kaler, violin (DePaul University)

Piano Accompanists

• Heqing Huang (Piano Performance Student)
• Carina Inoue (Collaborative Piano Student)
• Olga Kim (Collaborative Piano Student)
• Sheng-Yuan Kuan (Lynn University)
• Hsin-Hui Liu (Piano Performance Student)
• Dr. Marina Radiushina (Guest Accompanist)
• Jihong Park (Collaborative Piano Student)
• Ricardo Pozenatto (Collaborative Piano Student)

Canvassers

• Roberta Burns
• Jack Kracke

Final Round

• Delcho Tenev, violin - Prokofiev, Violin Concerto No. 2 (Kuan)
• Vijeta Sathyaraj, violin - Ravle, Tzigane (Kuan)
• Evgenia Zharzhavskaya, violin & Felicia Besan, viola - Mozart, …

2013-2014 Master Class - Ilya Kaler (Violin), Ilya Kaler, Sheng Yuan Kuan, Mozhu Yan, Julia Jakkel, Anna Tsukervanik, Yordan Tenev

Master Classes

No abstract provided.