Music Commons^™

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.

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.

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.

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) …

Multiply Directed Moments In A Brahms Song: “Schön War, Das Ich Dir Weihte” (Op. 95, No. 7), Melissa Hoag

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

Brahms’s song “Schön war, das ich dir weihte,” op. 95/7, offers a melancholy setting of a brief text by Georg Friederich Daumer. Several melodic disjunctions figure prominently in Brahms’s setting of the poem; in treating these disjunctions, normative voice-leading expectations are thwarted in ways that never meet satisfactory resolutions. Around these violations are crystallized the central expressive issues of the song, involving ambiguities not only in the domain of melody, but also of harmony, phrase structure, and form; this web of ambiguity is termed a “multiply directed moment.” Other issues in the song include the discursive phrase structure in the …

Classical Models, Sonata Theory, And The First Movement Of Liszt’S Faust Symphony, Howard Cinnamon

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

Recent theories of sonata form compensate for a perceived overemphasis on harmonic structure during the latter half of the twentieth century by emphasizing thematic organization as the determining feature of formal function. The present study demonstrates how an analytical method based on earlier practice can be valuable in the analysis of one of Liszt’s most unconventional pieces, the first movement of the Faust Symphony. Initially, it considers “problematic” passages often thought to deviate from earlier conventions, and by offering alternative readings, it shows how they are actually consistent with those earlier practices. Once clarified, the movement’s large-scale tonal structure, and …

A Study Of Donald Grantham’S Fantasy Variations: Broad Musical Connections In Core Theory Classes, Amy Carr-Richardson

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

This article contains analytical comments on Donald Grantham’s Fantasy Variations, which is based on George Gershwin’s Prelude II (“Blue Lullaby”), focusing on its pedagogical use in a core undergraduate theory class. It proposes encouraging students to make broad musical connections regarding tonality, temporality, and developmental process, across a wide range of musical repertoire. The article discusses the analysis of Fantasy Variations in relation to these topics: pedagogical transitions between the study of tonal and post-tonal music, the process of development, non-linear aspects of twentieth- and twenty-first century music, and musical borrowing.

Progressive Trends In Variation Form: Robert Schumann’S Piano Sonata In F Minor, Op. 14, Quasi Variazioni, Hiu-Wah Au

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

Entitled Quasi Variazioni, the third movement of Schumann’s Piano Sonata in F Minor, op. 14 (1835–36), displays features that are not usually associated with variation form. In a typical eighteenth- and nineteenth-century variation set, the theme is usually a self-contained unit, whose form and voice leading are often preserved throughout the set. But in this Schumann movement, the theme presents an unusual, tripartite ABC form, its half-cadence ending evoking the tradition of continuous variation. Along with the theme’s peculiar formal plan, the variations also diverge markedly from the theme’s form and middleground structure. These differences are engendered by Schumann’s …

Table Of Contents

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

No abstract provided.

Uni Varsity Men's Glee Club, April 18, 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.

Neuromusicology And Combat-Induced Traumatic Brain Injury, Brittany L. Neuser

Honors Theses

The number of reported cases of combat-induced traumatic brain injury (TBI) among American veterans is rapidly increasing. The results of TBI are often a combination of deficits in cognitive, physical, emotional, and behavioral functions. Each case poses unique challenges for all involved—soldiers, their families, and health care personnel. Though each case is unique, common symptoms include impaired gross and fine motor, speech and language, memory, attention, visual, auditory, and emotional functioning (Davis, Gfeller, Thaut, 2008).

Due to the holistic nature of TBI symptoms, finding an effective yet cost-efficient treatment modality proves to be a difficult task. Previous research has suggested …

2011-2012 Performance Forum - April 18, 2012, Ruth Santos, Jie Ren, Walid Abo Shanab, Yiqing Song, Ann Fontanella, Zhen Yang Yu, Felicia Besan, Jenna Mccreery, Marina Lenau, Aziz Sapaev, Zhou Jiang, Noemi Rivera, Kaitlyn Paradise, Joshua Luty

Performance Forum

No abstract provided.

Unl V Chamber Orchestra, Taras Krysa, Rachel Waddell

Chamber Music Programs

Program listing performers and works performed

Graduate Recital: Andrew François, Viola; April 18, 2012, Andrew François

School of Music Programs

Kemp Recital Hall
April 18, 2012
Wednesday Evening
6:00 p.m.

Student Ensemble: Piano Project, April 18, 2012, School Of Music

School of Music Programs

Kemp Recital Hall
April 18, 2012
Wednesday Evening
8:00 p.m.

Neuromusicology And Combat-Induced Traumatic Brain Injury, Elisabeth C. Spinniken

Honors Theses

The number of reported cases of combat-induced traumatic brain injury (TBI) among American veterans is rapidly increasing. The results of TBI are often a combination of deficits in cognitive, physical, emotional, and behavioral functions. Each case poses unique challenges for all involved—soldiers, their families, and health care personnel. Though each case is unique, common symptoms include impaired gross and fine motor, speech and language, memory, attention, visual, auditory, and emotional functioning (Davis, Gfeller, Thaut, 2008).

Due to the holistic nature of TBI symptoms, finding an effective yet cost-efficient treatment modality proves to be a difficult task. Previous research has suggested …

Neuromusicology And Combat-Induced Traumatic Brain Injury, Brittany Neuser

Honors Theses

The number of reported cases of combat-induced traumatic brain injury (TBI) among American veterans is rapidly increasing. The results of TBI are often a combination of deficits in cognitive, physical, emotional, and behavioral functions. Each case poses unique challenges for all involved—soldiers, their families, and health care personnel. Though each case is unique, common symptoms include impaired gross and fine motor, speech and language, memory, attention, visual, auditory, and emotional functioning (Davis, Gfeller, Thaut, 2008).

Due to the holistic nature of TBI symptoms, finding an effective yet cost-efficient treatment modality proves to be a difficult task. Previous research has suggested …

Neuromusicology And Combat-Induced Traumatic Brain Injury, Elisabeth Spinniken

Honors Theses

The number of reported cases of combat-induced traumatic brain injury (TBI) among American veterans is rapidly increasing. The results of TBI are often a combination of deficits in cognitive, physical, emotional, and behavioral functions. Each case poses unique challenges for all involved—soldiers, their families, and health care personnel. Though each case is unique, common symptoms include impaired gross and fine motor, speech and language, memory, attention, visual, auditory, and emotional functioning (Davis, Gfeller, Thaut, 2008).

Due to the holistic nature of TBI symptoms, finding an effective yet cost-efficient treatment modality proves to be a difficult task. Previous research has suggested …

Old Dominion University Symphony Orchestra, Old Dominion University Symphony Orchestra, Lucy Manning (Director)

Ensemble Performances

No abstract provided.