Music Commons^™

Regina Caeli, Gustavo Leone, Martin Schmid S.J.

Department of Fine & Performing Arts: Faculty Publications and Other Works

The Jesuits were expelled from the Spanish colonies in South America in 1767, leaving behind a remarkable musical legacy that was buried for over two hundred years. But the music did not disappear completely. Thanks to the Chiquitos people of Bolivia, the music was played and preserved throughout the 18th and 19th centuries.

In 1985, Swiss architect Hans Roth discovered 9,000 of these musical manuscripts and in 1990 UNESCO declared the churches of the Chiquitos a “patrimony of humanity”. Dr. Gustavo Leone of Loyola University Chicago's Department of Fine and Performing Arts has painstakingly retrieved and restored several of these …

The Development Of Musical Improvisation In Second Grade Children, Akiko Yoshizawa

Graduate Research Papers

The purpose of this qualitative case study was to investigate if second-grade children could develop a solo improvisation on an Orff xylophone. Participants were five African-American children who attended a model school that followed an inquiry-based approach curriculum. These children also had a chance to learn music from a faculty and the researcher, who had been exploring constructivist methods of teaching music, with a special emphasis on invented songs, instruments, and notations. The three-day study focused on how children were able to create a solo improvisation. The study was guided by the following questions: (1) Can second grade children develop …

Rotational Strategy In Selected Works By Béla Bartók, Robert C. Keller

LSU Doctoral Dissertations

While James Hepokoski and Warren Darcy regard rotational form as “an overriding structural principle, an Urprinzip that in the instrumental genres may control the progress of movements organized according to more familiar Formenlehre categories such as sonata form or rondo”, in the dissertation that follows I propose a framework for rotational analysis that is sufficient as a self-standing analytical structure. This step back from the more familiar Formenlehre is necessary in Bartók’s post-tonal repertoire to avoid confusion with the generic expectations that often accompany labels such as principal theme, subordinate theme, exposition, development, recapitulation, etc. Also, as rotational form is …

Learning And Teaching Conducting Through Musical And Non-Musical Skills: An Evaluation Of Orchestral Conducting Teaching Methods, Jose Mauricio Valle Brandao

LSU Doctoral Dissertations

The current state of conducting as an academic and professional pursuit shows a plethora of conventional traditions and techniques that are accepted without question, but a dearth of ideas and approaches that will develop the skills essential to producing an effective conductor. This profile is especially apparent in the field‘s literature. This monograph will compile a list of these titles and annotate each one, in order to determine the common threads that run between them. This information will be distilled into categories, identifying levels of approach and target audience. Evaluation of these data may lead to a discovery that many …

A Performance Guide To Libby Larsen's Sifting Through The Ruins For Mezzo-Soprano, Viola And Piano, Kori Lea Jennings

LSU Doctoral Dissertations

The goal of this document is to offer a performance guide of Libby Larsen’s song cycle, "Sifting Through the Ruins," for mezzo-soprano, viola, and piano. The letters and photos, which inspired the texts for this song cycle, were discovered in New York City by mezzo-soprano Susanne Mentzer while she was struggling to comprehend the events of the World Trade Center attack which took place on September 11, 2001. Chapter 1 discusses the life and vocal works of Libby Larsen. Biographical information is presented, followed by a discussion of Dr. Larsen’s compositional process, her musical style, and the importance she places …

Musical Allusion To The Rite Of Spring In Four Contemporary Works For Solo Bassoon, Scott Miller

LSU Doctoral Dissertations

The bassoon solo that begins The Rite of Spring has had a profound and lasting influence on the treatment of the bassoon as a melodic instrument, both in the context of the orchestra and as a solo instrument. It has been alluded to and directly quoted in many works over the past century, and has become associated with the modern concept of the bassoon as a solo instrument. Four works for solo bassoon by contemporary composers—Canto XII by Samuel Adler, Metamorphoses by Leslie Bassett, Paisagem sonora no. 5 by Rodrigo Lima, and From Rite to Rite by Claudia and Maíra …

Interpretation And Expressive Imagery In The Butterfly Lovers Violin Concerto On Double Bass: Transcribed By Yung-Chiao Wei, Min-Tzu Chao

LSU Doctoral Dissertations

The purpose of this research paper is to show the interpretation of the Chinese piece—The Butterfly Lovers Violin Concerto—through expressing imagery. The concerto is composed by Chen Gang (陳鋼) and He Zhan-hao (何占豪) in 1959. In 2004, Yung-Chiao Wei, a double bass professor at Louisiana State University transcribed the piece for double bass. It is a very useful repertoire for double bass players to experience Chinese music through the plot’s expressing imagery. The Chinese musical language is different from Western music language in the concept of pentatonic scale, tone color, and tempo. I believe that double bass players can effectively …

The Vocal Works Of Charles Lloyd, Jr.: A Performer's Guide To Selected Dramatic Works, Art Songs, And Spiritual Art Songs, Charis Kelly Hudson

LSU Doctoral Dissertations

African-American composer Charles Lloyd, Jr. has written some of the most beautiful and challenging solo vocal works of the present day. His abilities as a composer have awarded him the opportunity to work with names such as Jessye Norman, Kathleen Battle, and Veronica Tyler. He has also written and published a number of works which include the art song Compensation, published in the Anthology of Art Songs by Black Composers and his first collection of spiritual art songs which appear in The Spiritual Art Song Collection by Charles Lloyd, Jr. Even more, his Psalm 30: Cantata for Soprano and Piano …

A Comparative Study Of And Performer's Guide To Selected Songs By The Swiss Composer Othmar Schoeck, Travis Archie Richter

LSU Doctoral Dissertations

This written document compares three songs settings of Othmar Schoeck to three other settings, written to the same text, by Hugo Wolf, Alban Berg, and Franz Schubert. The three pairings discussed are as follows: Schoeck’s Er ist’s (1937) as compared to Hugo Wolf’s setting, 1888; Ergebung (1918) as compared to Alban Berg’s setting Es wandelt, was wir schauen, 1908 (both settings were set to the same text); Rastlose Liebe (1909-1914) as compared to Franz Schubert’s setting, D. 138 (1815). Each comparison discusses how the respective composers treated text, dynamics, melody, harmony, and various other musical elements. The comparisons will show …

Spatialising Threads/Hallucinations: Closing The Gap Between Installation And Performance, Catherine A. Hope, Kynan Tan

Research outputs 2011

Threads/Hallucinations is a musical work that combines sound installation and live performance using an eight-speaker array. The work uses spatialisation as a means to control the performance, provide an immersive listening experience and extend musical composition parameters. The work draws on spatial and electronic music composition techniques, sound art installation and site-specific sounds. This paper will outline some key influences on the creation of this work as well as outlining concepts and methodologies for incorporating spatial techniques within the field of electronic music.

Multidimensional Data Sets: Traversing Sound Synthesis, Sound Sculpture, And Scored Composition, Stuart James, Catherine Hope

Research outputs 2011

This article documents some of the conceptual developments of some various approaches to using multidimensional data sets as a means of propagating sound, manipulating and sculpting sound, and generating compositional scores. This is not only achieved through a methodology that is reminiscent of some of the systematic matrix procedures employed by composer Peter Maxwell Davies, but also through a generative signal path method conventionally termed Wave Terrain Synthesis. Both methodologies follow in essence the same kind of paradigm - the notion of extracting information through a process of traversing multidimensional topography. In this article we look at four documented examples. …

Processes In Composition And Performance Leading To Performance, Catherine Hope

Research outputs 2011

This paper contemplates different processes and results developed by ‘programming composers’ as compared to composers who use programmers to facilitate or realise compositional components of their works. Different models for the relationship between music composition and computer programming are examined, as are the outcomes for composers and performers. For music programmers the compositional process varies according to the composer and the work they wish to create. Complex musical configurations involving sound synthesis, processing, aleatoric and improvisational approaches may be guided by conceptual ideas that do not always originate with programming skills, and can be outsourced within differing levels of collaboration. …

Manifesting Meaning From A Performance Of Cruelty: Parallels In The Musical Experimentalism Of Antonin Artaud And Sub Ordnance, Cat Hope, Sam Gillies

Research outputs 2011

No abstract provided.

The Evaluation Of Nonlinear Musical Structures, Lindsay Vickery

Research outputs 2011

No abstract provided.

The Possibilities Of Novel Formal Structures Through Computer Controlled Live Performance, Lindsay Vickery

Research outputs 2011

Computer controlled performance opens a range of novel structural possibilities. This paper explores the mechanisms and ramifications of this approach, and its potential to expand the repertoire of formal structures available to the composer. Traditional and computer coordinated performance models are compared. Modes of computer control, permutation, transformation and generation are discussed and their implications are evaluated. The range of implications of this approach to the performance environment are given together with illustrations from the author’s own work.

Screen Scores: New Media Music Manuscripts, Cat Hope, Lindsay Vickery

Research outputs 2011

This paper examines the screening of music notations and the impact of this configuration in a live music performance situation. Before the development of graphical computing, Traditional music notation, was rarely shared with the anyone other than other musicians, composers and analysts; let alone displayed during the performance. However, some composers experiment with scores and their visual presence in performance by employing automated ‘score-players’ or actual films specifically developed to be interpreted by musicians. This paper raises some questions and possibilities for this new way of sharing musical qualities of composition and performance.

Musical Parameter Manipulation Possibilities Of A Homemade Reactable, James Herrington, Lindsay Vickery

Research outputs 2011

Musical parameter control is an important part of live interactive electronic computer music. Due to the increasing availability and affordability of music technology, including powerful computer software, advances in this area are being made to enable easier and more effective parameter control. The purpose of this paper is to investigate and discuss the musical parameter manipulation possibilities of a homemade instrument with a tangible tabletop interface based on the technology of the reacTable. The design and construction of the instrument is documented, including the physical build as well as the software component of the system, which incorporates the computer software …

New Possibilities For Electroacoustic Music Performance, Cat Hope

Research outputs 2011

Western Australian new music ensemble Decibel has an ongoing research project dedicated to performing music that combines acoustic and electronic instruments. In the process of revitalising pieces that have been considered un-performable due to limitations in technology at the time of composition, or certain technologies becoming obsolete, Decibel has developed a unique approach to new music performance involving electronic and acoustic instruments. This has also involved the reworking of electronic pieces not intended to be performed live, works that have previously proved difficult to perform, and the ‘electroacoustification’ of acoustic works. The ensemble combines old technologies such as reel-toreel tape …

Visualising The Score: Screening Scores In Realtime Performance, Cat Hope, Lindsay Vickery

Research outputs 2011

This paper examines the screening of music notations and the impact of this configuration in a live music performance situation. Before the development of graphical computing, Traditional music notation, was rarely shared with the anyone other than other musicians, composers and analysts; let alone displayed during the performance. However, some composers experiment with scores and their visual presence in performance by employing automated ‗score-players‘ or actual films specifically developed to be interpreted by musicians. This paper raises some questions and possibilities for this new way of sharing musical qualities of composition and performance.

Organicism In Live Experimental Electroacoustic Music, Mark Mcmahon

Research outputs 2011

This paper explores the potential for an organicist or relational holistic approach to experimental electroacoustic music composition that is indeterminate with respect to performance. It follows a phenomenological interpretation of the musical work as the product of dynamic, temporal or relational processes involving the performers, their instruments, the sounds themselves, the whole acoustic space and the audience. An analysis of an electroacoustic composition and Decibel ensemble performance is offered for which organic indeterminacy is described in terms of a performative openness towards the creation of experimental music.

What's In A Name? Is The Term "Third Stream Music" Truly Representative Of The Music It Is Supposed To Describe? Would The Term "Jazzical" Be Just As Appropriate?, Matthew Styles

Research outputs 2011

No abstract provided.

You Can’T Go To Zion With A Carnal Mind: Slackness And Culture In The Music Of Yellowman, Brent Hagerman

Theses and Dissertations (Comprehensive)

Jamaican deejay Yellowman is best known for “slackness” lyrics centred on masculine heterosexual potency, sexist objectification of women and graphic sexual narratives. Yet a deeper look at Yellowman’s life and recorded output suggests that when his slackness is read in the context of Afro-Jamaican culture, reggae history and his Rastafarian faith, a more complex interpretation of his slackness is needed. This study will draw on Carolyn Cooper’s (2001) theory that slackness is a “metaphorical revolt against law and order, an undermining of consensual standards of decency” (p. 141). Whereas the term “culture” is used in reggae to depict music that …

Pop Song As Custom: Weddings, Ethnicity, And Entrepreneurs In West Sumatra, Jennifer Fraser

Faculty & Staff Scholarship

No abstract provided.

Graduate Recital In Voice, Isaac D. Droscha

Dissertations and Theses @ UNI

On Tuesday, March 22, 2011, Isaac Droscha, baritone, presented a recital in partial fulfillment of the Master of Music degree. The recital totaled approximately fifty-five minutes in length. The first half featured Gustav Mahler's Kindertotenlieder (1904), containing five songs to poetry of Friedrich Rückert. Following a brief intermission, the recital continued with two song sets; the first set contained five songs by Sergei Rachmaninoff from Ops. 4, 14, and 26; the second set was George Butterworth's Bredon Hill and Other Songs, containing five songs (1912). All the works were chosen to show a variety of perspectives on the theme of …

Graduate Recital In Voice, Channing Connell

Dissertations and Theses @ UNI

Channing Connell, soprano, presented a graduate voice recital on Monday, March 21, 2011 at 8:00 PM in Davis Hall of the Gallagher-Bluedorn Performing Arts Center at the University of Northern Iowa. The recital was performed in collaboration with pianists Korey Barrett and Polina Khatsko and presented in partial fulfillment of the requirements for the Master of Music in Vocal Performance. The recital featured Cinq poemes de Baudelaire by Claude Debussy (1862-1918), select works from the Jtalienisches Liederbuch by Hugo Wolf (1860-1903) and selections by Sergei Rachmaninoff (1873- 1943), each of which is briefly summarized in the body of this abstract.

Piano Graduate Recital, Marcos Grano De Oro

Dissertations and Theses @ UNI

Domenico Scarlatti was born in Naples on October 26, 1685. He was born to Alessandro Scarlatti and Antonia Anzaloni and is regarded as one of the most creative artists in the history of music. He was an outstanding composer and harpsichordist. Scarlatti received his early training from his father, who was a music teacher. There are no formal records that Scarlatti obtained his musical training from any conservatory, or music school, even though there were other institutions. The conservatory of Naples gained great popularity and fame during Scarlatti 's time. Therefore, Scarlatti could have received musical training from the conservatory. …

My Plan To Play: A Personal Journey Towards A Lifetime Of Play, Aimee Blaquiere

Critical and Creative Thinking Capstones Collection

In my first Critical and Creative Thinking course, I chose to explore singing and performing meaningful songs with my father as a form of creative thinking. This project led to the realization that, as an adult, I had forgotten what it was like to play. With this acknowledgement, I was prompted to explore underlying reasons for why my capacity to play was blocked in the first place. In doing so, I explored play theories and reflected on my own forms of play, as a basis for understanding how to successfully re-introduce play into my life. Through metacognitive reflection, this synthesis …

Dmitri Vorobiev, Piano, An All-Beethoven Recital - The Second In A Series, December 2, 2010 [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.

Ua68/9/1 Potter College Of Arts & Letters Music Publications, Wku Archives

WKU Archives Collection Inventories

Publications created by the department of Music, includes recordings.

Ua68/9/4 Potter College Of Arts & Letters Music Curriculum, Wku Archives

WKU Archives Collection Inventories

Records created by the Department of Music regarding curriculum and programs.