Composition Commons^™

Harmon, Arlis Odell, 1905-1992 (Mss 194), Manuscripts & Folklife Archives

Manuscript Collection Finding Aids

Finding aid only for Manuscripts Collection 194. Scrapbooks (3) of manuscript music, chiefly gospel music, written and composed by Arlis Odell Harmon, of Allen County, Kentucky.

Metric Conflict In The Brandenburg Concertos Of J. S. Bach, Ellwood P. Colahan

Electronic Theses and Dissertations

This paper presents a comprehensive metric analysis of Bach's Brandenburg Concertos, with particular emphasis on the issues of metric conflict. The analytic methodology is based on the work of Fred Lerdahl and Ray Jackendoff, while the analytic notation used is based partly on that of Lerdahl and Jackendoff and partly on that of Jonathan Kramer, with some original modifications.

The paper discusses the factors generating metric conflict, along with its distribution, correlation with other structural parameters, and functional effects. The relationship between metric conflict and fluctuations in the depth of metric hierarchy is examined in detail. Some cases of metric …

Una Interpretacion Del Ritmo Poetico En Mester De Lejania De Pedro Lastra, Marianella P. Machado

Languages, Cultures, and Humanities Faculty and Staff Research

En Metrica Espanola, Tomas Narro Tomas dice ques "el espanol ha enriquecido las experiencias de su versificacion mediante el cultivo del ritmo". Tal afirmacion pone un enfasis supremo sobre el ritmo como conductor principal en la creacion de un poema.

Loch Lomond - Ttbb | 10-96280, James Q. Mulholland

Music Faculty Scores

Loch Lomond, From "Three Scottish Songs"

Part Number:
10-96280

Price:
$1.80

Voicing:
TTBB

Music By:
James Q. Mulholland

Also Available:
Caledonian's Air; Wi' A Hundred Pipers

Message, The | 10-96290, James Q. Mulholland

Music Faculty Scores

The Message, for SSA Voices with Piano Accompaniment

Part Number:
10-96290

Price:
$1.80

Voicing:
SSA

Lyrics By:
Christopher Pearse Cranch (1813-1892)

Music By:
James Q. Mulholland

Commissioned by the Harry C. amd Jean I. Snyder Family Trust
for the 10th Anniversary of the Milwaukee Choral Artists,
Dr. Sharon A. Hansen, conductor

Take, O Take Those Lips Away | 15-96190, Benjamin Martinson

Music Faculty Scores

Take, O Take Those Lips Away

Part Number:
15-96190

Price:
$1.75

Voicing:
SATB

Lyrics By:
William Shakespeare

Music By:
Benjamin Martinson

Amid The Splendors Of The Sun | 20-95990, Nick Page

Music Faculty Scores

Amid The Splendors Of The Sun

Part Number:
20-95990

Price:
$1.95

Voicing:
SSAA

Lyrics By:
William Blake

Music By:
Nick Page

Arrow And The Song, The | 20-96000, Robert I. Hugh

Music Faculty Scores

The Arrow and the Song

Part Number:
20-96000

Price:
$1.85

Voicing:
SSA

Lyrics By:
Henry Wadsworth Longfellow

Music By:
Robert I Hugh

Magnificat | 20-96020, Henry Leck

Music Faculty Scores

Magnificat
From "Magnificat in D" (BWV 243)

Part Number:
20-96020

Price:
$1.90

Voicing:
SSATB

Music By:
J.S. Bach

Arranged By:
Henry Leck

Vus Vet Zayn | 21-20110, Stephen Hatfield

Music Faculty Scores

Vus Vet Zayn
Yiddish Song

Part Number:
21-20110

Price:
$1.90

Voicing:
SATB

Arranged By:
Stephen Hatfield a cappella (opt. Klezmer Band)

Who Has Heard The Music? | 20-96010, Julie I. Myers

Music Faculty Scores

Who Has Heard The Music?

Part Number:
20-96010

Price:
$1.90

Voicing:
Two-Part

Music By:
Julie I. Myers with Clarinet

Happiness: Three Voice Duets For Soprano And Mezzo-Soprano And Piano, Emmanuel M. Dubois

Emmanuel Dubois Compositions

Op. 30 : 1 score (v + 33 pages ) ; includes table of contents and poem.

Composed for "Happiness" a poem by Henry David Thoreau and a collage of verses by John Warner Barber, William Ellery Channing and John Donne as quoted by Thoreau in Walden.

Movements:

1. Happiness
2. To Sweeten Our Lips
3. Come Ye Who Love

Biologie Littorale Des Mers Temperées, Bruno Ruviaro

Music

A title contributes strongly to the détournement of a work, but a reaction of the work on the title is inevitable. Thus one can make an extended usage of specific titles borrowed from scientific publications or military ones; and even from many phrases found in illustrated books for children. The French word détournement means deflection, diversion, rerouting, distortion, misuse, misappropriation, hijacking, or otherwise turning something aside from its normal course or purpose. This piece, as well as this paragraph, can be reproduced, imitated, or partially quoted, without the slightest indication of origin.

Três Fontes, Bruno Ruviaro

Music

What do you get when you mix saxophone fragments of Webern, Debussy, and Pousseur in one same algorithmic cauldron, in a bucolic park in Turin, Italy? This piece provides one possible answer to that question. “Três Fontes,” in Portuguese, can be translated as “Three Sources,” but also “Three Fountains.” You are free to use, study, remix, and share this piece.

Endurance, Jeremiah Bush

Mahurin Honors College Capstone Experience/Thesis Projects

This thesis, a musical composition of my own making, is about the ending of a relationship. The written component describes both the pragmatic nature of the piece as well as the theoretical analysis of the musical score and CD components. The music was written to convey feelings of anger, sadness, and relief that one can feel during and after a break up. The end of the piece deals with reconciliation between the two people.

Alabama Summer: Suite For Orchestra With Structural And Harmonic Analysis, David Frank Mckee

University of Kentucky Doctoral Dissertations

An original composition in three movements for large orchestra. Following the score is a detailed analysis of the work, consisting of an introduction, three sections of analysis devoted to each of the three movements of the composition, and a short conclusion summarizing the analysis.

Ua37/4 Faculty Personal Papers Franz Strahm, Wku Archives

WKU Archives Collection Inventories

Records created by and about Joseph Strahm during his tenure as music professor at Western Kentucky University from 1910 to 1941. The collection includes biographical information and tributes, and Professor Strahm’s composition. The series is arranged in three sections, personal papers, sheet music and compositions and scores.

The Composing Of "Musick" In The English Language: The Development Of The English Cantata, 1700-1750, Jennifer Cable

Music Faculty Publications

The cantata as cultivated by Alessandro Scarlatti and his contemporaries Alessandro Stradella and Giovanni Bononcini was the model for the early development of the English cantata, "which remained a solo vocal genre in England throughout the eighteenth century, namely 1710-1800. By focusing on specific musical elements, such as cantata format (recitative-aria-recitative-aria or aria-recitative-aria), song forms, motivic use, textual content, instrumental requirements and performance venues, the evolution of the English cantata can be observed during the first half of the eighteenth century, developing from a simple imitation of the Italian form to a genre in its own right.¹

Dialogue As Performance. Performance As Dialogue, Laura Lynn

Antioch University Dissertations & Theses

This dissertation is an arts-based qualitative study in Leadership and Change that describes the qualities of dialogue revealed through the felt experience of Native and non-Native American music composers engaged in a dialogue through music composition. The fifteen co-collaborators who participated in the study range in age from three-years-old to elders. The study is theoretically embedded within Performance Studies, Dr. Carolyn Kenny’s music therapy model Field of Play, and aesthetic philosophy. Methodologically, this work is expressed through performance ethnography and autoethnography and privileges textual and non-textual modes of account including photographs, video excerpts, poetry, and music manuscript. The text is …

(Waterfall), Scott Schumann

Compositions

No abstract provided.

With Eyes Closed, Queenie Li

Compositions

No abstract provided.

New Indeterminate Music: The Influence Of The Cagean Trajectory In The Importance Of Being Earmarked, Brett Philip Murray

Theses : Honours

This paper explores the influence of John Cage (1912-1992) on contemporary experimental music focusing on the indeterminate work The Importance of Being Earmarked (2008). Firstly through an investigation of selected works from Cage (written between the 1930s- 1960's) and the concepts that form a Cagean trajectory, and secondly by showing how a contemporary composer has adopted this trajectory in the composition of a new work that combines sound-installation, theatre, and Max/MSP programming.