Composition Commons^™

Student Composition Concert, Danielle Kamp

News and Events (Discontinued Series)

No abstract provided.

Flow, Tommy Bravos

Compositions

Flow was composed in the Spring of 2014 and premiered in it’s entirety during the April Student Composition Concert here at Illinois Wesleyan University. I composed the piece during an emotionally tumultuous time, and it represents many events that were occurring cyclically in my life at the time. The emotional events that directly inspired Flow were like opposite sides of a coin: one being relationships attempting to grow and the other being relationships gradually turning sour, needing to be left behind. These ideas are represented by the piece revolving around the recurring motive, showing how these events constantly wove in …

Birke Fine Arts Festival 2014. Fifth Annual Festival Of New Music. Marshall University, February 25-28, 2014, Mark Zanter

All Performances

No abstract provided.

2013-2014 New Music Festival, Lisa Leonard, Shirley J. Thompson

New Music Festival

Eighth Annual New Music Festival

• Shirley J. Thompson, Composer-in-Residence
• Lisa Leonard, Director

Sunday, February 23, 2014 at 7:30 pm

• Spotlight: Faculty Concert

Sunday, February 24, 2014 at 7:30 pm

• Contemporary Music Forum - Post Modernism: Contemporary Influences in Art Music

Tuesday, February 25, 2014 at 7:30 pm

• Spotlight: Young Composers

Wednesday, February 26, 2014 at 7:30 pm

• Spotlight: Shirley J. Thompson

Commissioned Work

Tequesta Song for Violin, Viola, Cello and Piano by Shirley J. Thompson. The full score is displayed in the Creative Works collection.

Sonata Divina Commedia (Part I: Inferno), Anthony Elia

Bridwell Library Research

Part 1 of planned 3-part violin and piano sonata modeled after Dante's "Divina Commedia." Part 1 "Inferno" is a wild modernist adventure for violin and piano, echoing the terrors of inferno. As the piece is incredibly virtuosic, the composer allows for variation, adaptation, and some minor changes if necessary for performers to execute the piece, as faithfully as they can. The work was written in honor of two superb musicians, who by random chance, the composer met or had connections with separately, before realizing the violinist (Mr. Kerr) and the pianist (Mr. Wallace) actually met and went to school together …

A Song Through Time: Tiger Rag And The Twentieth Century, Thomas Grady Hartsock

Music

Tiger Rag is one of the first recorded jazz works.This project investigates the initial creation of the work and follows it through five different artists in the twentieth century to explain how this piece of music has grown in it's hundred years of life.

An "Alien Foundation": The Eclectism Of Antonin Dvorak's American Period, Kelly Marie Fallon

Theses, Dissertations and Capstones

In 1891 Bohemian composer Antonin Dvorak (1841-1904) was offered a position as the Director of the American Conservatory in New York City by Jeanette Thurber (1850-1946) due to his reputation as a nationalistic composer. Thurber was intending to create a national music for America and hired Dvorak to not only promote the American Conservatory, but help her achieve her goal of an American style. By early 1892 an agreement was reached between the two parties, and Dvorak assumed his role as Director of the Conservatory in October of 1892, a tenure which lasted until May 1895. This three year period, …

On Constructing A Sonic Gangbang: System And Subversion In Gerald Barry’S Chevaux-De-Frise, Mark Fitzgerald

Articles

This paper examines Chevaux-de-frise by Gerald Barry. The work is from a transitional period in Barry's work forming a bridge between the work of the 1980s (most notably The Intelligence Park) and the more polyphonic work of the 1990s. The paper describes Barry's use of canonic devices and his manipulation of found material before making some brief links to later works from Barry's output.

I Shall Not Live In Vain | 16-96760, Christopher Matthews

Music Faculty Scores

I Shall Not Live in Vain (Three Choral Fugues)

Part Number:
16-96760

Price:
$1.85

Voicing:
SATB

Lyrics By:
Emily Dickinson

Music By:
Christopher Matthews

a cappella

Dear Friends Farewell | 10-96065, James Q. Mulholland

Music Faculty Scores

Dear Friends Farewell, Appalachian Folk Song for SATB Voices with Piano Accompaniment

Part Number:
10-96065

Price:
$1.75

Voicing:
SATB

Lyrics By:
Traditional

Music By:
Traditional

Arranged By:
James Q. Mulholland

Composed for the Berea College Concert Choir, Berea, KY
Stephen C. Bolster, conductor (2014)

Featured at:
2014 Rodney Eichenberger Conductor's Clinic

Christmas Lullaby-Satb | 10-96055, James Q. Mulholland

Music Faculty Scores

Christmas Lullaby (Away in the Manger)

Part Number:
10-96055

Price:
$1.75

Voicing:
SATB

Arranged By:
James Q. Mulholland

Also Available in SA

Featured at:
2015 ACDA Convention
2015 Atlanta Summer Conducting Institute

Christmas Lullaby-Sa | 10-96050, James Q. Mulholland

Music Faculty Scores

Christmas Lullaby (Away in the Manger)

Part Number:
10-96050

Price:
$1.75

Voicing:
Treble (Univson S/A)

Arranged By:
James Q. Mulholland

Also Available in SATB

Featured at:
2015 TCDA Convention

If Love Should Count You Worthy Ttbb | 10-96040, James Q. Mulholland

Music Faculty Scores

If Love Should Count You Worthy

Part Number:
10-96040

Price:
$1.85

Voicing:
TTBB

Music By:
James Q. Mulholland

with Horn (part included)

Also available in SATB

Prayers Of Teasdale | 10-96070, James Q. Mulholland

Music Faculty Scores

Prayers of Teasdale

Part Number:
10-96070

Price:
$1.80

Voicing:
SATB

Lyrics By:
Sara Teasdale

Music By:
James Q. Mulholland

Commissioned and Premiered by the 2014 Indiana Choral Directors Association's All-State Honor Choir in honor of past ICDA All-State Chairs, Phil Dunn and Herb Perry.

Rhosymedre | 41-96740, James Q. Mulholland

Music Faculty Scores

Rhosymedre (Welsh for "Lovely")

Part Number:
41-96740

Price:
$1.85

Voicing:
TTBB

Lyrics By:
Based on Robert Burns

Music By:
Melody by J.D. Edwards (1805-1885)
Adapted by Ralph Vaughan Williams

Arranged By:
James Q. Mulholland

with Four-Hand Piano

Featured at:
2014 Rodney Eichenberger Conductor's Clinic

Written for and dedicated to The Singing Statesmen,
Gary R. Schwartzhoff, conductor

Shall I Compare Thee To A Summer's Day Satb | 13-96865, James Q. Mulholland

Music Faculty Scores

Shall I Compare Thee to a Summer's Day

Part Number:
13-96866

Previous Part Number:
AMP 0142

Price:
$1.80

Voicing:
SATB

Lyrics By:
William Shakespeare

Music By:
James Q. Mulholland

Also available in SSAA

Commissioned by Lousiana American Choral Direcor's Association
In Memory of Louise Cochrane Boteler

Shall I Compare Thee To A Summer's Day Ssaa | 13-96860, James Q. Mulholland

Music Faculty Scores

Shall I Compare Thee to a Summer's Day

Part Number:
13-96860

Previous Part Number:
AMP 0143

Price:
$1.80

Voicing:
SSAA

Lyrics By:
William Shakespeare

Music By:
James Q. Mulholland

Also available in SATB

Commissioned by Lousiana American Choral Direcor's Association
In Memory of Louise Cochrane Boteler

Sour Wood Mountain | 10-96060, James Q. Mulholland

Music Faculty Scores

Sour Wood Mountain

Part Number:
10-96060

Price:
$1.80

Voicing:
SATB

Arranged By:
James Q. Mulholland

Composed for the Berea College Concert Choir, Berea, KY - Stephen C. Bolster conductor (2014)

Featured at:
2015 MN ACDA Summer Convention

That I Shall Never Look Upon Thee More Satb | 13-96850, James Q. Mulholland

Music Faculty Scores

That I Shall Never Look Upon Thee More

Part Number:
13-96850

Previous Part Number:
AMP 0147

Price:
$2.40

Voicing:
SATB

Lyrics By:
John Keats (1795-1821)

Music By:
James Q. Mulholland

Also available in TTBB.

Commissioned by the American Choral Directors Association
Raymond W. Brock Memorial Endowment Trust
for the 1996 ACDA Convention

Auburn Mass | 20-95780, John Starr Alexander, Henry Leck

Music Faculty Scores

Auburn Mass

Part Number:
20-95780

Price:
$1.90

Voicing:
SA

Music By:
John Starr Alexander

Edited By:
Henry Leck

Featured at:
2015 TCDA Convention

Farewell To Tarwathie | 20-95790, Shelly Cooper, Henry Leck

Music Faculty Scores

Farewell to Tarwathie
Scottish Folk Song

Part Number:
20-95790

Price:
$1.85

Voicing:
Two-Part Treble

Arranged By:
Shelly Cooper

Edited By:
Henry Leck

Featured at:
2015 ICDA/OCDA State Conventions
2016 SW ACDA Convention

Rapsodia Española No. 2, Judith Herrington

Music Faculty Scores

Rapsodia Española No. 2
Spanish Tongue Twister

Part Number:
20-95800

Price:
$1.85

Voicing:
Unison/Two-Part

Lyrics By:
Spanish Tongue Twister

Music By:
Judith Herrington

Featured at:
2014 WACDA Summer Institute
2014 Rodney Eichenberger Conductor's Clinic
2014 KCDA Summer Conference
2015 ACDA National Convention
2015 MN ACDA Summer Convention
2016 MSVMA Summer Workshop

Cliffs Of Dooneen, The | 20-95770, Robert I. Hugh

Music Faculty Scores

The Cliffs of Dooneen
(Irish Folk Song)

Part Number:
20-95770

Price:
$1.90

Voicing:
Four-Part Treble

Arranged By:
Robert I. Hugh

Come Ye Who Love: Melody For Soprano, Horn And Piano Trio (Full Score, Horn Part), Emmanuel M. Dubois

Emmanuel Dubois Compositions

Op. 43a : 1 score + 1 part (ii + 19 pages) ; includes part for (F) Horn

Setting to Music of a Collage of Verses by Transcendentalist Poets. Commissioned by Michigan State University College of Music.

That I Shall Never Look Upon Thee More Ttbb | 13-96855, James Q. Mulholland

Music Faculty Scores

That I Shall Never Look Upon Thee More

Part Number:
13-96855

Previous Part Number:
AMP 0148

Price:
$2.40

Voicing:
TTBB

Lyrics By:
John Keats (1795-1821)

Music By:
James Q. Mulholland

Also available in SATB.

Commissioned by the American Choral Directors Association
Raymond W. Brock Memorial Endowment Trust
for the 1996 ACDA Convention

Come Ye Who Love: Melody For Soprano, Horn And Piano Trio (Full Score, Horn Part, Soprano Part), Emmanuel M. Dubois

Emmanuel Dubois Compositions

Op. 43a : 1 score + 1 part (ii + 19 pages) ; includes parts for Horn and Soprano.

Setting to Music of a Collage of Verses by Transcendentalist Poets. Commissioned by Michigan State University College of Music.

The Mind Grows Heated: A Composition For Wind Ensemble, Michelle Isaac

Honors Theses, 1963-2015

The Mind Grows Heated is an original composition for wind ensemble. It is a programmatic piece of music that demonstrates appropriate use of wind and percussion instruments for high school and college bands. Composing The Mind Grows Heatedrequired a myriad of musical skills, including various composition and orchestration techniques, score study and analysis, knowledge of the wind ensemble

medium, and endless creativity. The piece tells the story of the ups and downs of the compositional process, and it musically illustrates the intricate emotions involved in attempting such a massive creative endeavor, such as anticipation, fear, self-doubt, and finally, hope …

In Search Of Murmurings (Full Score), Luke Martin

Honors Theses

"In Search of Murmurings" is deeply indebted to my reading of Marcel Proust's Swann's Way and explores his concept of recombining lost memories in the liminal space of our inner selves. Certain moments in the piece act as aural triggers for memory eruptions into my lost and fragmented experience of past composers' works. As much as this piece is an exploration of Proust, it is also an exploration of myself. By following these memory eruptions, I am departing from the convention, expected, and narrative path; I am asking: what happens when I allow the illogical and non-linear to take control?

A Gentle Introduction To Supercollider (2nd Edition), Bruno Ruviaro

Faculty Book Gallery

A step-by-step introduction to the SuperCollider music programming language. Second edition, slightly revised.

Formal Properties As The Basis For Value In Music, Thomas B. Yee

Global Tides

This paper defends the thesis that value in a piece of music is based in its formal properties rather than its non-formal properties. Two arguments are presented to support this conclusion. The first argument shows that if value in music is to be objective, then it must be grounded in a piece's formal properties rather than its non-formal properties. In the second argument, a number of alternate possibilities for grounding value in music are considered and shown to miss the mark or be inadequate. Finally, a number of possible objections against the arguments and conclusion are considered and possible responses …