Composition Commons^™

Red Note New Music Festival Composition Competition Announcement, 2019, School Of Music, Carl Schimmel, Roy Magnuson

Red Note New Music Festival

The RED NOTE New Music Festival at Illinois State University is a week-long event which features outstanding performances of contemporary concert music.

Red Note New Music Festival Poster, 2019, Carl Schimmel, Roy Magnuson, School Of Music

Red Note New Music Festival

The RED NOTE New Music Festival at Illinois State University is a week-long event which features outstanding performances of contemporary concert music.

Singing The Landscape: A Meditation On Song, Sound And Community At The Fall Line Of The James River, Sara Bouchard

Theses and Dissertations

I work in the medium of song. A multidisciplinary artist and composer, I make work that is immersive, time-based and often participatory. I interact with landscape and the complexities of American history, bringing into focus local ecologies through the lens of song.

This document accompanies my thesis performance The Sound of a Stone, an immersive exploration of song, language, ecology and locational listening performed in a 4-channel surround format. In the semi-improvised composition, I sample live vocals, mandolin and found natural objects in a combination of roots music traditions and experimental techniques. Utilizing the software Ableton Live to process …

The Experience Of Live And Recorded Music: A Cello Solo, Sarah Hunter

Honors Projects

Americans experience 98.5% of their music in a recorded medium such as radio, online streaming, TV, CDs, or other physical mediums. As a composer of classical concert music, I challenged myself to compose music that offered audiences a meaningful experience as a live performance and as a recorded piece of music.

Compositional Craft And Theory Across Tonal Languages, Liam Butchart

Honors Theses

This paper accompanies Liam Butchart's senior honors voice recital and his composition for the Colby Symphony Orchestra, Genevan Overture. The essay examines how form and cadence, two integral components of compositional craft, have been utilized by composers who either were included in the voice recital or were major influences on the composition. Specifically, the paper analyzes how different composers end their musical sentences similarly and differently through the lens of structurally-relevant cadences.

Red Note New Music Festival Program, 2018, School Of Music,

Red Note New Music Festival

The RED NOTE New Music Festival at Illinois State University is a week-long event which features outstanding performances of contemporary concert music.

Creating And Performing A Composition For Tuba And Piano, Joel A. Ragona

Undergraduate Honors Theses

In this creative thesis, I compose and perform a six movement art composition for tuba and piano. The reason for this performance and composition is two-fold. First, I am able to express myself in a way that other methods do not allow. Second, I reinforce important skills that will be vital in my future teaching career. To create the composition, I use various compositional methods, but I mainly adjust the composition by listening to it using piano and online compositional software. Preparing the composition for performance requires that I practice for multiple hours and find an accompanist who will perform …

Beethoven Ahead Of His Time: Sonata In C Major No. 21 Op. 53, Carolina E. Perez Ms.

Honors College Theses

This research looks at the work of Ludwig van Beethoven’s Sonata in C major No. 21 Op. 53. A historical, theoretical, and technical analysis helps set a foundation for a better comprehension of the work and influence the overall performance.

Roussel: The Flute And Extramusical Reference, Wendell Dobbs

Music Faculty Research

The article Roussel: The Flute and Extramusical Reference reveals the literary side of Roussel's flute music.

Elements Of Preparation Requisite For Performance Of The Brahms Cycle, Vier Ernste Gesange, Opus 121, Donald L. Ricks

All Master's Theses

This paper examines the text, the harmonic, tonal, melodic and stylistic characteristics of the cycle Vier ernst Gesange, op. 121 by Johanne Brahms as they relate to preparation for authoritative interpretation in formal concert performance. The study includes reference to particular events in the composer's life which directly influenced his decision to compose this final vocal work. In addition specific problems to be met in vocal technique, interpretative insight and German diction are discussed.