Ethnomusicology Commons^™

A New Kind Of National: Modified String Quartet Practices In Post-Soviet Eurasia, Adam Taylor Lenz

Masters Theses

This thesis examines the practices of string quartet modification implemented by three post-Soviet Eurasian composers: Franghiz Ali-Zadeh (Azerbaijan), Vache Sharafyan (Armenia), and Dmitri Yanov-Yanovsky (Uzbekistan). After an introduction to the geography of the region and the biographies of the composers, their works containing modified string quartet configurations are examined within three distinct modification practices. These practices consist of the addition of outside instruments, the addition of electronic components, and the alteration of performance practice. The evaluation of these techniques is carried out through musical analysis and examination of cultural context. After each work has been examined, the body of works …

Don Januario, Gustavo Leone

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

Don Januario is a traditional song from Bolivia. It was collected by musicians from the ensemble Florilegium, and published on their CD, Música de las Misiones y de la Plata (Sucre). This is an original version of the song and a series of variations in the style of the local baroque.

An Analysis And An Historical Contextualization Of Frank Ticheli’S “Cajun Folk Songs”, Jody Anthony Besse

Dissertations

This document was constructed using a qualitative research approach to discuss and illuminate the various compositional techniques used by Frank Ticheli in his composition Cajun Folk Songs. The content will include a biographical background of Mr. Ticheli, documentation related to the Cajun Culture and Cajun Music, an analysis of Ticheli’s composition Cajun Folk Songs, and valuable information related to the rehearsal and performance of this work. The intent of the study is to shed light on the relevant aspects pertinent to the musical interpretation of the selected work for the conductor, the performer, and the listener.

A Conductor’S Guide To The Poetic And Musical Style Of The Cante Jondo Based On The Work Of Mario Castelnuovo-Tedesco’S Romancero Gitano, Op.152, For Choir And Guitar With Selected Poems Of Federico Garcia Lorca’S Poema Del Cante Jondo, Elsa Patricia Ramierz-Hacker

Dissertations

Composers around the world have found the poetry of Federico García Lorca a source of inspiration for solo and choral works. Mario Castelnuovo- Tedesco used seven texts from Lorca’s Poema del Cante Jondo (Deep Song Poems) in his work Romancero Gitano, op. 152, for choir and guitar.

The purpose of this study is to provide a conductor’s guide to the poetic, historical, and musical structure of the cante jondo. Cante jondo or “deep song” is considered the most serious and profound collection of songs in Flamenco music. These songs express the history and landscape of the Andalucían region. Donn Phoren …

Chapter 11, Songs In Intimacy And Community In A Changing World: Sikaiana Life 1980-1993, William Donner

Sikaiana Ethnography

A chapter on song composition and performance in the Sikaiana ethnography. Songs were an important part of Sikaiana life in 1980-1993. There were two major song types: songs composed in a traditional Polynesian style, and songs composed for the more recently introduced guitar.

A related website is www.sikaianaarchives.com

Lewis, Fred (Sc 1777), Manuscripts & Folklife Archives

Manuscript Collection Finding Aids

Finding aid only for Manuscripts Small Collection 1777. Musical scores for songs transcribed by Fred Lewis for the Hawaiian guitar.

Structural Analysis Or Cultural Analysis? Competing Perspectives On The "Standard Pattern" Of West African Rhythm, Kofi Agawu

Publications and Research

Polyrhythmic dance compositions from West Africa typically feature an ostinato bell pattern known as a time line. Timbrally distinct, asymmetrical in structure, and aurally prominent, time lines have drawn comment from scholars as keys to understanding African rhythm. This article focuses on the best known and most widely distributed of these, the so-called standard pattern, a seven-stroke figure spanning twelve eighth notes and disposed durationally as <2212221>. Observations about structure (including its internal dynamic, metrical potential, and rotational properties) are juxtaposed with a putative African-cultural understanding (inferred from the firm place of dance in the culture, patterns of verbal discourse, …

Fred Bartenstein: The Right Place At The Right Time, Kurt Mosser

Philosophy Faculty Publications

Fred Bartenstein has always seemed to find himself perfectly situated to pursue his life-long interest in bluegrass music – as he puts it, “I’ve always seemed to be in the right place at the right time.” This luck has allowed him to find bluegrass in the most surprising places, whether at a private day school in New Jersey, or at Harvard University in the late 1960s. It has also meant that, among other things, he found himself attending the first bluegrass festival in Fincastle, Va., becoming a bluegrass DJ at the age of 16, starting Muleskinner News magazine, and playing …

Variation Procedures In Northern Ewe Song, V. Kofi Agawu

Publications and Research

The major organizational principle of Northern Ewe song is one shared by numerous African, Oriental, and European musical traditions: a small number of models (variously described as "basic shapes," "archetypes," "background structures," "basic designs," "core patterns," "deep structures") is transformed in a wide variety of ways during performance. Variation takes place on different hierarchic levels both within and between songs and includes practically all of a song's dimensions (rhythm, interval, register, contour, harmony, and so on). This principle, although widely demonstrated in the literature on African song (see, among others, Jones 1976; Kauffman 1984; Schmidt 1984; and Erlmann 1985), is …

Tone And Tune: The Evidence For Northern Ewe Music, V. Kofi Agawu

Publications and Research

Abstract:

One of the most intriguing features of most African languages is that of tone, by which variations in speech tone generate different meanings (Pike, 1948, offers a valuable introduction to this subject and includes an extensive bibliography; Fromkin, 1972, is a comprehensive evaluation of specialised studies). In the Ewe language, for example, the word to [H] pronounced with a high tone means ‘ear’, as in To le venye (HLMM), ‘I have an earache.’ To can also mean ‘through’, Meto akɔnta me [MHLHML], ‘I have gone through the accounts.’ But as soon as the high tone is replaced by a …

"'Gi Dunu,' 'Nyekpadudo,' And The Study Of West African Rhythm", V. Kofi Agawu

Publications and Research

Rhythm has remained the focus of much study of West African music since the pioneering studies of Ward (1927), Hornbostel (1928), Waterman (1948), Brandel (1951), Cudjoe (1953), Merriam (1959), and Jones (1959).

The Impact Of Language On Musical Composition In Ghana: An Introduction To The Musical Style Of Ephraim Amu, V. Kofi Agawu

Publications and Research

In most cultures of the world, the creative act of composition may be defined simply as the transformation of pre-existing material into new, individualized structures. The precompositional resource may be a system such as the hierarchical arrangement of triads that forms the basis of Western tonality, a set of formulas that generates such genres as Gregorian chant and West African storytelling, or even a rigidly defined set of relationships such as those inherent in a twelve-tone row. In each case, the precompositional elements provide a framework for the analysis and interpretation of the composition.

Saka, Fane Telena, Unknown Sikaiana

Sikaiana Traditional Songs

These are two saka, songs composed for a secret lover (hina) in traditional Sikaiana society. I know that one was collected from Fane Telena, the other I found in my notes.

Tani Various, Sikaiana People

Sikaiana Traditional Songs

These are transcriptions of several tani or funeral dirges. Tani are composed after a person dies. I do not have a record of who gave me the transcriptions, most likely John Kilatu and/or Reuben Tenai. I do not have recordings for these songs.

Puina Songs, Joseph Tealo, Fane Telano

Sikaiana Traditional Songs

The Puina were times when men and women divided into separate groups to secretly compose songs that are critical of the opposite sex. These are song transcriptions given to me by Joseph Tealo and Fane Telena, both are noted composers. They were composed for the 1981 puina.

Mako Hatu Composed Songs, Reuben Tenai, John Kilatu Dr

Sikaiana Traditional Songs

Two traditional composed songs (mako hatu) that I found in my notes, most likely from John Kilatu and/or Reuben Tenai.

Volume 75, Number 05 (May-June 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Josef Hofmann, 1876-1957

Igor Stravinsky, Approaching his 75th Birthday, is Truly a Colossus of Modern Music

Music in the High School Gym

Good Vocal Habits (interview with Renata Tebaldi)

What Power Professional Criticism

Thalberg's Erard: A Discovery

An Intriguing Account of the Various Operational Details Requiring Careful Attention . . . Behind the Opera Curtain

Books on American Music: A Selected Bibliography

Music in the Schools

Choral Potential From the Baroque Era

Music to Link Mankind: The Story of the Formation of an Important Body Having to Do with International Relations

Volume 75, Number 04 (April 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Folk Music and Art Music

Playing with Orchestra (interview with Alec Templeton)

Community Solves its Music Crisis: The Inspiring Story of The Bronx Symphony

Orchestra Genius Lies in the Individual

Miniature Opera from Salzburg

Kostelanetz on Conducting, Conductors and Batons

Drama in Song: A Discussion of the Importance of Clear Enunciation on the Part of Singers

A Glimpse of the Inner Workings of One of the Largest Summer Music Camps is Gained from These Day to Day Entries . . . From the Music Camp Office

Henry Cowell—Musician and Citizen, Part 3

Richard Rodgers on Current Trends in Popular Music

Volume 75, Number 03 (March 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Hail and Farewell to The Grand Old Man of Music Confusion

Confounded: An Objective Explanation of Some Frequently Perplexing Musical Terms

Singing Must be Natural (interview with Victoria de los Angeles)

Music's Part in Social Integration

Mariachis of Mexico

Henry Cowell—Musician and Citizen, Part 2

Music in the Schools High School Symphony Orchestra . . . How It Is Made

New Studio

Volume 75, Number 02 (February 1957), Guy Mccoy

The Etude Magazine: 1883-1957

International Aspect of Folk Music

Candlelight Concerts in Colonial Williamsburg

Don't Shy Away From Adult Beginners

Singing on Television (interview with Lois Hunt) Impressions of Musical Education in the United States

Henry Cowell—Musician and Citizen Shape Notes, New England Music and White Spirituals, Part 2

We Can Co-operate

Staccatos for the Sightless New Vistas in Music Programming for Radio

Volume 75, Number 01 (January 1957), Guy Mccoy

The Etude Magazine: 1883-1957

Philadelphia's Academy of Music . . . One Hundredth Anniversary

Story of Roy Harris—American Composers, Part 2

Some Impressions of Music Education in Japan

Louis Moreau Gottschalk—First American Concert-Pianist

Shape Notes, New England Music and White Spirituals

Approach to Chopin's Etudes (interview with Ruth Slenczynska)

Music in the Schools

Madrigal Group is Fun Composer, Conductor, Comedian . . . That's Jackie Gleason

American School Music: An Assessment

Volume 74, Number 10 (December 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Obituary - Guy Maier (1890-1956)

Béla Bartók and Hungarian Folk Music

Story of Roy Harris—American Composer

Cradle of Music: A Brief Visit to One of the Most Interesting of Old-World Music Publishing Houses

Some Basic Issues in Music Education

Operas of Hugo Weisgall

Volume 74, Number 09 (November 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Carl Orff's Musical Theatre

World Ballad of Bady Doe

Responsibility of Music Education to Music—A Reply

Opera for all America: Chandler Cowles, General Manager of NBC Opera Company, Outlines His Ideas Concerning the Project

Volume 74, Number 08 (October 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Folk Music in Civilization

In Memorium - Mrs. Eduard MacDowell (1857-1956)

Wallingford Riegger—Composer and Pedagog

Loring Club

Bach of High Fidelity (interview with Robert D. Darrell)

Glenn Gould, A Début and a Personality

Volume 74, Number 07 (September 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Music in Focus

Responsibility of Music Education to Music

Music in the American Wilderness

Picture Painted in Sound: Alden B. Dow Creates a New Art Visualizing Music

Pianist's Page

Waltz and Brahms' Opus 39

Volume 74, Number 06 (July-August 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Music in Focus

Daylight and Darkness: Robert Schumann and the Years after Leipzig

Lieder Singer (interview with Irmgard Seefried)

Charles E. Ives, Part Two

Robert Schumann: Across the Years

Volume 74, Number 05 (May-June 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Charles E. Ives . . . A Composer With Something to Say

Music, Music Everywhere: A Resume of the Most Important Festivals that Take Place this Summer in European Music Learning to Learn Bach (interview with Rosalyn Tureck)

Diction in Singing, Part 2

Volume 74, Number 04 (April 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Fiftieth Anniversary of the Music Educators National Conference

In Memorium: Edwin Franko Goldman (1878-1956)

Personal Memories of Cortot as Artist and Teacher

Diction in Singing

National Interscholastic Music Activities Commission

MTNA in Action Music in Focus National Federation of Music Clubs . . . America's Most Far-Flung Musical Organization

Phi Mu Alpha (Professional Music Fraternity) . . . What it is and What it Does

National Association of Teachers of Singing

Story of Sigma Alpha Iota

Stepping Stones to West Point (interview with John A. Davis, Jr.)

Volume 74, Number 03 (March 1956), Guy Mccoy

The Etude Magazine: 1883-1957

They Make Music Wherever They Go

Southpaw Solo Flight

Preparing a Career in Opera (interview with Joseph Rosenstock)

Porgy and Bess in Moscow

Boys Like to Sing!

Through Their Music They Build Democracy

Volume 74, Number 02 (February 1956), Guy Mccoy

The Etude Magazine: 1883-1957

Inside the Paris Opéra

Music in Focus

Georges Enesco, As I Knew Him

People's Music School in Sweden

Timeless Turntable: A Most Interesting Review of the Development in the Recording Field Since the Coming of the LP Era