Music Performance Commons^™

89th Annual Convocation; Annual Spring Concert, The Sherwood Conservatory Of Music

Commencement Programs

Programs for the Sherwood Music School 89th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 3, 1984 and the Annual Spring Concert on May 20, 1984

0400: Dr. Glenray C. Stein Musical Score, 1948, Marshall University Special Collections

Guides to Manuscript Collections

"Moonlight Sonata" Beethoven Second Piano, arranged by Dr. Stein. Dr. Glenray C. Stein was music director of the Chesapeake and Ohio Railway Company.

88th Annual Convocation, The Sherwood Conservatory Of Music

Commencement Programs

Program for the Sherwood Music School 88th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 3, 1983

87th Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 87th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 4, 1982 and the Annual Spring Concert on May 23, 1982

The Plumed Serpent, Doug Lofstrom

Doug Lofstrom Music Collection

A symphonic piece for orchestra and jazz soloists composed in 1982 in four continuous movements; duration is 25 minutes. Accompanying audio recording is from page 65 of the score until the end of the piece. Score is 85 pages and recording is 6:04 minutes.

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.

86th Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 86th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on May 29, 1981 and the Annual Spring Concert on May 3, 1981

Music For Strings I, Ii, Iii, Doug Lofstrom

Doug Lofstrom Music Collection

A symphonic piece for string orchestra. the first and second movements were composed in 1977 and the third movement and refashioning of the piece was completed in 1981. The accompanying audio recording is performed by the Russian String Orchestra in 2021, conducted by Misha Rachlevsky, Score is 27 pages and recording is 13:20 minutes.

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.

85th Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 85th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 3, 1980 and the Annual Spring Concert on May 18, 1980

84th Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 84th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 1, 1979 and the Annual Spring Concert on May 20, 1979

83rd Annual Convocation, Sherwood Music School

Commencement Programs

Program for the Sherwood Music School 83rd Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 2, 1978

The Masculine And Feminine Encounter In Song : An Analysis Of Six Poems As Set By Both Male And Female Composers, Catherine Bodo Schoew

Theses, Dissertations and Capstones

That fusion of poetry and music which we call song has provoked controversy, evoked ecstasy, and has tempted nearly every composer sometime during his musical career. What is it that drives a man to take immortal words and endeavor to transcend them in music? Indeed few composers have ever been truly successful, but even the idea of "perfect song" stimulates argument. The well-worn controversy of the importance of music above the words, and vice versa, has never been resolved, nor is it likely to be. The greatest problem lies in the fact that a poem existed as an independent work …

82nd Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 82nd Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 3, 1977 and the Annual Spring Concert on May 20, 1977

81st Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 81st Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 8, 1976 and the Annual Spring Concert on June 3, 1976

America Sings: An Oratorio For Mixed Choir, Brass, Percussion, Narrator, William Cates Jr.

Masters Theses & Specialist Projects

I wrote this work with the nation's Bicentennial Celebration in mind. I was completed on Dec. 1, 1975. I hope the musicians who perform it will do so with the same attitude of pride in being an American that I feel and that I experienced as I wrote it.

The underlying motive, in the beginning, was to write a "Bicentennial piece" that would be totally different from other works that would be most surely coming out in the '75-'76 Bicentennial year. I chose the vocal medium first because the ability to sing is God's gift to man. It is 'natural' …

80th Annual Convocation; Annual Spring Concert, Sherwood Music School

Commencement Programs

Programs for the Sherwood Music School 80th Annual Convocation ceremony held at Recital Hall (1014 South Michigan Avenue) on June 11, 1975 and the Annual Spring Concert on May 28, 1975

Style Characteristics Of Four Sibelius Art Songs, Julie Anne Eygabroad

All Master's Theses

This paper concerns the vocal music of Jean Sibelius and presents an investigation of the style characteristics of four Sibelius and presents an investigation of the style characteristics of four Sibelius art songs: Svarta rosor, Flickan kom ifran sin alskings mote, Im Feld ein Madchen singt, and Kom nu hit, dod! Although the composer is known primarly for his symphonic achievements, his vocal works make an important contribution to his total output. They reflect his Finnish heritage, his nationalistic interests, and his highly personal style. At its best, his vocal writing has an austere strength and simplicity that also finds …

Lieder Eines Fahrenden Gesellen: Characteristics Of Style, Janet Louise Hammack

All Master's Theses

This paper considers the life, the character and the compositional styles of Gustav Mahler, especially as they relate to the song cycle Lieder eines fahrenden Gesellen. The four songs which comprise the cycle are discussed from the aspects of melody, meter and rhythm, harmony and tonality, texture, form and accompaniment.

Prelude And Dance, Steven Carl Rodli

All Master's Theses

This thesis presents an original composition for string orchestra with a covering paper. The purpose of the thesis is to reveal an understanding of the instrumental techniques and textures of the string orchestra and the compositional techniques required to write music in the modern idiom. The covering paper presents a study of the techniques and tonal colors of the string orchestra and a detailed analysis of the composition with respect to its form and musical elements, fulfilling the stated purpose of the thesis.

Dvorak's Biblical Songs, Garry A. Potts

All Master's Theses

This study is an examination of the styles found in the Biblical Songs by Antonin Dvorak, a leading Bohemian composer of the nineteenth century. They cycle, originally set in Czech to the Bohemian Book of Psalms, may, with some notation changes, also be sung in German or English.

Dvorak's composition attempts to achieve a balance between the smooth, flowing vocal line and a rhythmically challenging accompaniment. A study of this cycle is rewarding for the singer.

Musical Realism Of Modest Mussorgsky In The Songs And Dances Of Death, Lynn A. Howard

All Master's Theses

This investigation proposes that the Russian composer, Modest Mussorgsky (1839-1881), was one of the foremost masters of musical realism. The song cycle, The Songs and Dances of Death, is presented as an outstanding and representative example of the creative efforts of the composer. It is analyzed from the standpoint of prosody, tonality, melody, and harmony.

In order to aid in comprehension, the first portion of the paper deals with the Russian environment and the development of the ideals of Mussorgsky.

Dichterliebe: A Partnership In Irony, Gary L. Bankes

All Master's Theses

The paper discusses the irony of love as expressed in the Dichterliebe song cycle of Robert Schumann on the poems of Heinrich Heine.

Schumann's relationship to the Romantic era is discussed, as well as the basic musical style of the work. The irony inherent in five of the songs exposed, as are the musical techniques and devices through which Schumann expresses it musically.

The Dichterliebe is shown to be a partnership, where the words and the music benefit and compliment each other.

Michelangelo Songs: Characteristics Of Style And Interpretation, Dennis David Daigler

All Master's Theses

This paper presents an analysis of the style characteristics found in the songs of Hugo Wolf, a great composer of German Lied. His style was greatly influenced by Wagner's harmonic and vocal practices. Wolf continued earlier composers' concerns with the proper expression of poetry through music.

An interpretation of the Michelangelo Songs shows Wolf's attempts to achieve balance between the voice and piano. A study of them is rewarding for a singer.

Compositional Techniques Of Alexei Haieff's Saints' Wheel: Piano Variations On A Circle Of Fifths, Candida Labrecque

All Master's Theses

This covering paper presents a study of Alexei Haieff's Saints' Wheel, a piano variation on the circle of fifths.

Numerous compositional techniques used by the composer were identified in their contemporary context. The use of tonality was studied with reference to Haieff's oriental background. His identification as a neo-classicist was verified and his distinctive contributions to that community explored.

A synthesis of the study resulted in an evaluation of the composer's use of the circle of fifths.

Structural Developments Of The Violin And Bow As They Affected Violin Playing Technique From 1775 To 1850, Robert Donn Anderson

All Master's Theses

This paper represents a study of the alterations that were made in the structure and design of the violin and bow during the late eighteenth and early nineteenth centuries. These alterations were the result of the increasingly more difficult technical demands that were placed on the violinists of the late eighteenth century by composers of that period. Once the violin and bow had been restructured to meet those demands, many new violin playing techniques were introduced.

Recommendations included additional research.

"The Columbia River Suite" An Original Composition For Orchestra, Glenn Theodore Kelly

All Master's Theses

"The Columbia River Suite" is a five movement composition relating the river's physical and geographical qualities to man's struggle for purpose in life. Program notes accompanying the composition aid in simulating desired interest and understanding.

The covering paper presents helpful materials as definitions of terms used and brief histories of: the symphony orchestra, the orchestral suite, the cyclical principle and programmatic music. Also a brief analysis presents representative excerpts of compositional devices utilized to bind the movement together.

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.

The Structure Of Paul Creston's Narrative No. 2, Op. 79 No. 2 For Piano, Myrna Evelyn Johnson

All Master's Theses

This paper presents an analytical discussion of the structure of Paul Creston's Narrative No. 2. An explanation of Mr. Creston's approach to composition is followed by a general description of the free-sectional form. Next, each section is investigated separately according to its rhythm, harmony, and melody. However, at the same time relationships between the sections are mentioned also. Some characteristics of Mr. Creston's style which are revealed in this study are his use of various rhythmic structures, pantonality, the lydian mode, and tangential variation.