Music Performance Commons^™

La Chasse: The Legacy Of Hunting Calls In French Compositions For Solo Horn And Piano, Daniel J. Atwood

Dissertations, 2014-2019

The horn originates from the hunting fields of Europe and shares a particularly strong relationship with the country of France. During the fourteenth century, the hunt was a form of recreation in which the royalty and nobility of France passionately engaged. This patronage of the nobility led to the writing of many hunting treatises that contain hunting calls, the first music written for horn.

For hundreds of years, French composers have written compositions for solo horn and piano and continually include hunting calls, or passages in the style of hunting calls, into their works. Through continual reference and inclusion of …

The Role Of Narrative In Performing Schumann And Chopin’S Music, Yu-Wen Chen

Dissertations, 2014-2019

Abstract

Recognizing how to present a narrative while performing the music of Schumann and Chopin helps the performer to transmit the spirit of the music and convey expression in the music. In the music-making process, what we cannot discount is that the performer plays a crucial role in conveying musical expression to the listeners, which tremendously affects the quality of the entire musical experience. In this document, I argue that there is a qualitative difference between the ways in which performers should express the central story conveyed in the music of Robert Schumann compared with the story conveyed in the …

A Musical Crusade: Reviving The Music Of Berlioz’S Benvenuto Cellini Through A Comparative Statistical, Pedagogical, And Theoretical Analysis, Jessica R. Spafford

Dissertations, 2014-2019

Abstract

Much of the operatic music of the eccentric French composer Hector Berlioz (1803-1869) is overlooked, especially from his first full opera Benvenuto Cellini. This is due in part to many misconceptions surrounding Berlioz’s vocal compositional style, which stem from the political atmosphere at the time of the opera’s premiere in 1838 Paris when ill-willed critics renamed it Malvenuto Cellini. A general ignorance of this work and its music pervades the world of vocal pedagogy, having been excluded from the standard repertoire anthologies, where it can ironically be the most useful. The research presented in this project comprises …

The Development Of A Fach System For The Tenor Oratorio Repertoire, Randall C. Ball

Dissertations, 2014-2019

Classical singers learn about the European Fach System early in their career. By determining which Fach a voice type fits, one can then understand which operatic repertoire is suited to study and perform. It is a reliable guide, protecting singers as they grow and function in their workplace. Since oratorio roles are predominantly not included in this system, it can sometimes be challenging for singers and pedagogues to place these roles unambiguously into a Fach. Without the security of a pedagogical system or guide, singers may be miscast in oratorio productions, which can result in a less effective performance, …

Rhetoric And Wit In Nicolas Bernier's Le Caffé, Anne C. Wick

Dissertations, 2014-2019

The aim of this document is to create a better comprehension of the French Baroque cantata’s design through an examination of Nicolas Bernier’s Le Caffé, with particular attention paid to rhetorical influences, which will enhance the understanding of its value and performance style of the French Baroque cantata for both performers and audiences. To help modern teachers, performers and audiences to appreciate this genre and provide a practical means of approach to performance, this document will: 1) explain the purpose of the Late French Baroque Cantata as a vehicle to display the wit of both poet and composer; 2) reveal …

Notes For A Writer: The Role Of The Flute As Narrator In Jon Lord's To Notice Such Things, Brianne Little

Dissertations, 2014-2019

Jon Lord’s To Notice Such Things is a twenty-seven minute suite for flute, piano, and string orchestra composed in memory of the writer and barrister Sir John Mortimer, Q.C. In this orchestral work Lord used the flute as a narrator for Mortimer’s life as a programmatic or figurative device. Lord used his knowledge of Mortimer, through their close friendship, in order to create a narrative of the author’s life experience through music. Each movement of this suite points to a specific idea, time, or experience in Mortimer’s personal history, and provides the listener with a glimpse into the author’s life …

Finding Jean-Blaise Martin: An Italianate Approach For A Modernized Baryton-Martin Fach, Aaron D. Agulay

Dissertations, 2014-2019

The voice type or ‘fach’ baryton-Martin was named for Nicolas Jean-Blaise Martin (1768–1837), a French baritone celebrated for his agile voice, brilliant timbre, and extensive range. Historical accounts described his voice as having the depth of a bass-baritone with a tenorial upper range. Unfortunately, with the departure of Martin and the evolution of voice types during the bel canto era, this particular voice category fell out of favor. However, there is a voice type that successfully evolved and survived the bel canto era: the modern lyric tenor. The manner in which we have grown accustomed to hearing singers of this …

Establishing Human Identity Through Randomly-Generated Lyrics: A Comprehensive Performer's Analysis Of Robert Paterson's Captcha And Its Performance, Kyle Yampiro

Dissertations, 2014-2019

Robert Paterson’s CAPTCHA is a five-song cycle for baritone and piano that comes with some unique challenges from an interpretive standpoint. The text is comprised of CAPTCHAs: two-word phrases originally designed to test human identity versus that of a computer. Nearly every phrase contains a gibberish word and a real word and there is no proper syntax. The composer leaves interpretation open to the performer, which prompts the primary question explored in this document: how can a singer create an effective performance of this piece, given its unique challenges?

This document takes a multidisciplinary approach to discover the range of …

The Origins And Development Of The Euphonium Concerto With Brass Band, Joel M. Collier

Dissertations, 2014-2019

Since shortly after its invention, the euphonium has been utilized as a solo instrument, both in chamber music settings with piano, and with large ensembles such as brass bands and wind bands. However, it was not until the composition of Joseph Horovitz’s Euphonium Concerto in 1972 that the euphonium was genuinely regarded as a serious solo instrument in the brass band, capable of performing large-scale, substantial works.

In the following two decades, several composers wrote concerti for euphonium and brass band, each building on the technical demands of their predecessors. Their contributions established the basis of the genre, and also …

The Creation Of A Skills-Based Grading System For Solo Trumpet Repertoire, Charles R. Ahlhorn

Dissertations, 2014-2019

This research organizes a sample of solo trumpet literature, selected from state music educators associations’ repertoire lists, into a bi-level, skills-based grading system. At the first level of classification, each work is assigned an overall difficulty rating of 1, 2, or 3, with the latter being the most demanding category. The second level of classification evaluates the requirements of each work in six particular skill areas: range, rhythm and meter, articulation, flexibility, endurance, and phrasing. The rating scale for these parameters ascends from 1 to 5, where 1 represents beginner-level skills and 5 connotes virtuoso-caliber challenges.

The goal of this …

Meditation And Awakening: An Exploration Of The Wind Music Of Eric Guinivan, Henry C. Hess Jr.

Dissertations, 2014-2019

American composer and percussionist Eric Guinivan is a rising star in the world of composition. He is the recipient of several major awards including the Morton Gould Young Composer Award, the BMI Student Composer’s Award, and was nominated for a Grammy Award for Best Small Ensemble Performance for his work with the Los Angeles Percussion Quartet. His work Meditation and Awakening was hailed by the New York Times as “engaging,” and commented on the work’s “shimmering colors” and “frenetic energy.” His pieces for wind band have been performed around the country, including at national and regional conferences of the College …

Back To Black: An Exploration Of Amy Winehouse’S Music And Addiction, Courtney Ad Jamison

Senior Honors Projects, 2010-2019

Amy Winehouse tragically died on July 23, 2011 as a result of years of alcoholism and drug abuse. Her beautiful jazz infused poetic music and her struggle with addiction created a juxtaposition of extremes that led to the foundational question of this creative project: “How can Winehouse’s music serve as the catalyst for a musical theatre piece that explores the impact of addiction on the human experience?” Extensive research was conducted on the themes of drug abuse, alcoholism, attachment in adult life, and domestic violence. The project culminated with a staged reading of a jukebox musical consisting of Winehouse’s music …

Choro Of Gordon Stout: Representation In A Living Art, Elayne Harris

Dissertations, 2014-2019

This paper investigates the musical inspiration behind the collection of choros composed by American percussionist-composer, Gordon Stout. Three of Stout’s choros, Choro No. 1: Americana, Choro No. 3, and Choro No. 7: The Road Less Traveled are discussed in detail within the context of traditional Brazilian choro and the solo guitar pieces by Augusto Marcellino, which directly inspired Stout’s compositions. The research for this project included consulting musicological texts on choro, interviews with the composer and his colleague Pablo Cohen, listening to choro recordings, score study of traditional choro lead sheets, as well as the scores of Marcellino …

Debussy And Schoenberg: Two Musical Reactions To Late Romanticism, Priscila Ott Falcao Oliveira

Dissertations, 2014-2019

Debussy and Schoenberg were arguably the most important composers at the turn of the twentieth century. Their musical and theoretical innovations influenced many generations of composers, and opened doors for new possibilities in music. Debussy and Schoenberg represent two different musical directions born of two different artistic conceptions and traditions. In comparing the two composers one can see the opposition between France and Germany, between impressionism and expressionism, between tradition and revolution. They both wrote significant piano pieces that illustrate the evolution of their compositional techniques and styles. Debussy and Schoenberg left letters and essays with their opinions about music, …

Effective Elements Of Conducting: A Study Of High School Orchestra Directors, Matthew J. Brooks

Dissertations, 2014-2019

The purpose of this study was to evaluate how effectively current high school orchestra directors demonstrate the elements of conducting. To do this, I first selected what elements of conducting would be evaluated and then defined what is effective for each. From this, I created a conductor evaluation form consisting of a 1-Not Effective to 5-Effective rating scale to score how effectively each element is demonstrated. The results would later address the primary research questions:

1. What elements of conducting do high school orchestra directors demonstrate most effectively?
2. What elements of conducting do high school orchestra directors demonstrate least effectively?

Current …

Use Your Words: A Lyrical Guide To The Opera-Inspired Paraphrases Of Antonino Pasculli (1842-1924), Aaron S. Hill

Dissertations, 2014-2019

There are currently ten available works by Antonino Pasculli (1842-1924) for solo oboe or English horn and accompaniment inspired by themes from nineteenth-century operas by Bellini, Donizetti, Meyerbeer, and Verdi. These pieces are so virtuosic that Pasculli has been dubbed the “Paganini of the Oboe.” The technical demands can be so high that performers can neglect to approach artistic and scholarly interpretation of his lyrical passages. Some editions of his music list the referenced act and scene number from the original source. No existing editions include complete text from the original vocal excerpts or the context from the plots of …

What Do I Assume? An Applied Lesson Approach Integrating Critical Thinking And Student-Directed Learning, Ayn T. Balija

Dissertations, 2014-2019

The applied music lesson remains a revered symbol of Western European tradition in American music education. Very little research exists assessing its continued viability as a method in its current form. This paper examines eight author observed assumptions about applied music lessons which flaw the learning process. Through available research, the assumptions demonstrate that the traditional applied lesson is teacher centered and difficult to assess. Exposing the resultant delusions of the eight assumptions reveals how a holistic approach in a studio can engage students in critical thinking and enhance student self-awareness. These primary goals place the educational emphasis on the …

Olivier Messiaen: A Performance Guide For Selected Mélodie, Melissa M. Sumner

Dissertations, 2014-2019

The purpose of this study is to present a performance guide on eight selected songs for voice and piano or orchestra by Olivier Messiaen. The performance guide is the result of five years of research, study, and performance of the presented material. It offers a comprehensive study of information relevant for the performer and collaborator. Included is a concise biography of the composer, followed by an overview of the most important compositional style traits Messiaen used in these works. The focus of the paper turns into a detailed analysis of Trois Mélodies, Vocalise-étude, and selected mélodie from Poèmes pour Mi: …

Early Music Influences In Paul Hindemith's Compositions For The Viola, Domenico L. Trombetta

Dissertations, 2014-2019

It is widely recognized that several of Paul Hindemith’s compositions display a significant use of early music forms and techniques. Yet, the scholarly literature in English focusing specifically on the influence of early music on Hindemith’s works for the viola is limited. Thus, through a discussion of selected works for solo viola and viola and orchestra, with a concentration on the two finales of the solo viola sonatas op. 11, no. 5, and op. 31, no. 4, the viola concerto Der Schwanendreher, and the Trauermusik for viola and strings, this document investigates the impact of early music on Hindemith’s …

The Variety Show: Why Classical String Musicians Are Exploring A Multistyle Approach To Teaching, Kelly C. Wiedemann

Masters Theses, 2010-2019

The Variety Show: Why Classical String Musicians are

Exploring a Multistyle Approach to Music

Kelly C. Wiedemann

This case study examines the experiences of five classically trained string teachers who now include alternative styles in their teaching. The research questions are: (1) What factors inspire a classically trained string educator to begin teaching alternative styles to their students? (2) Why is it important to keep classical music in string pedagogy? (3) How have these teachers, their peers, students, and community reacted to multistylism? The interviews revealed four major points of motivation: Opportunities for developing creativity and finding a personal voice …