Music Performance Commons^™

Sunday Music Series - Guilherme Andreas, Department Of Music

Concerts and Event Programs 2019-2020

Flutist Guilherme Andreas performs a concert accompanied by Olena Rybachok. Works by Rutter, Bach, Taktkakishvili, and others.

Choral Showcase, September 15, 2019, Illinois State University School Of Music

School of Music Programs

Center for the Performing Arts
September 15, 2019
Sunday Afternoon
3:00 p.m.

Joint Junior Recital: Christopher Brandt, Percussion; Jennifer Carver, Percussion; September 14, 2019, Christopher Brandt, Jennifer Carver

School of Music Programs

Kemp Recital Hall
September 14, 2019
Saturday Morning
11:30 a.m.

Festival De Musica Adorarte, Department Of Music

Concerts and Event Programs 2019-2020

The second annual Adorarte music festival, with a Friday night vespers and a Saturday night concert. Showcasing guests Rodolfo Vasquez, Pavel Semanivsky, and Fancisco Stout, this festival celebrates Adventist Hispanic music from all over the world.

Recital 1: Piano Sonatas 1: Program, Peter Bloom

Schubertiade, Jiayan Sun, piano

No abstract provided.

Guest Artist Recital Series: Ashlee Mack, Piano; James Romig, Composer; September 12, 2019, Ashlee Mack, James Romig

School of Music Programs

Kemp Recital Hall
September 12, 2019
Thursday Evening
7:30 p.m.

2019-2020 Performance Forum - September 12, 2019, Aaron Small, Mario Rivieccio, Tyler Coffman, Aaron Chan

Performance Forum

No abstract provided.

Music Faculty Gala Concert, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Faculty Chamber Music Recital, September 11, 2019 [Program], University Of Northern Iowa. School Of Music.

Music Recital Programs

Program of a music recital given by faculty, students, or guest artists from the School of Music at the University of Northern Iowa.

Anthony Williams, Trombone, September 10, 2019 [Program], University Of Northern Iowa. School Of Music.

Music Recital Programs

Program of a music recital given by faculty, students, or guest artists from the School of Music at the University of Northern Iowa.

Charles W. Bolen Faculty Recital Series: David Gresham, Clarinet; Momoko Gresham, Piano; September 10, 2019, David Gresham, Momoko Gresham

School of Music Programs

Kemp Recital Hall
September 10, 2019
Tuesday Evening
7:30 p.m.

Senior Recital: Sarah Rendel, Soprano; Stephanie An, Piano; November 9, 2019, Sarah Rendel, Stephanie An

School of Music Programs

Kemp Recital Hall
November 9, 2019
Saturday Morning
11:30 a.m.

2019-2020 Lynn University Wind Ensemble, Kenneth Amis, Karl Van Richards, Hideki Sunaga, Mark Poljak, Natalie Smith, Kevin Karabell, Joseph Guimaraes, Dunia Andreu

Wind Ensemble

The Conservatory 20th Anniversary Concert Series The Conservatory alumni are featured as soloists in this concert.

Program

• La Chasse, op. 44 / Paul (Pavel Vranicky) Wranitzky - Karl van Richards, Piano
• Mozart new-look / Jean Françaix - Hideki Sunaga, Double Bass
• Lied et Scherzo, op. 54 / Florent Schmitt - Audrey Destito-Stutt, French Horn
• Symphonia Concertante (Symphony No. 5) / Karl Amadeus Hartmann - Mark Poljak and Natalie Smith, Trumpets
• Homenaje a Federico Garcia Lorca / Silvestre Revueltas - Kevin Karabell, Trumpet and Joseph Guimaraes, Tuba
• The Light Fantastic / Andrew Rindfleisch - Dunia Andreu Benitez, Bass Clarinet

Guest Artist Recital Series: Tzu-Yi Chen, Piano; September 6, 2019, Tzu-Yi Chen

School of Music Programs

Center for the Performing Arts
September 6, 2019
Friday Evening
7:00 p.m.

David Esleck Trio: A Centennial Celebration Of Nat King Cole, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

J.K. Mertz’S Bardenklänge: A Context For The Emergence Of The Character Piece Genre Within The Repertoire For Solo Guitar, Brinsley Doran

Masters

Having experience a large increase in concert activity in recent years, one would assume that the works of J.K. Mertz (1806–1856) would haveexperience the same level of attention within academic circles, however research is still limited. As a result, this thesissetsout to understand in what areas do Mertz's works differ fromother guitar works in the first half of the nineteenth century—specifically Mertz's set of character piecesfound in hisBardenklänge, op. 13. This thesiswill address shifts in culture, aesthetics and the increasing interest in the ‘Folk’c.1800–1850 that led to the composition of Mertz’s Bardenklänge. Published in 1847, these works are unique in …

Reimagining The Flute Masterclass: Case Studies Exploring Artistry, Authority, And Embodiment, Sarah Carrier

Dissertations, Theses, and Capstone Projects

This work explores the flute masterclass as an aesthetic, ritualized, and historically reimagined cultural practice. Based on fieldwork that took place between 2017 and 2019 in the United States, in Italy, and on the social media platforms Instagram, Facebook, and YouTube, I argue that the masterclass—an extension of the master/apprentice system that dominates learning in the classical music tradition—is characterized by embodied qualities of artistry and authority. These qualities are not inherent, but are perceived through subjective, social, familied, and affective bodies.

Chapter One outlines the main themes and the research design. Chapter Two is a case study that analyzes …

Performing Rhythmic Dissonance In Ligeti’S Études, Book 1: A Perception-Driven Approach And Re-Notation, Imri Talgam

Dissertations, Theses, and Capstone Projects

Interpretive approaches to the Études have been limited by Ligeti’s choice of notation, which creates several layers of difficulty in the presentation of complex rhythms. In order to resolve some of these difficulties, this dissertation includes a complete re-notation of four Etudes, using a methodology based on research in cognition and perception of rhythm.

Based on this new score, the notion of rhythmic dissonance is developed as an analytical tool to investigate in-time perception of rhythmic complexity, drawing on existing work on metric entrainment and metric dissonance. Different compositional strategies for the production of rhythmic dissonance are shown to have …

Support Vs. Steady Airflow: The Effect Of Two Different Instructions On Subglottal Pressure, Sound Pressure Level, And Airflow Rate During Singing And Speaking, Sunyoung Kim

Dissertations, Theses, and Capstone Projects

This empirical study investigated the possibility of finding an alternative to a conventional directive in vocal pedagogy. There is a debate among voice pedagogues and voice scientists with regard to how to teach breath management, particularly about the concept of support. W. Stephen Smith has strongly objected to the use of the term “support.” He suggests that the word promotes the use of increased air pressure. The purpose of the present investigation was to test that hypothesis by examining differences in a variety of physiological parameters, comparing a conventional singing instruction that uses the word “support” with an alternative instruction …

Johann Nauwach's Teütscher Villanellen: A Critical Performance Edition With Performance Practice Commentary, Christopher Pfund

Dissertations, Theses, and Capstone Projects

Johann Nauwach (1595–1630) was an early seventeenth-century German lutenist who was sent to Florence to study with Medici court lutenist, Lorenzo Allegri (1567–1648). Nauwach returned to Dresden around 1618 and published two volumes of songs. His first, Libro primo di arie passegiate a una voce per cantar (1623), contains monodic settings of popular Italian eclogues into which he composed extensive diminutions similar in style to Caccini. In 1627, Nauwach published Teütscher Villanellen dedicated to the nuptial celebrations of Sophie Eleonore of Saxony and Landgrave Georg II of Hesse-Darmstadt –– the same celebration for which Heinrich Schütz (1585–1672) and Martin Opitz …

Analyzing Harmonic Polarities: A Tonal Narrative Approach, Stephen J. Whale

Dissertations, Theses, and Capstone Projects

This dissertation aims to develop an approach to analyzing common-practice repertoire based on the dynamic interplay of centripetal and centrifugal forces. It aims at interpreting various kinds of chromaticism and modulation in terms of the interaction of forces moving away from the tonic or principal key (centrifugal) and those returning to it (centripetal). Centripetal forces also correspond to the force of cadential substantiation of keys, not only the principal key, which I call temporal-centripetal force; temporal-centrifugal forces correspond to the phenomena of tonal instability, of motion through multiple regions.

The dynamic interplay and counterbalancing of these forces is a core …

In Her Own Hands: How Girls And Women Used The Piano To Chart Their Futures, Expand Women's Roles, And Shape Music In America, 1880–1920, Sarah F. Litvin

Dissertations, Theses, and Capstone Projects

American girls and women used the parlor piano to reshape their lives between 1880 and 1920, the years when the instrument reached the height of its commercial and cultural popularity. Newspapers, memoirs, biographies, women’s magazines, personal papers, and trade publications show that female pianists engaged in public-facing piano play and work in pursuit of artistic expression, economic gain, self-actualization, social mobility, and social change. These motivations drove many to use their piano skills to play beyond the parlor, by studying in conservatory, working as classical and popular music performers and composers, founding and teaching at schools, working as department store …

Women's Contributions To Viola Repertoire And Pedagogy In The Twentieth Century: Rebecca Clarke, Lillian Fuchs, And Rosemary Glyde, Eva R. Gerard

Dissertations, Theses, and Capstone Projects

This dissertation discusses the life and work of Rebecca Clarke (1886–1979), Lillian Fuchs (1901–1995), and Rosemary Glyde (1949–1994), whose concept of the viola’s sound was fundamentally different from their male counterparts Lionel Tertis (1875–1975) and William Primrose (1904–1982). These women’s work has mostly been ignored, due to their gender and use of small forms in their compositions. This dissertation will explore the journeys of these three women through a discussion of their performances, pedagogy, and compositions; simultaneously it will chart the viola’s journey from obscurity to recognition as well as its evolution from lowly harmonic filler to expressive, melodic voice.

Unlearning Don Carlos: Historical And Fictional Elements Of Innovation In César Vichard De Saint-Réal’S 'Dom Carlos, Nouvelle Historique,' Friedrich Schiller’S 'Don Karlos, Infant Von Spanien,' And Giuseppe Verdi’S 'Don Carlos', Maria-Cristina Necula

Dissertations, Theses, and Capstone Projects

The story of the sixteenth-century Spanish prince, Don Carlos, has inspired numerous literary and musical adaptations that, despite the artistic limitations of historically-based content, reflect an astonishing scope of creative freedom. The myth created around Don Carlos originated in European consciousness as early as 1568. Various theories recorded in political reports and in historical works insinuated that the prince had been murdered while incarcerated by orders of his father, King Philip II. Simultaneously, hatred of Spain, intensified by Philip’s violent suppression of the revolt in the Netherlands, determined exiled Flemish nobles to launch an anti-Philip propaganda. The mystery of Don …

Baroque Pianism: Perspectives On Playing Baroque Keyboard Music On The Piano, With Emphasis On Bach’S Fugues In The Well-Tempered Clavier, Chih-Tung Cheng

Dissertations, Theses, and Capstone Projects

In a famous quote, Schumann described the fugues in Bach's Well-tempered Clavier as pianists’ “daily bread.” This dissertation explains how these fugues can be pianists’ practical daily bread by encouraging them to explore a virtuosity of subtlety. I assert that the compositional complexity in these fugues increases pianistic challenges in both interpretive and technical aspects; these challenges can lead pianists to explore a multi-faced pianistic awareness in a way that they may not encounter when performing other styles of music.

Exploring Political Action And Socialization Through Group Improvisation Within The Music Of Frederic Rzewski And Cornelius Cardew, Marcel Rominger

Dissertations, Theses, and Capstone Projects

In the late 1960s, socialist composers, Cornelius Cardew and Frederic Rzewski, each established ensembles with the purpose of performing works consisting of experimental forms of improvisation. By employing group improvisation, and including untrained, non-musicians within their performances, they strove to use these ensembles as a model for society itself; this model includes a dissolution of the hierarchy among performers and the barrier between performer and audience. Improvisation helped music resist commodification by the culture industry or appropriation by authoritarian regimes for the purpose of propaganda. This dissertation aims to explore how Cardew and Rzewski constituted effective socialization and political action …

Student Recital: Andersen Broom, Horn, Andersen Broom, Bobbie Kesler-Corleto

Student Recitals

Andersen Broom is a student of Marlene Ford. This recital is given in partial fulfillment of the requirements for the Bachelor of Music, Music Performance degree.

Andersen Broom, horn

Bobbie Kesler-Corleto, piano

Charles W. Bolen Faculty Recital Series: Adriana Ransom, Cello; August 29, 2019, Adriana Ransom

School of Music Programs

Kemp Recital Hall
August 29, 2019
Thursday Evening
7:30 p.m.

Jury Recognition Recital, August 26, 2019, Illinois State University School Of Music

School of Music Programs

Kemp Recital Hall
August 26, 2019
Monday Evening
7:00 p.m.

Dvd Review: Rossi, Luigi. L’Orfeo. Pygmalion, Musical Direction By Raphaël Pichon, Staging By Jetske Mijnssen. Recorded At L’Opéra National De Lorraine (Nancy), February 7 And 9, 2016. Arles: Harmonia Mundi, 2017. Hmd 9859058.59 Dvd And Blu-Ray Disc., Roger Freitas

Performance Practice Review

DVD Review: Rossi, Luigi. L’Orfeo. Pygmalion, musical direction by Raphaël Pichon, staging by Jetske Mijnssen. Recorded at L’Opéra National de Lorraine (Nancy), February 7 and 9, 2016. Arles: Harmonia Mundi, 2017. HMD 9859058.59 DVD and Blu-ray Disc.

Roger Freitas discusses a production of Rossi's L'Orfeo recorded on DVD.