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Full-Text Articles in Musicology
Exodus Concerto For Guitar And Chamber Orchestra, Spencer Joel Kappelman
Exodus Concerto For Guitar And Chamber Orchestra, Spencer Joel Kappelman
Masters Theses
Exodus is a four-movement composition for solo guitar accompanied by a chamber orchestra. This piece is composed in partial fulfillment of the requirements of the degree Master of Music with a concentration in Music Composition from the University of Tennessee, Knoxville. Exodus was composed during the 2010-2012 academic years.
This paper provides a narrative analysis of Exodus in terms of its musical content, and relationships to other composers of the last century. Similarities to these composers refer to form, orchestration, melody, harmony, rhythm, and meter.
Disruptive Voices In The American Musical Discourse: Comic Song Performance In The American Parlor, 1865-1917, Kevin Steven O'Brien
Disruptive Voices In The American Musical Discourse: Comic Song Performance In The American Parlor, 1865-1917, Kevin Steven O'Brien
Masters Theses
In the latter half of the nineteenth century, the American song sheet industry vastly increased in size. This mass mediated form reached a broad number of consumers, who performed this music in their homes, identified with it, and shaped the new discourse on their identity as they did so. Simultaneously, Americans were re-shaping their cultural conceptions of music, in a process Lawrence Levine chronicled as the emergence of “highbrow” and “lowbrow” distinctions. Performing music in the culturally sacralized space of the parlor was meant to be an edifying experience and a display of genteel, “highbrow” identities. Performing comic songs (comic …
Brundibár: Confronting The Misrepresentation Of Resistance In Theresienstadt, Anna Catherine Greer
Brundibár: Confronting The Misrepresentation Of Resistance In Theresienstadt, Anna Catherine Greer
Masters Theses
Brundibár, a children’s opera written by Czech composer Hans Krása (1899-1944), routinely appears in Holocaust musical scholarship as a depiction of “thriving” Jewish cultural activity during the Holocaust. First performed clandestinely in a Prague orphanage in 1942, the work was ultimately co-opted by Nazi authorities in Theresienstadt. Under the jurisdiction of the Freizeitgestaltung (Leisure Time Activities), the opera came under control of the camp administration and became part of several propaganda schemes, including the 1944 Nazi propaganda film, Der Führer schenkt den Juden eine Stadt (The Führer Gives a City to the Jews). In preparation for the International Red …