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Hearing History: Musical Borrowing in the Percussion Ensemble Works, Duo Chopinesque and Chameleon Music: Duo Chopinesque by Michael Hennagin and Chameleon Music by Dan Welcher represent two of the most significant percussion ensemble compositions written in the last twenty years. Both works are written for the mostly mallet type of percussion ensemble wherein the keyboard instruments predominate. However, the most unique aspect of these two pieces is their use of musical quotation. Duo Chopinesque borrows Chopin's Prelude in E minor in its entirety, while Chameleon Music borrows portions from four Mozart Sonatas. This paper places each work within the history of the percussion ensemble, and in the larger history of musical quotation in the twentieth century. In addition, the compositional characteristics of both works are examined with particular emphasis on each composer's use of borrowed material from the music of Mozart and Chopin. Particular attention is paid to the relationship between quoted material and newly composed rhythmic motives.
A Study of Franz Liszt's Concepts of Changing Tonality as Exemplified in Selected "Mephisto" Works: The purpose of this study is to analyze four late solo piano works of Franz Liszt that all bear the name "Mephisto" in their titles, in order to examine, identify and trace the development in the use of harmonic and melodic idioms that produced non-tonal or "omnitonic" effects, on the one hand, and to emphasize the need to duly accord Liszt a recognition of historical position as the nineteenth century's most influential avant garde composer whose attitude and approach had helped to shape much of the ideal of the atonal composition of this century, on the other. Chapter One presents the issues and the purpose of this study; Chapter Two investigates the principal forces that shaped Liszt's mature compositional style; Chapter Three identifies and discusses the requisites for tonal and atonal compositions; Chapter Four analyzes the four "Mephisto" dances: Waltz no.1 (1860); Polka (1883); Waltz no.3 (1883); and Bagatelle (1885). Chapter Five summarizes the findings from this study and attempts to identify in these late works of Liszt a pattern of conscientious, continuous, purposeful and progressive use of devices toward creating musical effect that would defy the established tonal requisites and undermine the tonal orientation in the composition. This study submits that it was Liszt who had first shown a way to free music from the shackles of prescribed idiomatic constraints, and to force us the listeners to approach and appreciate music for its own sound's sake. Additionally, this study submits that this effort of Liszt should be understood and appreciated in terms of programmatic association; that is, Liszt found in the persona of Mephisto the Diablo the ideal imagery for depicting the nature of the "music of the future" where tonality would be freed from any prescribed procedural requisites.
Symmetrical Features of Nikolai Medtner's Language: The Grzovaya Sonata, Opus 53 No. 2: Nikolai Medtner's works evidence an intense interest in symmetrical designs. This concern is manifest at all levels, from the large scale proportions of his numerous ingenious sonata forms to the symmetrically constructed themes and motives. Medtner's works include several instances of palindromic themes and periods. Some palindromic contours are achieved through immediate inversion, creating expansive, symmetrical waves. One of Medtner's thumbprints, symmetrical contrary voice-leading, consists of two or more voices which systematically expand or contract in exact mirror fashion. The contrary movement is usually stepwise, and may be either chromatic or diatonic. Occasionally even larger intervals, such as thirds and fourths, are subjected to this favourite mirroring technique. Such symmetrical expansion and contraction often controls the harmonic progression of several consecutive bars. One of the most striking aspects of Medtner's music is his sophisticated harmonic language. He was fascinated with symmetrical harmonic designs, such as the tritone, the French sixth chord, and the octatonic scale, and made endless and increasingly intricate explorations into these stuctures and the ways in which these apparently nontonal, non-hierarchical forms could be coordinated with the fundamental hierarchy of asymmetrical tonal forms, including triads, major and minor scales, and tonic-dominant relations. Medtner's late work, the Grozovaya Sonata, Opus 53 No.2, is the most concentrated and abstract of his works. The themes are built from highly lapidar motives, giving this work an intensely angular, rigorously mathematical character. All the symmetrical hallmarks of Medtner's language are in abundant evidence in this great work. Features include the extensive symmetrical mirroring of the opening section, frequent use of contrary voice leading as a generator of harmonic progression, and constant tritone shifting. Medtner also builds sequential chains based on two more symmetrical forms, the diminished seventh and the augmented triad. Finally, the design of this unique single movement sonata may be …
An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others: Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach to melody, harmony, and rhythm acknowledging the traditions of earlier eras. This study examines compositional techniques, aspects of formal structure, tonality, melodic content, and marimba technique found in David Maslanka's Arcadia II: Concerto for Marimba and Percussion Ensemble (1982), and Concerto for Marimba and Band (1990). Transcripts of personal interviews provide valuable insights into Maslanka's approach to composition and other issues pertinent to the study of his compositions for marimba. Biographical information and an overview of his works that include marimba will serve as background material.
Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble: Reconstructions is a nine-movement composition for solo soprano, chorus, and wind ensemble using texts from several of Emily Dickinson's poems. The soloist represents the main character in this dramatic work, and the narrative structure portrays abstract moments in this character's life. While the narrative structure of the reconstructed fragments is important to the form of the composition, other elements are also significant. Pitch structures generated from set theoretical systems, in addition to cyclic and palindromic structures are utilized throughout. Timbre also delineates the form, as various combinations of instruments and chorus create an evolving environment in which the soloist resides.
An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski: The purpose of this study is to analyze sets of variations on Paganini's theme by three twentieth-century composers: Ferruccio Busoni, Ignaz Friedman, and Robert Muczynski, in order to examine, identify, and trace different variation techniques and their applications. Chapter 1 presents the purpose and scope of this study. Chapter 2 provides background information on the musical form "theme and variations" and the theme of Paganini's Twenty-fourth Caprice, Op. 1. Chapter 2 also deals with the question of which elements have made this theme so popular. Chapters 3,4, and 5 examine each of the three sets of variations in detail using the following format: theme, structure of each variation, harmony and key, rhythm and meter, tempo and dynamics, motivic development, grouping of variations, and technical problems. Chapter 6 summarizes the findings from this study and attempts to compare those elements among the three variations. Special attention is given to the application of the motivic cells, which are drawn from the original Paganini theme, in the development of succeeding variations. This study shows how these motivic cells contribute to the construction of new motives and melodies in each variation. Additionally, this study attempts to examine each composer's efforts in expanding variation procedure to the areas of structures and tempo markings in succeeding variations.
Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others: Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.
Young-Jo Lee's Variations on the theme of Baugogae: In search of his own language, a lecture recital, together with three recitals of selected works of J. Haydn, S. Rachmaninoff, R. Schumann, O. Messiaen, and F. Liszt: The objective of the dissertation is to examine Young-Jo Lee's (b. 1943) musical language as exhibited in his piano composition, Variations on the theme of Baugogae. Subjects of discussion include Lee's use of direct and indirect musical borrowings from past European composers and traditional Korean folk idioms. Also included are a biographical sketch of the composer and historical overview of modern Korean composers. This dissertation investigates Lee's effort to synthesize traditional Korean music and Western music in one art form and ultimately, to create his own musical language.
New Resources in Twentieth-Century Piano Music and Richard Wilson's Eclogue (1974): This dissertation draws some of the innovative composers from the early 1900's to the 1960's into the spotlight to highlight their new musical and pianistic ideas. These composers, including Debussy, Schoenberg, Webern, Bartók, Cowell and others, brought new creative forces into piano music, generating many distinctive features of modern music. The discussion of new resources in harmonic language, timbre, texture, form and concept of time has a direct bearing on aspects of Richard Wilson's Eclogue itself as well as aspects of performance problems. American Composer, Richard Wilson, has written three substantial piano solo works, Eclogue, Fixations, and Intercalations. Eclogue, from 1974, is a one-movement work. The detailed analysis of Eclogue covers aspects of form, harmonic language, timbre and texture, and rhythm and time. In addition, essential issues of performance problems such as notation, rhythmic control, extended techniques, hands distribution, and pedaling are also discussed.
Light From Behind the Iron Curtain: Anti-Collectivist Style in Edison Denisov's Quatre Pièces pour flûte et piano, With Three Recitals of Selected Works by Bach, Beaser, Carter, Fauré, Martin, Ibert, Liebermann, and Others: An examination of the compositional style illustrative of the anti-collectivist ideology as found in Edison Denisov's Quatre Pièces pour flûte et piano. Includes a short history of Denisov's formal training, history of the Soviet musical environment, an overview of his creative output, and discussion of the anti-collectivist characteristics in his works. Defines the anti-collectivist doctrine as individual reaction to the totalitarian collective of the Soviet communist state of the twentieth century. Identification of eclectic compositional techniques, and how they represent individual expression under a totalitarian regime. Listing of Denisov's works with the flute in a primary role, interviews with Aurèle Nicolet and Ekaterina Denisov, correspondence from Denisov to Nicolet, and the manuscript score to Quatre Pièces pour flûte et piano follow as appendices.
Jules Massenet's Musical Prosody Focusing on His Eight Song Cycles And A Collection, Expressions Lyriques: A Lecture Recital, Together with Recitals of Selected Works of W. A. Mozart, F. Schubert, C. Debussy, R. Strauss, D. Argento, V. Bellini, J. Marx, W. Walton, C. Gounod, A. Scarlatti, G. Fauré, J. Rodrigo, H. Wolf, and Others: Jules Massenet's mélodies feature a distinct vocal treatment regarding musical prosody through his eight song cycles, including Poëme d'Avril, Poëme Pastoral, Poëme du Souvenir, Poëme d'Amour, Poëme d'Hiver, Poëme d'un Soir, and Quelques Chansons Mauves, and a collection, Expressions Lyriques. These mélodies show the influence of the trend of salon music and the high-level poetry from the poetic movements of romanticism, Parnassianism, and symbolism. This study deals with Massenet's mélodies relating to the prosody idea, which is conspicuous in his vocal treatment. His melodic styles feature four distinct aspects of vocal treatment including lyrical, recitative or parlando, melodramatic, and déclamation rhythmée, and represent the idea of musical prosody of phonetic, syntactic, and semantic aspects. Massenet's other musical idioms such as harmony, form, and piano treatment, are also closely related to the prosody matter as a semantic aspect, reinforcing the poetic mood and content. In this study, each melodic style related to French versification is examined in detail. The musical analysis regarding the other musical idioms on selected examples presents the semantic feature of prosody idea. The brief review of French versification and opinions regarding the performance are included. Massenet's contribution to the genre of mélodie, with the prose melody and treatment of piano as an equal partner of voice line, is clearly demonstrated. With this contribution, Massenet should be recognized as the most influential composer to the climatic time of French mélodie led by Fauré, and Debussy, and Duparc.
The Nightingale's Flight from Opera to Symphonic Poem: A Comparative Study of The Nightingale and The Song of the Nightingale by Igor Stravinsky: An analysis of the transformation from Stravinsky's opera The Nightingale to The Song of the Nightingale, a symphonic poem by the same composer. The text includes a brief history of Stravinsky's life and the genesis of The Nightingale and The Song of the Nightingale. The bulk of the dissertation discusses actual changes employed by Stravinsky (with score examples). Patterns of modifications are identified and discussed as they relate to the composer's change of attitude in orchestration. The analysis focuses on overall patterns of alteration imposed by Stravinsky and their perceived effectiveness achieving a symphonic aural outcome.
The Study of English, French, German and Italian Techniques of Singing Related to the Female Adolescent Voice: Throughout the recorded history of vocal development certain characteristics can be traced to nationalistic roots. This work explores the four major schools of singing: English, French, German and Italian and includes a brief history of the pedagogical development and ideas of these schools' development. In addition, specific techniques and their similarities and differences, between each school is explored. Through the use of students as a control group, various characteristics within the four schools are implemented in coaching. The results are noted. The major theme of this work is to outline the major schools of vocal pedagogy and to contrast and compare specific techniques found in each school. Furthermore, regarding the individual student, the positive and negative effects of teaching in a dedicated fashion to one school versus the implementation of proven methods, of various schools, even though they cross nationalistic boundaries, has been the major thrust of this investigation
A Transcription of Op. 94 Morceau de Concert, by Camille Saint-Saëns For Solo Bass Trombone and Brass Ensemble: The transcription is an addition to the repertoire for brass ensemble and bass trombone. Consideration is given to the nineteenth-century orchestration treatises of Berlioz and Strauss as well as the twentieth-century texts of Erik Leidzén, Walter Piston, and Samuel Adler. The transcription process is shaped by the principles of these writers. The score is contained in the appendix.
Alexander Johnson's Ni' Concerto (1994) - Concerto no. 1 for Piano and Orchestra: a Discussion of Influences from Africa, Eastern and Western Europe: In the new generation of artists emerging in South Africa, Alexander Johnson is considered the most prolific young composer of his day. In a recent review in the Pretoria News, Johnson has been praised by eminent critic Paul Boekkooi as a composer who has “an ear for the exotic and knows exactly how to bring it off....” He continued by noting that his music is “mentally engrossing, pleasurable to the senses and seems refreshingly free from dogmatic formulas." Johnson writes for musicians and the general public to equal satisfaction. His accessible compositions and catching use of melodic materials have made his writings very popular both in South Africa and abroad. During his residency in Belgrade in 1993-94, Johnson met Croatian pianist Dorian Leljak. Impressed with Johnson's compositional ideas and output, Leljak commissioned a work from Johnson for piano and orchestra. The result was the Ni Concerto, which Johnson completed in April 1994. The world premiere took place on June 23, 1994 with the Ni Philharmonic Orchestra conducted by Anatoli Nowiestski with Dorian Leljak as soloist. The Ni Concerto received its South African premiere in 1995 during a simultaneous celebration for “Europe Day” and the new democracy of the Republic of South Africa. The Delegation of the European Commission of South Africa sponsored the celebration, which took place in the Aula Auditorium on the campus of the University of Pretoria. The performers included the Artium Symphony Orchestra, conducted by Dutch-born Prof. Henk Temmingh and Johnson himself as piano soloist.
The Songs of David Amram: A representative analysis and review of published vocal music for accompanied and unaccompanied voice: David Werner Amram III, born in Philadelphia in 1930 is a celebrated American composer whose works have increasingly gained worldwide attention. His compositions embrace many genres including incidental music, film scores, symphonies, concertos, sonatas, instrumental trios, quartets, cantatas and operas as well as songs. One of Amram's earliest published songs, Pull My Daisy, is from his musical score for the experimental film of the same name. The song, text by Allen Ginsberg, Neal Cassady and Jack Kerouac, is set in a jazz style. Twelve of his songs, published in three collections are drawn either from his incidental music for Shakespeare plays or from his chamber opera, Twelfth Night. Another group written for baritone voice, wind and string quintets is entitled Three Songs for America. Trail of Beauty for mezzosoprano, oboe and orchestra contains four settings of Native American texts. The first chapter of this paper provides a biography of the composer. Succeeding chapters give some analysis of representative songs from each published group, background to their composition, texts, information from reviews where available, and the composers own comments from telephone interviews with the writer. An appendix contains brief illustrations of music from representative songs. It is observed that Amram's multifaceted musical interests have led him to write appealing and interesting music, both instrumental and vocal.
Similarities in the Use of Dramatic Recitative Style in the Music of Claudio Monteverdi and Giuseppe Verdi, with Some Performance-Practice Issues: The objective of this dissertation, inspired by performance experience, was to establish the similarities in the use of recitative style in the music of Claudio Monteverdi and Giuseppe Verdi. To achieve this objective, their use of recitative style was examined through comparative analysis of four scenes from their operas: “Arianna's Lament” from L'Arianna and “Disprezzata regina” from L'incoronazione di Poppea by Monteverdi, and “Condotta ell'era in ceppi” from Il trovatore and “Judgment Scene” from Aida by Verdi. The examination of the similarities included a discussion of the following: (a) the historical influences and cultural backgrounds of the composers; (b) general similarities in their compositional approaches to recitative style; (c) comparable characteristics of the dramatic recitative style in the early Baroque monody and in Verdi's operas; (d) similarities in musical characterization and expression of affective and emotional content through stylistic musical devices; (e) similarities in the composers' approaches to vocal and acting issues with special emphasis on the problems of diction; and (f) some related performance-practice issues. A discussion of the poetic lament and the influence of its form and content on musical setting was also a part of this research. The comparative research revealed numerous similarities in the historical circumstances influencing Monteverdi's and Verdi's choice of musical styles; their motivation; formal and stylistic characteristics of their dramatic recitative scenes; their choice of libretto; their use of the elements of lament; their musical treatment of emotional content of the text; and their prerogatives in vocal and acting issues. Numerous similar characteristics were also established regarding vibrato, tempo, rhythm, and ornamentation in the performance practice of the early Baroque recitative soliloquy and Verdi's dramatic recitative scenes. The similarities of the four scenes' functions, topics, form, and characterization through devices of musical style indicated a fundamental continuity in the development of Italian opera …
Two selected works for solo trumpet commissioned by the International Trumpet Guild: A structural and performance analysis with a history of the commission project, with three recitals of selected works by Arutunian, Haydn, Fasch, Chaynes and others: An historical overview of the ITG commission project is presented, as well an analysis of formal organization and significant features for two of the commissioned works: Sonata for Trumpet and Piano by Norman Dello Joio and Sonata for Trumpet and Piano by Eric Ewazen. Complete histories of all works and information concerning their premieres is chronicled. The degree of difficulty of each composition is assessed through an investigation of tessitura, range, melodic contour, endurance factors, articulation, fingerings, and technical features of the accompaniment (when applicable). Analysis of tempi and dynamics, articulation and phrasing, and timbral considerations provides additional points of study. The thirteen commissioned solo works from 1978 to 1993 are: Sonata for Trumpet and Piano by Norman Dello Joio, Concerto for Trumpet and Wind Orchestra by Bernhard Heiden, Laude by Stan Friedman, Concerto for Trumpet and Strings by Raymond Premru, Chamber Music VII: Ceremonies and Chamber Music VIII by Robert Suderburg, Sonata for Trumpet and Piano by Fisher Tull, Concerto for Trumpet and Orchestra by William Schmidt, Concerto for Trumpet and Wind Ensemble by Jan Bach, Arioso for Trumpet and Woodwind Quintet by Jerzy Sapieyevsky, Invocation of Orpheus by Robert X. Rodriguez, Triptych by David Sampson, and Sonata for Trumpet and Piano by Eric Ewazen. The importance of these works and their impact on the trumpet repertoire is assessed. Possible reasons for the acceptance of some of these works by trumpeters versus the lack of acceptance of the others are proposed. Through interviews with some of the composers, analyses of the compositions and a comparative survey of performance programs by members of the International Trumpet Guild, conclusions regarding the effectiveness of the commissioning project and its future are drawn.
Percussion scoring and orchestration in the wind and percussion ensemble literature of Jared Spears and David Gillingham: While many composers of wind ensemble literature have utilized percussion extensively in their compositions, Jared Spears and David Gillingham are renowned wind ensemble composers who have also written specifically for the percussion ensemble. Within their writing, both have exploited percussion through innovative scorings and their interest in rhythm, timbre, and density. The purpose of this study is to explore the scoring practices (functions of the instruments and combinations) and orchestration techniques (rhythmic and density relationships) of both composers, focusing on the manner and extent to which percussion is employed in their wind and percussion ensemble literature. The criteria for examining each piece and genre were developed to compare and contrast each composer's scoring and orchestration characteristics. To this end, each piece and genre was examined through several scoring categories designed to analyze overall ensemble relationships as well as individual functions of the percussion instruments. These categories were also applied to sections of music, focusing specifically on combinations of instruments and the relationship of ensemble choirs in separate and combined roles. Finally, percussion orchestration was examined with respect to motives, rhythmic underpinnings, metric usage, density relationships, and the significance of these elements to structural unity and form. These comparisons showed that, while sharing certain characteristics, each composer treats percussion scoring and orchestration in different manners, displaying "signature" aspects that make his writing unique. The application of these shared and individual traits, and the extent to which they are employed, define each composer's distinctive style.
Selected Songs for Chamber Winds and Soprano: Rediscovering a Forgotten Repertoire of John Philip Sousa: For over one hundred years, the music-going public has reflected on the life and influence of America's “March King,” John Philip Sousa. His popularity as a bandleader was unprecedented, and his reputation as an entertainer captivated the imagination and intrigue of a nation. Sousa's fame was attained through the high standards showcased by his unparalleled concert organization, the Sousa Band. He is interminably linked to the march, and for his seventy-seven years he proved to be its prolific and outspoken champion. Sousa's songs, however, were among his favorite works, and their presence on concert programs reinforced a variety of programming that was the hallmark of his success. The Sousa Band served as a cultural and musical ambassador, and annual transcontinental tours brought music to people where they lived. Sousa's songs were highly anticipated concert features, and were presented by soprano soloists known as the “Ladies in White.” A chamber winds instrumentation, rather than employment of the full-forces of the Sousa Band, allowed for an appropriate musical balance between instruments and voice. The “Forgotten Songs of John Philip Sousa Project” involved the research, editing, and performance of songs housed in the Sousa Archives for Band Research at the University of Illinois. Three songs discussed in this study, “Maid of the Meadow,” “The Snow Baby” from The Bride Elect, and “I've Made My Plans for the Summer” have been edited and performed in their intended setting for chamber winds and soprano. The songs in the Sousa collection resonate with a quintessential essence that recalls an American spirit and artistry that are closely linked with John Philip Sousa and his legendary band.
Form and Lyricism as Elements of Neo-Romanticism in Summer Music Op. 31 by Samuel Barber (1957) with three recitals of selected works by Bach, Mozart, Hindemith, Handel, Gaubert, and others: The music of Samuel Barber is well known in the vocal, piano, and string literature; however, little of his chamber music involves woodwinds, and in particular, only one work involves the woodwind quintet. Summer Music, originally commissioned as a septet, developed after the premiere of the work into the woodwind quintet version, with the assistance of the New York Woodwind Quintet. Barber is considered a contemporary .romantic. composer, evidenced through his use of lyricism. Summer Music, a standard in the woodwind quintet literature, should be included in every professional flutist's repertoire. The intent of this dissertation is to consider Barber's use of lyricism as a determinant of the form of Summer Music, as well as to compare the differences between the manuscript and the published edition.
The Musical Language of Joan Tower: An Energy Line Analysis of Island Prelude for Oboe and Wind Quartet: This dissertation provides an analysis of Island Prelude based on a method of analysis prescribed by the composer. The method, Energy Line Analysis, is essential to an enlightened performance. The content of this dissertation includes: biographical information, compositional influences, Joan Tower style periods, her works involving the oboe in a major role, and an Energy Line Analysis chart of Island Prelude. Island Prelude represents Joan Tower's musical language, the understanding of which is essential in an interpretation of her music.
A Performer's Analysis of Lili Boulanger's Clairières dans le ciel: Song Cycle for High Voice and Piano; a Lecture Recital Together with the Role of Blanche in Dialogues of the Carmelites by F. Poulenc and Two Recitals of Selected Works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W. A. Mozart, R. Schumann and G. Fauré: Lili Boulanger was an important composer of early twentieth century French music. Her compositional style represents a development and mastery of musical techniques of the great composers of her time including Fauré, Debussy and Wagner combined with her own creative expression. The result is a compelling musical language that was uniquely her own. She held an important place among her contemporaries in Paris and her accomplishments were considered newsworthy during her lifetime (1893- 1918). She obtained a much sought-after publishing contract with Ricordi. Her more famous sister, Nadia Boulanger, felt that Lili was the better composer of the two, and her peers and music professors clearly felt that both her musical and personal qualities were extraordinary. Evidence of her intelligence, creativity, and artistic growth can be seen in her music. As the first woman to win the Prix de Rome (July 5, 1913), Lili Boulanger, unlike Clara Schumann, Fanny Mendelssohn, or Alma Mahler, was acknowledged and acclaimed during her lifetime for her skill as a composer. Yet, nearly a century later the music of this talented French composer is not as well known as it deserves to be. In an effort to discover the reasons for this relative anonymity, this document will examine Lili Boulanger's life including her family and childhood influences, musical training, preparation for the Prix de Rome and the influence of Claude Debussy and other composers. This document will discuss her mature compositional style, specifically as it is reflected in her song cycle, Clairières dans le ciel. The text will be examined in conjunction with the literary movement of symbolism in 20th century France and the symbolist poet, Francis Jammes, with special attention to the composer's personal identification with the poetry. Considerations of the musical setting of the cycle will include the melodic style as it relates …
Carl Gottlieb Reissiger (1798-1859) Forgotten Composer for the Clarinet: Carl Gottlieb Reissiger was a successful German composer, conductor, and teacher in the first half of the nineteenth century. At the height of his career, he was Hofkapellmeister of theater and opera in Dresden, a position he held until his death. He was a composer of more than 200 works in a multitude of different genres. Today he is mainly known as a composer of opera, a small portion of his total output as a composer. He wrote approximately eighty piano solos, eighty collections of songs or duets, nine masses, and many smaller sacred choral works, as well as 27 piano trios, seven piano quartets, and three piano quintets. In addition to these many works, he wrote five works for the clarinet: Concertino, op. 63, Duo Brillant for clarinet and piano, op. 130, Fantasie, op. 146, Second Fantasie, op. 180, and Adagio und Rondo alla polacca, op. 214. This document provides a biographical sketch of Reissiger, including his personal life, his life as a conductor, and his life as a composer. It also provides a look at the artistic life of his day: his fellow composers and the music they were writing for clarinet, outstanding clarinetists and the different instruments they were playing. The aim of this study is to provide a stylistic analysis of Reissiger's five works for clarinet, including a discussion of form, melody, harmony, and rhythm. This document puts forth the proposal that these works are worth resurrecting and that Reissiger, as a composer of clarinet music, is more than just a secondary composer.
Sonata for Piano (1963) by Sergei Michailovich Slonimsky: Musical Analysis and Discussion on Interpretation and Performance: The essay begins with the overview of Russian-Soviet piano music from the second half of the 19th century to the end of the 20th century. Then, biographical information about Sergei Slonimsky and an overview of his major compositions is provided. The majority of the paper focuses on Slonimsky's Sonata for Piano (1963). A brief discussion of the Sonata's compositional history is followed by the formal analysis of the overall structure of the work. Slonimsky's original principle of organization of the music is emphasized: the system of constant interrelation of the main thematic material combined with elements of the sonata-allegro form. In the analysis of the harmonic language of the piece, the composer's extensive use of Russian folk elements such as diatonic melodies, sigh motives, parallel triads, and simultaneous use of the lower third with the major triad is pointed out. The rest of the paper focuses on issues of interpretation and performance. Special notice is given to the problem of incorporating a percussive type of playing with the elements of folk cantilena singing. The paper concludes with the history of Sonata's performances and a discussion of current recordings.
Michael Daugherty's Red Cape Tango: A Comparative Study of the Original Version for Symphony Orchestra and its Transcription for Wind Orchestra, with Four Recitals of Selected Works by Beethoven, Dvorák, Verdi, Bartók and Daugherty: Michael Daugherty has created his niche in the music world by composing works inspired by icons of American popular culture. Red Cape Tango is the final movement of his Metropolis Symphony, a work inspired by the life and times of the comic book character Superman. This movement in particular deals with the death of the superhero through the use of musical elements, most notably the Latin Sequence of the Mass for the Dead, Dies irae. Daugherty's ingenuity in blending profoundly dark subjects with humor is particularly evident in this work. Death is personified as a temptress and lures Superman through the power of a seductive tango. This study concentrates on Daugherty's compositional style and its impact in musical circles. A transcription for wind orchestra was created by another composer/conductor precisely because of the need to bring such an important work to another medium, thus making it accessible to a wider audience. In addition, this study looks at the changes in instrumentation necessary to create a second, equally formidable version of the work.
Music for Solo Bassoon and Bassoon Quartet by Pulitzer Prize Winners: A Guide to Performance: The Pulitzer Prize in Music has been associated with excellence in American composition since 1943, when it first honored William Schuman for his Secular Cantata No. 2: A Free Song. In the years that followed, this award has recognized America's most eminent composers, placing many of their works in the standard orchestral, chamber and solo repertoire. Aaron Copland, Samuel Barber, Walter Piston and Elliott Carter are but a few of the composers who have been honored by this most prestigious award. Several of these Pulitzer Prize-winning composers have made significant contributions to the solo and chamber music repertories of the bassoon, an instrument that had a limited repertoire until the beginning of the twentieth century. The purpose of this project is to draw attention to the fact that America's most honored composers have enlarged and enriched the repertoire of the solo bassoon and bassoon quartet. The works that will be discussed in this document include: Quartettino for Four Bassoons (1939) - William Schuman, Three Inventions for Solo Bassoon (1962) - George Perle, Canzonetta (1962) - John Harbison, Metamorphoses for Bassoon Solo (1991) - Leslie Bassett and “How like pellucid statues, Daddy. Or like a . . . an engine” (1994) - John Corigliano. Each chapter will include a brief biography of the composer, a historical perspective of where that composition lies in relation to their other works, background information about the work, a formal analysis and suggestions for performance.
The Contributions of Thomas G. Everett to Bass Trombone Repertoire, Literature, and Research.: Thomas G. Everett's activities as a catalyst for bass trombone repertoire and scholarship are significant in the development of further research in the field, and in the development of new performance repertoire. An examination of Everett's life and musical influences precedes the detailing of his pursuits of new solo/chamber music for the bass trombone. A discussion of Everett's efforts in obtaining new performance repertoire by means of commission or request is followed by an examination of four pieces composed for Everett. The four pieces profiled are Sonata Breve by Walter Hartley, Prelude, Fugue, and Big Apple by Walter Ross, Everett Suite by Ulysses Kay, and 100 Bars for Tom Everett by András Szöllösy. Three of these four pieces, the Hartley, Ross, and Kay selections, are the repertoire for the performance recital portion of this research. Everett's contributions in the area of publication, including details of his Annotated Guide to Bass Trombone Literature are addressed as well as his role as founder of the International Trombone Association (ITA) and the implications of this organization's existence upon the growth of knowledge in the area of trombone pedagogy and performance. Two appendices account for the pieces in which Everett was involved in bringing to the repertoire. A third appendix is an annotated bibliography of Everett's trombone-related periodical publications.
A theoretical analysis of selected solo repertoire for saxophone by Paul Bonneau.: The primary purpose of this dissertation is to provide greater insight into the compositional design of Paul Bonneau's Caprice en forme de valse solo pour saxophone and the Piece Concertante Dans L'Esprit "Jazz" pour saxophone alto et piano through a detailed analysis of the pieces. Paul Bonneau's Caprice en forme de valse is a major work for saxophone. It has been referred to as one of the most technically demanding works in the classical saxophone repertoire. In addition, the Caprice has been transcribed for the flute, clarinet and bassoon. In fact, the Caprice has been designated as "one of the most musically cohesive unaccompanied works written for any wind instrument." Bonneau's Piece Concertante Dans L'Esprit "Jazz" is also an important work in the repertoire due to its high degree of virtuosity and unique fusion of traditional classical and jazz elements. The analysis process focuses initially on the fundamental elements of music. Each analysis begins with an outline and description of the formal design of the piece. Major sections and their various subdivisions are detailed specifically. The tonal organization of the piece is presented. Large scale tonal areas are identified along with detailed discussions pertaining to specific harmonic structures. Due to the nature of the harmonic content of the pieces, standard contemporary chord symbol nomenclature is used. A table detailing various chord types and their associated symbols is provided. Information regarding the character and construction of Bonneau's melodies is presented. Items pertaining to melody include the use of step progressions, the variation principle, canonic effects and sequence. Basic rhythmic characteristics are outlined, as well. In addition to items related to the harmonic, melodic and rhythmic organization of pitches, other aspects of the music such as texture, articulation, dynamics and tessitura are integrated into the analytical discussion. Specific comments regarding the application …
The Nineteenth Century Oboe Concertino: An Overview of its Structure with Two Performance Guides: Music written for oboe and orchestra in the nineteenth century falls into three categories: Classical Concerto, Opera Fantasy, and Concertino. The classical, or standard, three movement, sonata-ritornello format was only sparingly used. Instead, composers chose more the experimental forms of the Opera Fantasy and Concertino. The Opera Fantasy was used as a way for oboe players to play popular opera arias of the time, while showcasing their virtuosity and expression. It is in the Concertino where composers expanded the oboe repertoire to its highest form in the nineteenth century, experimenting with structure, and using the oboe to the height of its expressive powers. In addition to discussion on the Concertino in general, performance guides have been provided for two concertinos, Concertino for Oboe and Winds, by Carl Maria von Weber and Concertino for Oboe and Orchestra, Op. 18, by August Klughardt. Information is provided regarding composer biography, compositional/historical perspective, technical and stylistic considerations, and structure. By examining the two very different pieces, one from the beginning of the nineteenth century and one from the end, the evolution of the Concertino can be seen, as well as gaining an understanding of the wide variety of repertoire written for the oboe in the nineteenth century.
A Performance Guide to Tomas Svoboda's Duo Concerto for Trumpet and Organ, Op. 152: The Duo Concerto Trumpet and Organ, Op.152 by Tomas Svoboda was written in memory of and commissioned by the friends of the late Richard Thornburg, second trumpet of the Oregon Symphony. Through the use of primary sources, Tomas Svoboda, composer and organist at the premiere, and Fred Sautter, principal trumpet of the Oregon Symphony and trumpeter at the premiere, the performance guide illuminates the piece with a discussion of five different topics. Chapter 2 of the guide reveals the circumstances of the commission and the initial compositional process. Chapter 3 discusses the performance history of the concerto, including the premiere. Chapter 4 provides analytical insights with programmatic titles accompanying the formal layout of the piece. Chapter 5 presents the piece from the standpoint of performance preparation. Chapter 6 concludes the guide with final thoughts of the composer, Tomas Svoboda. The guide provides the performer studying this piece the historical context of the concerto and highlights programmatic elements of the piece not apparent in its published form.
Gustav Mahler's Kindertotenlieder: Subject and Textual Choices and Alterations of the Friedrich Rückert Poems, A Lecture Recital Together with Three Recitals of Selected Works of F. Schubert, J. Offenbach, G. Finzi, and F. Mendelssohn: The bulk of scholarly research and discussion of Mahler's Kindertotenlieder deals with musical concerns and analyses. This study explores the significance of Mahler's selection and use of the poetry of Friedrich Rückert and, in particular, the personal significance of the textual treatment to Mahler. A comparison of the original Rückert text with Mahler's and his textual alterations, as well as a literal translation of the text, is included. The results revealed through the process stated above provides the vocal performer of Gustav Mahler's Kindertotenlieder with a study and performance guide for the artist intent on a more complete textual understanding and delivery.
The Influence of Selma Meerbaum-Eisinger's Death on Xaver Paul Thoma's Composition of Ich bin in Sehnsucht Eingehüllt: Sieben Lieder für Sopran und Klavier, A Lecture Recital Together with Three Recitals of Selected Works of O. Messiaen, G.F. Handel, A. Scarlatti, J.S. Bach, W. Latham, and Others: The aim of this study is to introduce the contemporary German composer, Xaver Paul Thoma, and his composition, Ich bin in Sehnsucht Eingehüllt on the poems of Selma Meerbaum-Eisinger. This study explores the possible reasons behind Thoma's decision to set the poems, as well as the circumstances and significance of the poets' life and poetry, made known through Thoma's composition. An analysis of each song is included, emphasizing especially the relationship between text and music.
Performing the Trumpet works of Donald Erb; A Guide to Preparation, Interpretation and Practices: A Lecture Recital, Together with Three Recitals of Selected Works by Purcell, Hindemith, Holmes, Friedman, Koetsier and Others: This study is a guide to the performer on practices associated with the trumpet music of Donald Erb. It examines the following solo and duo compositions for trumpet: the as yet unpublished Sonatina for Trumpet and Piano (1954); Four Duets for Trumpets (1960); Diversion for Two for trumpet & percussion (1966); Concerto for Trumpet and Orchestra (1980); Remembrances for two trumpets (1994); and Dance, You Monster, To My Soft Song for solo trumpet (1998). A history of each composition and information concerning the performers who premiered them are documented. An examination of particular harmonic, melodic and rhythmic elements found frequently in these pieces follow. The pieces are further assessed for difficulty through an investigation of extended technical demands, range, endurance and articulation. Additional discussion focuses on the use of mutes, tempos and dynamics as well as suggestions for the preparation and performance of these works. The dissertation concludes with a review of Donald Erb's legacy as a composer and teacher. A comprehensive discography and complete list of Mr. Erb's compositions are included in appendices.
"Ch'io t'abbandono" by Felix Mendelssohn Bartholdy: A Dramatic Image of the Education and Aptitudes of the Composer: The unpublished concert aria, "Ch'io t'abbandono," by Felix Mendelssohn Bartholdy (1825), is representative of the adolescent composer's developing musical aesthetic. In this study, Mendelssohn's education, work ethic, and perfectionism are revealed, paradoxically, as both the catalysts for the piece's composition and also the reasons it was not published during Mendelssohn's lifetime. An exploration of the text, form, thematic usage, and performance demands of the aria yields specific examples of his uniquely balanced romantic-classicist style. A consideration of possible original performers of the piece, Franz Hauser and Eduard Devrient, leads to further discussion about the nature of the work as both a reflection of Mendelssohn's romantic self-expression and his appreciation for the Baroque melismatic style. The significance of the aria, both stylistic and biographical, is further delineated by a presentation of possible motivations for its composition. The musical setting of the text, as well as the text itself, indicates both Mendelssohn's awareness of himself as a maturing adolescent composer and his desire to be a composer of operatic works, a desire that was never fully realized.
The Piano as an Orchestra: The Accompanist and the Twentieth-Century Orchestral Reduction: The musical developments of the 20th century have expanded the role of the accompanist. As the compositional output of our time increases, and the opportunity to perform as soloist with an orchestra diminishes, piano reductions of an orchestral score are becoming the most frequent vehicle for concerto performances of twentieth and twenty-first century instrumental literature. While the current state of research provides solid support to many accompanists, it is in the area of instrumental accompanying, especially with regard to the challenges of playing a reduction of an orchestral score with an instrumental soloist, that the lack of discourse becomes strikingly evident. It is the goal of this study to provide the instrumental accompanist with concrete, practical approaches and considerations in order to perform an orchestral reduction in a manner consistent with the integrity of the score. Problems such as identifying the represented orchestral instruments, delineating importance of musical lines, and basic uses and misuses of pedal, articulation, and rubato are discussed. The pianist is led through ways of deciphering and negotiating specific passages, in order to guide the accompanist through the possible pitfalls and challenges unique to many orchestral reductions. By focusing on twentieth century reductions, providing examples of problems and discussing ways to solve them, the pianist will able to apply these to any reduction encountered, not just those specifically illustrated here. These basic principles of discerning common problems and appropriately reconciling them are then applied in a more advanced form to Robert Nelson's Concertino for Baritone Saxophone (1996). Through commentary from the composer, and a comparison of the orchestral score to the reduced piano score, the accompanist will explore detailed techniques of performing this work in a manner that upholds the original “orchestral” intent of the music.
Peter Lieberson's First Piano Concerto: A Buddhist-inspired poetic vision realized through twelve-tone language, other contemporary compositional techniques, together with three recitals of works by Bach, Chopin, Mozart, Albéniz, Grieg, Ginastera and Paderecki: The main objective of this document is to explore the life and spiritual convictions of composer Peter Lieberson, and the creation of his Piano Concerto. Lieberson is a sought after composer who has won many awards and commissions. His works have been premiered and performed by some of the best musical artists of the late twentieth- and early twenty-first-century, such as Peter Serkin, Emmanuel Ax, Yo-Yo Ma, and Pierre Boulez. This study is divided into six chapters. After the Introduction, a biographical summary of Peter Lieberson's life, his spiritual beliefs and compositional style is presented. Chapter II contains background information on the Piano Concerto, along with biographical sketches of Peter Serkin, for whom the work was written, and Seiji Ozawa, music director of the Boston Symphony Orchestra and conductor of both the premier performance and Serkin's recording of the piece. Chapter III is a selective survey of the compositional techniques used in Lieberson's Concerto, in terms of the application of twelve-tone theory and the resulting octatonic, pentatonic, and whole-tone scales. Chapter IV introduces a general overview of the influence of Buddhism as a source of inspiration in the Piano Concerto. Chapter V examines aspects of performance practice issues. Chapter VI provides conclusions. The aim of this study is to further establish Peter Lieberson's stature as an important modern American composer. It is hoped that this study will encourage further research and interest in his works.
The Solo Compositions for Trumpet of Fisher Aubrey Tull: An Analysis of Structural, Technical, and Stylistic Elements for Performance Preparation, with Three Recitals of Selected Works by Bozza, Fasch, Haydn, Tomasi, and Others: The compositions of Fisher Aubrey Tull are widely performed and many have become standard repertoire. Tull's compositions encompass a multiplicity of performance media including works for orchestra, chorus, symphonic band, jazz band, brass choir, and solo and chamber works. Tull's compositional output for the trumpet is prolific and is acknowledged to be music of high quality. An examination of Trumpet and Brass Programs, compiled and published annually by the International Trumpet Guild, shows Tull's solo and ensemble works for trumpet to be frequently performed. Furthermore, his compositions for trumpet have been performed and recorded by internationally acclaimed artists including Vincent DiMartino, Terry Everson, Håkan Hardenberger, Anthony Plog, Carl "Doc" Severinsen and Allen Vizzutti.This study investigates Fisher Tull's eight solo works for trumpet, which include: Vignette for Trumpet and Piano (1954); Concerto No. 1 for Trumpet and Orchestra (1964); Concerto No. 2 for Trumpet and Band (1974); Three Bagatelles for Trumpet and Piano (1975); Eight Profiles for Solo Trumpet (1978); Rhapsody for Trumpet and Band (1980); Sonata for Trumpet and Piano (1986); and Chromutations for Solo Trumpet (1988). Histories of each composition are chronicled. An analysis of formal organization and significant style features examines musical structure, harmonic language, rhythmic character, instrumentation, and orchestration. A discussion of technical concerns specific to the trumpet that addresses range, tessitura, articulation, flexibility, endurance and the use of extended techniques is included. Performance suggestions, pertaining to technical and artistic issues, offer the reader specific recommendations as an aid in performance preparation. Finally, the significance of Fisher Tull's works for trumpet and his impact on the trumpet literature is assessed. Evidence suggests that his prolific compositional output, diversity of forms, and musical quality rank him as one of the most significant composers for the trumpet in the twentieth century.
The Influence Of Jazz On Timbre In Selected Compositions For Solo Trombone: A significant body of solo literature for the trombone has been written in the last fifty years that draws as much from the jazz tradition as from that of European classical music. While much attention has been paid to these works' use of characteristic jazz rhythms, harmonies and melodic inflections, there has been little focus on timbre, the musical element that perhaps most readily distinguishes jazz from other styles of Western music. This paper focuses on the important role jazz timbres should play in a performer's interpretation of those works that are significantly influenced by jazz. It includes explorations of the significant differences in concepts of timbre between European classical music and jazz, some of the ways in which these timbral differences are produced, and methods by which performers can develop the skills necessary to produce these varied timbres. Particular attention is paid to the importance of timbre to idiomatically appropriate performances of two significant works from the solo trombone repertoire, Robert Suderburg's Night Set (Chamber Music III) and Richard Peaslee's Arrows of Time.
The influence of klezmer on twentieth-century solo and chamber concert music for clarinet: with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others.: The secular music of the Eastern European Jews is known today as klezmer. Klezmer was the traditional instrumental celebratory music of Yiddish-speaking Ashkenazi Jews who eventually populated the Pale of Settlement, which encompassed modern-day Poland, Lithuania, Ukraine, Belarus and Romania. Due to the rise of oppression and expulsion, many klezmer musicians or klezmorim immigrated to the United States between 1880 and the early 1920s. These musicians found work in klezmer bands and orchestras as well as Yiddish radio and theater. Some of the most influential klezmorim were clarinetists Naftule Brandwein and Dave Tarras who helped develop an American klezmer style. While the American style flourished, the popularity of pure klezmer began to diminish. As American-born Jews began to prefer the new sounds of big band and jazz, klezmer was considered old-fashioned and was in danger of becoming a lost art form. During the early 1970s, a reawakening study of klezmer developed. Henry Sapoznik, Lev Liberman and Andy Statman were instrumental in creating a klezmer revival in the United States. At the same time, Argentinean-born Israeli clarinetist Giora Feidman was popularizing klezmer in Europe. Klezmer had again become popular and the revival's impact on the concert hall was inevitable. Even though klezmer has existed for centuries, composers have only recently included klezmer elements in their concert works. Characteristic modes (Freygish and Misheberakh), forms (freylekhs and doinas), instrumentation, and rhythms all contribute to create a unique style. Three musical works for clarinet are examined in the dissertation: Simeon Bellison's Four Hebrew Melodies in form of a suite, Simon Sargon's KlezMuzik and David Schiff's Divertimento from Gimpel the Fool. Although the compositions reveal different approaches to the elements, the klezmer influence is evident in each of them. An appendix of clarinet klezmer influenced concert works is included.
Bandanna, An Opera by Daron Aric Hagen with Libretto by Paul Muldoon, Commissioned by the College Band Directors National Association: The Origins of an Artwork with a Glimpse at its Musical Character Development: All information for this study was obtained by original source documents, interviews with the principal participants and the personal observations of the writer. A complete transcript of interviews with Daron Aric Hagen Michael Haithcockand Robert De Simone are included as appendices. In1961 the College Band Directors National Association (CBDNA) created its commissioning project for the purpose of contracting prominent composers to contribute works of high quality to the growing wind repertoire. Recently, CBDNA commissioned works that sought to collaborate with other disciplines within the artistic community. These collaborative works added new depth to the wind repertoire and helped advance the genre to new levels of prominence. CBDNA commissioned Daron Aric Hagen to write an opera using winds in the pit. He titled the work Bandanna, based on Shakespeare's Othello. Hagen contracted Paul Muldoon to write the libretto. A consortium of 79 member schools contributed to the project. A total of $100,000.00 was paid to the composer. The Director of Bands at Baylor University conducted the premiere performance of Bandanna during the 1999 CBDNA convention on 25 February 1999. Hagen assigned instrumental, thematic and harmonic attributes to each character. There are literally thousands of interactions between these elements that weave a tight pattern of organic unity into the entire work, making it exceptionally rich with symbolism and innuendo. Though still in its infancy, the uniqueness of this work both in the manner in which it came into being and through its artistic merits are fascinating. Only the future will determine whether Bandanna has true longevity or will fade into the background as a historical curiosity.
The Contributions of Armenian Composers to the Clarinet Repertoire: An Annotated Bibliography of Selected Works, A Lecture Recital, Together with Three Recitals of Selected Works by Khachaturian, Bax, Castelnuovo-Tedesco, Lutoslawski, Nielsen, Burgmüller, and Others: With the exception of the music of Aram Khachaturian, the output of Armenian composers has been largely overlooked. This small Middle-Eastern country with a population of almost four million and an intriguing history indeed has a rich musical heritage. From its roots in sacred music and folksong, Armenian music has evolved into a unique blend of national elements and Western art music. Although it remains largely undiscovered, there is an entire repertoire of works in this aesthetic. The Trio for clarinet, violin, and piano by Khachaturian has long been a standard in the clarinetist's repertoire. This project brings to light lesser-known works of other Armenian composers. After providing a brief history of Armenia and her music (Chapter 2), this document presents an annotated bibliography of works using the clarinet (Chapter 3). Because there are a significant number of Armenians living outside their homeland, composers considered for this bibliography include all those of Armenian descent: those born,schooled, and presently living in Armenia, as well as those born to one or both Armenian parents residing in other countries. The bibliography includes works for unaccompanied clarinet, clarinet and piano, clarinet and orchestra, and chamber music for up to seven players. Each annotation includes the composer's name, dates, title of the work and its movements, date of composition, instrumentation, publisher and date of publication (in the case of published works), source from which the score can be obtained (in the case of unpublished works and works that are no longer published), duration of the work, and any recordings that are commercially available. Specific information about each piece, such as its dedication, first performance, historical background, musical characteristics, and performance practice issues is provided when available.
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski: The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski's compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one-movement concerto - would aid scholars and performers alike in better understanding the composition's engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. Chapter 1 provides biographical and factographical information about Paderewski as a composer, pianist, and statesman. Chapter 2 examines characteristics of Polish folk music with regard to melody, rhythm and tempo. Musical examples of the Polish folk songs from the book Lud by Oskar Kolberg, and the characteristics of Mazur, Kujawiak, Oberek and the Krakowiak, all of which are used in the Polish Fantasy, are examined. Aforementioned examples are paralleled by those selected from Chopin's Mazurkas, as well as selected sections from Paderewski's Polish Fantasy, and other pieces by Paderewski containing Polish folk music elements. Chapter 3 is divided into two sections. The first, the history of fantasy, presents various stylistic and formal aspects of the fantasies of the eighteenth century and nineteenth centuries. The second section offers an analysis of the Polish Fantasy in light of this …
Di/con[ver(gence/sions)] for Saxophone Quartet by David Dzubay: A Performance Analysis: The abstract includes a detailed analysis of the quartet as well as idiomatic aspects of the music. In addition, a background of composer/performer relationships is outlined.
An Analytical Study of Mily Alekseyevich Balakirev's Musical Style in his Early Piano and Orchestra Works: Grande Fantaisie on Russian Folk Songs and Concerto Op.1 in F# Minor.: Balakirev's two early piano and orchestra works, Grande Fantaisie on Russian Folk Songs and Concerto Op. 1 in F# Minor, were composed in the middle of the nineteenth century when in Russia there were no particularly important works for piano and orchestra. Balakirev was still a teenager when he wrote these two pieces and unfortunately both remained unfinished. However the beauty and remarkable compositional achievement of these works should be highly recognized. There are six chapters in this essay. The general background, purpose and the state of research are discussed in the first chapter. The second chapter presents Balakirev's biographical information and the overview of his works for piano and orchestra is stated in Chapter III. Individual works, Grande Fantaisie and Concerto in F# Minor are discussed in the chapters IV and V, which including discussing compositional background, analysis and diagram of structural schemes. The last chapter concludes with Balakirev's contribution to Russian music and the development of the Russian concerto coming into its own. It deals particularly with Balakirev's approach to folk songs, which gives the concerto a unique Russian aesthetic, in addition to his ability to write in the European tradition.
The Significance of Dmitri Shostakovich's Piano Sonata Op.12: The aspiration of this dissertation is to bring forth the significance of Shostakovich's Piano Sonata Op.12. This sonata is a hybrid of the German musical tradition, Russian Modernism, and Liszt's thematic transformation technique. It demonstrates Shostakovich's highly intellectual compositional skills influenced by the education that he received at St. Petersburg Conservatory as well as the exposure to modern music in the 1920s. This dissertation discusses composition techniques, such as the harmonic piers adapted from Alexander Scriabin, neighboring-tone technique, which involves the application of semitone cell throughout the piece, as well as the technique of thematic transformation borrowed from Liszt. These all come together by Shostakovich's design in the most controversial sonata form. The Piano Sonata Op.12 also sheds light on Shostakovich's early compositional style and proves its contribution to the evolution of sonata genre in the twentieth-century.
Sergei Taneyev (1856-1915): An Analysis of His Piano Concerto in E-flat Major and Its Relationship to Tchaikovskys Piano Concerto No.1: This lecture recital seeks to prove that Sergei Taneyev's only piano concerto is a valuable addition to the piano concerto repertoire for historical and theoretical examination. Taneyev's biographical background proves he was one of the major figures in Russian musical life during the late nineteenth century. For one who had such an important role in music history, it is an unfortunate that his music has not been popular. Through letters to contemporary composers and friends, Taneyev's master teacher Tchaikovsky revealed why his music and piano concerto were not as popular as they should have been. This lecture recital examines Taneyev's compositional style and illustrates his influence in the works of his famous student Sergei Rachmaninoff through examples from Taneyev's Piano Concerto in E-flat Major and Rachmaninoff's Piano Concerto No. 2. Taneyev's Piano Concerto and Tchaikovsky's Piano Concerto No. 1 have both similarities and differences that resulted from the composers' close relationship. Letters between the teacher and student enlighten readers to the compositional process of the two piano concertos and demonstrates the value of Taneyev's Piano Concerto. A detailed theoretical analysis is included in this dissertation. The principal themes and motifs are presented with a detailed analysis of the structure of the concerto's first movement as the themes, motifs, and variations are woven into a unified piece of music. The second movement of the concerto is remarkable for its harmonic progressions. This research substantiates that Taneyev's Piano Concerto is valuable to the current piano repertoire and worthy of performances throughout the world. The concerto occupies an important role in music history and theory and is useful for piano students to study.
Susan Botti's Cosmosis: A Conductor's Analysis with Performance Considerations: In 2005, composer Susan Botti won the coveted Prix de Rome in musical composition and spent eleven months in residency at the American Academy in Rome. That same year, the University of Michigan Wind Symphony, under the direction of Michael Haithcock, premiered her exciting new work Cosmosis at the College Band Directors National Association Conference in New York City. The bi-annual conference is a venue for the premiere of new works for wind ensembles and bands, and the 2005 conference saw the world premiere of nine works for winds and percussion, many of which were performed in the legendary Carnegie Hall. What made the debut performance of Cosmosis exciting and notable was the composer's own appearance as soprano soloist, and the inclusion of a chorus of women augmenting the ensemble of winds and percussion. Such a combination of elements is unique, and created a fresh and powerful sonority. Botti's inventive approach to composition has expanded the repertoire for both women's chorus and wind ensemble with this distinctive work. This study is intended to serve as a guide to the study and performance of Cosmosis. The information provides a detailed examination of the work from its conception to its premiere performance. The work is based on the poetry of American poetess May Swenson, and Botti's interpretation of the poetry in music unveils interesting parallels between these artistic disciplines. The research provides a contextual framework from which the conductor may begin study of the work, and which may lead to an informed performance of the work.
The Sarabandes from J. S. Bach's Six Suites for Solo Cello: An Analysis and Interpretive Guide for the Modern Guitarist: The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that stylistically unify the sarabandes as well as those that make each unique. In addition, the author will demonstrate the relationship between analysis and interpretation, using the sixth sarabande as an example. This interpretive process will also take into account the idiomatic nature of the guitar.
Motives, Allusions, and Eclecticism: A Panametric Analysis of the First Movement of Christian Lindberg's Mandrake in the Corner Based on the Method of Jan LaRue: For more than 20 years, Christian Lindberg has been internationally recognized as the premiere trombone soloist of our time. Few, however, are familiar with his compositions. For over ten years, he has composed many solo and ensemble works for trombone. Many prominent musical organizations in the world have performed Lindberg's music, including the Chicago Symphony Orchestra, the St. Paul Chamber Orchestra, and the University of North Texas Wind Ensemble. Today, Christian Lindberg has commission requests up to 2010. Christian Lindberg completed Mandrake in the Corner, a three movement concerto for trombone, in 1999. The purpose of this dissertation is to present an analysis of the first movement of Mandrake in the Corner to provide the first in depth study of Lindberg's compositional style. This analysis borrows freely from the method of Jan LaRue, which focuses on sound, harmony, melody, rhythm, and growth of musical structure on the small, middle, and large levels. The focus of this study centers on the aspects of melody, harmony, and rhythm to explain how the piece works despite the lack of a second theme or change of key in the first movement.

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