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 Degree Discipline: Musicology
Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet

Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet

Date: August 2002
Creator: Dunn, John T.
Description: This document's purpose is to analyze dualities found in different films of Shakespeare's Hamlet. Each version brings different ideas to it. By analyzing each version and focusing on the Ghost Scene, comparisons of the scene's symbolism are made between the musical scores. The beginning chapters provide a history of film, film music, the play, and events up to the ghost scene. After these chapters come analyses of the scene itself. Each version uses different parts of the play for its own purposes, but there are many commonalities between them. The score for each version of the Ghost Scene will be analyzed independently of each other. This work will contribute to musicology, film research, Shakespeare studies, and English scholarship.
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The sixteenth-century basse de violon: fact or fiction? Identification of the bass violin (1535-1635).

The sixteenth-century basse de violon: fact or fiction? Identification of the bass violin (1535-1635).

Date: August 2009
Creator: Erodi, Gyongy Iren
Description: Research on the origins of the violoncello reveals considerable dispute concerning the existence and identity of its ancestor, the bass violin. This study focuses on the classification of the sixteenth- and early seventeenth-century bass violin by means of the following criteria: construction, early history and development, role due the social status of builders and players, use within the violin band, performing positions, and defining terminology. Accounts of inventories, organological treatises, music theoretical writings, lists of households and royal courts, descriptions of feasts, reports of choreographies and iconographical examples confirm the bass violin's presence in the late sixteenth century and beyond. Three of the earliest unchanged extant organological examples embody, complement and corroborate the bass violin's identification, and conclude the essay.
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Sensitivity, Inspiration, and Rational Aesthetics: Experiencing Music in the North German Enlightenment

Sensitivity, Inspiration, and Rational Aesthetics: Experiencing Music in the North German Enlightenment

Date: December 2015
Creator: Fick, Kimary E.
Description: This dissertation examines pre-Kantian rational philosophy and the development of the discipline of aesthetics in the North German Enlightenment. With emphasis on the historical conception of the physiological and psychological experience of music, this project determines the function of music both privately and socially in the eighteenth century. As a result, I identify the era of rational aesthetics (ca.1750-1800) as a music-historical period unified by the aesthetic function and metaphysical experience of music, which inform the underlying motivation for musical styles, genres, and means of expression, leading to a more meaningful and compelling historical periodization. The philosophy of Alexander Baumgarten, Johann Georg Sulzer, and others enable definitions of the experience of beautiful objects and those concepts related to music composition, listening, and taste, and determine how rational aesthetics impacted the practice, function, and ultimately the prevailing style of music in the era. The construction, style, and performance means of the free fantasia, the most personal and expressive genre of the era, identify its function as the private act of solitude, or a musical meditation. An examination of pleasure societies establishes the role of music in performance and discussion in both social gatherings and learned musical clubs for conveying the morally ...
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The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams

The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams

Date: August 1996
Creator: Fledderus, France
Description: The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass.
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Educating American Audiences: Claire Reis and the Development of Modern Music Institutions, 1912-1930

Educating American Audiences: Claire Reis and the Development of Modern Music Institutions, 1912-1930

Date: August 2013
Creator: Freeman, Cole
Description: The creation of institutions devoted to promoting and supporting modern music in the United States during the 1920s made it possible for American composers to develop an identity distinct from that of European modernists. These institutions were thus a critical part of the process of modernization that began in the United States during the early decades of the twentieth century. There is substantial scholarship on these musical institutions of modern music, such as the International Composers’ Guild and the League of Composers; but little to no work has been done on the progressive musical institutions of the 1910s, such as the Music League of the People’s Music Institute of New York, which was founded by Claire Reis. This thesis addresses the questions of how and why American musical modernism came to be as it was in the 1920s through an examination of the various stages of Reis’s career. The first chapter is an extensive study of primary source material gathered from the League of Composers/ISCM Records collection at the New York Public Library, which relates to Reis’s work with the PML in the 1910s. The second chapter uses the conclusions of the first chapter to shine new light on an ...
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San Juan Ixcoi Mass: A Study of Liturgical Music in Northwestern Guatemala

San Juan Ixcoi Mass: A Study of Liturgical Music in Northwestern Guatemala

Date: August 1979
Creator: Garven, Richard O.
Description: The San Juan Ixcoi Mass is part of the San Miguel Acatan Repertory which was found in the northwestern highlands of Guatemala before being purchased by the Lilly Library at Indiana University. Even though the authorship and date of the mass cannot be established, the mass is similar to works from the Josquin generation. Not discounting the few transcription difficulties as well as isolated compositional weaknesses, the San Juan Ixcoi Mass demonstrates the reasonably high quality of music that was performed and even possibly composed in northwestern Guatemala three centuries ago. A modern performance edition of the mass complete with critical notes and commentary on the transcription is included within the thesis.
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Carlo Milanuzzi's Quarto Scherzo and the Climate of Venetian Popular Music in the 1620s

Carlo Milanuzzi's Quarto Scherzo and the Climate of Venetian Popular Music in the 1620s

Date: August 2001
Creator: Gavito, Cory Michael
Description: Although music publishing in Italy was on the decline around the turn of the seventeenth century, Venice emerged as one of the most prolific publishing centers of secular song in Italy throughout the first three decades of the 1600s. Many Venetian song collections were printed with alfabeto, a chordal tablature designed to facilitate even the most untrained of musicians with the necessary tools for accompanying singers on the fashionable five-course Spanish guitar. Carlo Milanuzzi's Quarto Scherzo (1624) stands out among its contemporary Venetian song collections with alfabeto as an anthology of Venetian secular songs, including compositions by Miniscalchi, Berti, and Claudio and Francesco Monteverdi. Issues surrounding its publication, instrumentation, and musical and poetic style not only contribute to the understanding of Venetian Baroque monody, but also help to construe a repertory of vocal music with defining characteristics usually associated with popular music of the 19th, 20th, and 21st centuries.
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The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing

The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing

Date: December 1999
Creator: Gill, Sarah M.
Description: Hector Berlioz's Messe solennelle, his first publicly performed work, was important to his establishment in Paris as a composer. Although he later destroyed the Mass, he reused parts of the Resurrexit movement in three of his later works: Benvenuto Cellini (1836), the Grand messe des morts (1837), and the Te Deum (1849). This study examines the Resurrexit and its subsequent borrowings. In each instance that Berlioz borrowed from the Resurrexit, he extracted large sections and placed them in the context of later works. Each time that borrowing occurred, Berlioz constructed the surrounding music so that portions from the Resurrexit would fit stylistically and a seamlessly into the texture. In each borrowing, he left the melody unaltered, changing harmony and orchestration instead. This pattern of borrowing demonstrates that Berlioz developed his concept of melody early in his career, and that his method of self-borrowing was consistent in each subsequent use of the Resurrexit.
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It's Not Fusion: Hybridity in the Music of Vijay Iyer and Rudresh Mahanthappa

It's Not Fusion: Hybridity in the Music of Vijay Iyer and Rudresh Mahanthappa

Date: December 2012
Creator: Govind, Arathi
Description: This thesis concerns the performance of identity in the music of Indian American jazz musicians Rudresh Mahanthappa and Vijay Iyer. In combining the use of Indian classical music elements with jazz, Iyer and Mahanthappa create music that is inextricably tied to their multifaceted identities. Traditional musicological analysis is juxtaposed with a theoretical framework that draws on postcolonial theory and the history of Asian immigrant populations to the U.S. I chronicle the interactions between Indian and Western music and link it to larger issues of Asian American identity formation and activism through music. Through interviews and transcriptions of studio recordings, I identify specific compositional and improvisational strategies of the musicians. I emphasize the role of individual agency in the formation of second-generation identities, drawing attention to the distinct ways that Iyer and Mahanthappa approach their music. Finally, I connect this research to a larger discourse on Indian American artistic identity.
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Le Nuove Musiche: Giovanni Battista Bovicelli?

Le Nuove Musiche: Giovanni Battista Bovicelli?

Date: August 2010
Creator: Gámez Hernández, Carlos
Description: This thesis is a comparative study on the late 16th century manuals of ornamentation by Girolamo Dalla Casa, Giovanni Bassano, Riccardo Rognoni, and Giovanni Battista Bovicelli. The study demonstrates that the latest Renaissance manual should be given more credit for the innovative ornamentation style that was to come in the Early Baroque era. Bovicelli's use of sequence, dissonances, and less moving notes for more rhythmic varieties are features most often associated in the style of the Baroque. Unfortunately, the topic of ornamentation in the late Renaissance is most commonly discussed as a group of different entities writing in the same style. The research for this paper is intended to separate the manuals of the late Renaissance, focusing on the separate styles that led to the work of Giovanni Battista Bovicelli.
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