In an appendix section, three notable arias have been transcribed for two clarinets, voice, and piano. A further evaluation of Classical period opera orchestration will aid modern performers and musicologists in their understanding of what clarinets and clarinetists were able and expected to do.
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 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.
In the early 1920s, Gustav Friedrich Hartlaub created a fine arts movement that began in Weimar, Germany, which questioned artistic Expressionism. In 1923, he formed an art exhibition to display new art works of simplicity that were of his anti-Expressionist goal. This exhibition was termed Neue Sachlichkeit, or New Objectivity, and quickly became associated with all fine arts. Music of Neue Sachlichkeit ideals during the 1920s and 1930s began to exhibit anti-Expressionist concepts of form, neoclassicism and limited instrumentation. Paul Hindemith was among the leading figures of Neue Sachlichkeit music. Although Paul Hindemith's Septet (1948) was composed during his later career, it shows many Neue Sachlichkeit traits found previously in the 1920s and 1930s. Characteristics of limited/mixed instrumentation, neoclassic instrumentation and form, and Baroque counterpoint are found in the Septet. These traits can also be head in earlier Neue Sachlichkeit pieces by Hindemith such as Hin und zuruck, op. 45a (1927), Das Marienleben (1922/23, rev. 1948) and Neues vom Tage (1929). Chapter 2 examines the Neue Sachlichkeit movement within the fine arts. Chapter 3 gives a brief biography of Paul Hindemith with a concentration on his influence of Neue Sachlichkeit music of the 1920s and 1930s. This chapter also relates this period of Hindemith's earlier career with his techniques used in later works, such as the Septet. Chapter 4 discusses how the Septet directly relates to the Neue Sachlichkeit fine arts movement. Chapter 5 gives a general analysis of the Septet. This analysis provides the reader with an understanding of the forms and tonal relationships used in the Septet. This summarizes the neoclassicism of the Septet and shows traits of Neue Sachlichkeit. Chapter 6 concludes with an examination of the mixed instrumentation of the Septet.
This dissertation is a performance guide for the euphonium solos Pearls I and Pearls II, written by Roland Szentpali. This performance guide allows performers to better understand the jazz styles within each movement and provides them with a resource for performing these particular pieces as well as other jazz influenced pieces. This performance guide is specific to euphonium repertoire and written for euphonium performers and educators. This is also a resource for a solo work in the repertoire that is performed regularly as well as a new work that will soon be published. A brief history of the development of euphonium repertoire and the influence of jazz is provided. The performance guide analyzes each movement and provides insight to extended techniques, common performance problems, errata, and jazz styles that each movement is based on. The guide also provides several suggestions for interpretation and for performance preparation. Illustrations from the scores have been provided for each example.
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.
Beginning in 1939, the Concours International d'Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. These works are examined as well. This survey provides a critical, analytical, historical, performance-related and biographical review of the published and unpublished works commissioned for the clarinet by CIEM. The composers, competitors and the significance of these works and winners in the clarinet literature and history are included. A chapter is dedicated to each piece which includes performance considerations, critical, analytical, and historical information as well as biographical information regarding the composer and the competitors where available.
Through studying the poetry and its context, the lives of the poets and composers, and the musical choices which emerged from these combined influences, students of the "Millennial" generation may experience a deeper connection to art song and its role in defining and reflecting national character. Not yet a part of the traditional canon of American art song, the songs of African-American composers are of particular value in this regard, offering teachers, students, and recitalists less frequently-performed repertoire to explore. Representing a broad spectrum of literary and cultural influences, these songs are just as diverse, multi-faceted, and full of variety as any other body of art song repertoire and richly contribute to the past and present life of the genre. Going beyond the music and the words can only reinforce the study of technique and enrich the studio experience, while at the same time providing a multicultural learning environment which more accurately reflects the America in which these same students will become the singers and voice teachers of tomorrow.
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 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.
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.
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.
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.
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.
Four Rotations Pour Marimba (1996) by Eric Sammut has become one of the most important marimba compositions in serious concert solo marimba literature. Four Rotations Pour Marimba is a suite of four short pieces; each of them demonstrates a different musical character while incorporating similar compositional components and techniques. The goal of this thesis project is to create a stylistic analysis for providing the concert marimbist with insight into the interpretation of these four pieces and also giving composers a more in-depth understanding of Sammut's compositional method. This thesis includes a formal analysis and comparisons of compositional elements used in Four Rotations. A brief biography of Sammut and historical significance of Four Rotations Pour Marimba are also included.
Pain and performance anxiety (PA) are common problems among string players. Therefore, the purpose of this study was to assess and compare PA and prevalence rates and locations of pain in violinists, violists, cellists, and bassists. Subjects completed a questionnaire that included sections on demographics, musical background, practice habits, musculoskeletal problems, non-musculoskeletal problems, and PA. Anthropometric data were gathered on all 115 subjects. Results show that there are differences in both pain and PA across instrument groups. Violinists reported the highest number of pain sites, followed by violists, bassists, and cellists. The left shoulder was the most-often reported pain site, followed by the neck and right shoulder. Aching was the most cited term selected to describe pain. Several anthropometric indices were significantly correlated with pain, notably right thumb to index finger span in both cellists and bassists. In all instrument groups, at least one pain site was significantly correlated with one of four PA questions. Results warrant the development of intervention strategies and further study of the relationship between pain and performance anxiety.
This study is focused on an analysis of two single-subject ricercare in the keyboard music of Johann Jacob Froberger and examines possible pathways to the development of the Baroque fugue. This dissertation is divided into three parts. Chapter I contains the purpose, significance of this study and composer, as well as characteristics of the seventeenth-century single-subject ricercar. Chapter II details and examines Froberger's two ricercare. Finally, a conclusion of this study is presented in Chapter III. Two appendixes are included in this dissertation: a list of the single-subject ricercare of Andrea Gabrieli, Giovanni Gabrieli, and Johann Jacob Froberger; and an analysis of the two single-subject ricercare, FbWV 407 and FbWV 409, by Johann Jacob Froberger.
Alfredo Casella's Serenata, op. 46 for clarinet, bassoon, trumpet, violin and cello is a composition that received great acclaim at the time of its conception, it is all but unknown to modern audiences and performers. The Serenata has several historical influences from the French and Italian Baroque and Classical periods. At present, there is limited scholarship regarding the Serenata op. 46. The first section of this study presents a survey of historical information, current literature and methods of examination. The second section compares movements of the Serenata op. 46 to other historical forms of similar design. The third section provides a performance guide for the trumpeter and ensemble. Implications and suggestions for performance of the composition are provided for the trumpeter. This performance guide provides the trumpeter and ensemble with performance information to help facilitate an informed performance.
The performance of vocal works using the twelve-tone technique requires thorough study of complex rhythms, non-tonal melodies, non-traditional notations, and specific musical terms. They generally also require advanced and varied vocal techniques. Twelve-tone vocal works often contain unusual features vital to the composer's intention. One of the premiere twelve-tone composers in the United States, Donald Martino (1931-2005) composed only two solo vocal works using the twelve-tone technique: Three Songs (1955) and Two Rilke Songs (1961). He has explored innovative and progressive uses of the twelve-tone technique, and composed music with particular methods of his own, later used by other composers. Three Songs, his first twelve-tone work, and Two Rilke Songs, the only twelve-tone song cycle in his mature style, present comparable features in his use of the twelve-tone technique, text setting, and notations. The variety of ways in which Martino uses these features in the song cycles is discussed in the performance guide. The intention of the present study is to help performers, especially singers, understand Donald Martino's two twelve-tone song cycles, and to aid in the preparation of an excellent performance. The study includes a study of historical context, the poems, and Martino's compositional and aesthetic approaches to setting them. It also offers practical and systemized ways of analyzing and preparing Martino's songs for performance. It is hoped that the methods suggested herein will reduce a singer's difficulties and rehearsal time with the pianist. The present study will offer a valuable addition to the literature on the performance practice of twelve-tone vocal music, and provide insight and advice on how to practice and perform other non-tonal music. This method of study may be applied to other contemporary music. Doing so can in turn help develop a singer's skill in handling tonal and rhythmic difficulties of all kinds, including non-traditional ...
Lamentatio Jeremiae Prophetae, Opus 68, composed by Ernst Krenek in 1941, is a musical work that is difficult to analyze and classify due to its fusion of contrasting musical styles. The pervasive dissonance of the work shows its modern twelve-tone organization, yet other aspects more closely resemble the sacred music of the early Renaissance. Analysis of Lamentatio solely in terms of the atonal twelve-tone system belies the work's full complexity and range of expression. While the twelve-tone system is the basis for the organization of the work, Krenek radically modifies the system to allow for more possible combinations of tones through an innovative technique he calls "rotation." The primary objective of this study is to consider the influence of early Renaissance sacred music, particularly that of Johannes Ockeghem, on certain aspects of Lamentatio, including the text, pitch organization, form and structure, rhythm and meter, and expressive markings. The study reveals that though the pitch organization is based on the twelve-tone system, Krenek uses the increased flexibility granted by his rotation technique to create implications of the modal system of the Renaissance. In the other aspects considered, the music of Lamentatio also bears clear Renaissance influences. A thorough understanding of these earlier influences in Lamentatio will influence both future performances and written characterizations of this enigmatic work.
The purpose of this manuscript is to provide a representative collection of jazz standards with improvised solos fashioned after the types of resources available for traditional jazz instruments, yet transcribed and adapted specifically for horn, hence, expressly designed to assist horn players in achieving greater success in jazz performance. By providing transcriptions and adaptations of significant performances from jazz history, horn players will have a resource with which they can better understand jazz performance practice. Featured artists include Miles Davis, Curtis Fuller, Ella Fitzgerald, Tommy Turk, Charlie Parker, Sonny Rollins, John Coltrane, Miles Davis, Wes Montgomery, J. J. Johnson, Stan Getz, and Milt Jackson. Song titles and albums are as follows: "Autumn Leaves," Somethin' Else (1958), "Blue Train," Blue Train (1957), "How High the Moon," Ella in Berlin (1960), "Lester Leaps In," Jazz at the Philharmonic (1949), "Lover Man," The Magnificent Charlie Parker (1951), "Moritat," Saxophone Colossus (1956), "Naima," Giant Steps (1959), "On Green Dolphin Street," Kind of Blue (1959), "Polka Dots and Moonbeams," Jazz Guitar of Wes Montgomery (1960), "Satin Doll," The Trombone Master (1957), "Stella by Starlight," Stan Getz Plays (1952), "Straight, No Chaser," Genius of Modern Music 2 (1951).
Jacques Castérède's works for brass are monumental and demand extreme agility from the performers. Many brass players are familiar with the Sonata for Trombone, but Castérède's trumpet repertoire has not been as thoroughly considered. Due to the lack of scholarly works and recordings of Jacques Castérède trumpet repertoire, a study is necessary to aid its performance. The study is based on performance analysis and interviews with the composer. The first chapter provides information on the composer's life. The second and third chapters are performance analysis of Brêves Rencontres and Concertino for Trumpet and Trombone. These two chapters also discuss rehearsal technique and sound concept. The performance guide takes place in chapter 4. This chapter gives specific indications on articulation, range and mute choice.
This study documents and analyzes cyclic patterns used as melodic vocabulary in John Coltrane's improvisations from compositions of 1965 to 1967. The analysis is categorized in two distinct sections. The first section analyzes melodic vocabulary that is derived from the cycle of descending major thirds progressions found in the compositions of 1959 to 1960. The second section analyzes melodic vocabulary that is derived from Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns using the theoretical terminology incorporated in the treatise. Musical examples consist of patterns from the Thesaurus and excerpts from selected improvisations of John Coltrane as transcribed by Andrew White. Important scholarly contributions relevant to the subject by Carl Woideck, Lewis Porter, David Demsey, and Walt Weiskopf are included. Every effort has been made to cite interviews with musicians and commentaries by writers contemporary to that period of time with special emphasis on the important influence of Thelonious Monk, Miles Davis, and Ornette Coleman. Chapter headings include: Literature Review and Methodology; Thelonious Monk, Miles Davis, and Ornette Coleman: Converging Influences; Analysis: Coltrane's Major Thirds Harmonic Cycles Used as Melodic Vocabulary; Interval Cycles in Coltrane's Melodic Vocabulary Based on Patterns from Slonimsky's Thesaurus; Summary and Conclusion.
Several interpretations in performances, recordings, and publications of Giuseppe Verdi's Messa da Requiem raise issues concerning the relationship between these readings and the composer's intention. Understanding Verdi's tempo and phrasing in the Requiem is of crucial importance in rediscovering his intention. Knowing that Verdi's metronome markings were not merely performance suggestions but that they actually reflected his final decision is equally important. Unlike his operas, fast tempos are not introduced suddenly in the Requiem; rather, where tempo changes occur gradually from one section to the next, thereby maintaining the music's overall character. Verdi's phrasing is very subtle, and unconventional, because one sign may have multiple meanings. Compounding this complication are the many editorial errors in the published editions. David Rosen, in his critical edition, corrected many of these errors, and made additional editorial suggestions, but there are still numerous places where determining correct phrasing, as well as tempo fluctuations, knowledge of Verdi's use of signs and symbols is difficult.
Joseph Turrin (b.1947) is a composer, orchestrator, conductor, pianist, and teacher whose wide-ranging activities have contributed greatly to many aspects of contemporary American musical life. His numerous ASCAP awards (1981-20050, as well as his many other awards, document his professional success. His many commissions by various orchestras around the world, bands, brass ensembles, soloists, theatre groups and film scores show his popularity. He is also in high demand as a pianist for orchestras, in theatre productions, in commercials and studio recordings as well as serving as personal accompanist for Jerome Hines, Phil Smith, Joseph Alessi and others. Mr. Turrin's compositions for trumpet and piano have been particularly popular among college and professional players as seen by their frequent performance in those venues as evidenced by the International Trumpet Guild's Trumpet and Brass Programs for the years 1995-2002. The three works selected for the present study include: Elegy for Trumpet and String Orchestra (1971, rev. 1993, piano reduction, 1993), Caprice for Trumpet and Piano (1972), and Intrada for Trumpet and Piano (1988). In this in-depth study, special attention is given to those characteristics which create unity of form, and those traits that seem to be idiomatic of Mr. Turrin's style of writing. A comparison of the three pieces allows for the extrapolation of common style traits, which include certain traditional fanfare-style motifs as well as jazz-style elements. Conclusions are drawn with detailed explanation of what I consider the appropriate application of the knowledge from the analyses to quality performances of the pieces studied. Careful instruction is given concerning the various aspects of performance style which are supported by the study done on each piece. Finally, an interview by internet with the composer answers some of the questions created by the analyses. Several of the composer's comments justify many of the conclusions ...
Gradus ad Parnassum of Modern Flute Technique: An Explication of Musical Intention and Design in 30 Capricen für Flöte allein, Opus 107 by Sigfrid Karg-Elert, with Three Recitals of Selected Works by Schulhoff, Telemann, Berio, Bach, Rodrigo, Gieseking, Reinecke, and Others
The dissertation focuses on Joe Lovano's utilization of thematic material in relation to "Misterioso" by Thelonius Monk. Thematicism is defined more broadly in this study to include reference to the form, phrase structure, and harmony of "Misterioso". Methodological models provided by Gary Potter, Henry Martin, and Paul Hindemith serve as points of departure for this study which focuses on four areas: 1) phrasing, 2) step progression, 3) motives and formulas, and 4) harmonic implications. Thematic relationships are discovered through the analysis of the transcription of Lovano's improvisation; the four levels of the analysis work together and also independent of one another to produce a kind of thematic counterpoint. This study also examines how Lovano creates an effective solo. The study will be of benefit to students, professional musicians, pedagogues, theorists, musicologists, and jazz aficionados.
Frederick Fox's contributions to contemporary music are substantial, including eighty-three compositions written between 1966 and 1998. These include pieces for orchestra, wind ensemble, choir, solo instruments, and a variety of chamber ensembles. This study serves as a complete annotated bibliography of Frederick Fox's eight compositions which feature the saxophone in a prominent role, all of which were written between 1979 and 1998. They include a piece for unaccompanied solo alto saxophone, Hear Again in Memory (1991), two works for alto saxophone and piano, Annexus (1980), and When the Thunder Speaks (1998), a saxophone duet, Visitations (1982), two saxophone quartets, 3 Diversions (1987) and The Avenging Spirit (1989), a saxophone quartet with solo alto saxophone, S.A.X. (1979), and a chamber piece for soprano and alto saxophone accompanied by piano and two percussionists, Shaking the Pumpkin (1986). In addition, an analysis of Fox's first composition for saxophone, S.A.X. for Solo Alto Saxophone and Saxophone Quartet, offers an insight into the compositional style of the composer. A complete listing of all of Fox's compositions, formal schemata of selected saxophone compositions, and a discography of his recorded saxophone compositions are included as appendices.
The purpose of this document is to further the current research and encourage interest in the music of the Mexican composer Ernesto García de León. This paper will advance the current research with an in-depth analysis of the first movement of Sonata No. I, Op.13, Las Campanas (The Bells) for solo guitar. The analysis will focus on the pervasive presence of the melodic and harmonic intervals of perfect fourths, perfect fifths, and tritones as constructive devises throughout the sonata. This will provide interested performers a technical understanding of the composition. In addition to the compositional aspects, the analysis will be extended to consider the programmatic elements described by García de León. Select alternative fingerings will also be given to provide the interpreter options for difficult passages.
The recordings of the legendary pianist Ignacy Jan Paderewski are a valuable documentation of his piano performance style. Knowledge of late-Romantic performance practices gleaned from Paderewski's recordings suggest ways of approaching the performance of his Sonata in E-Flat Minor, Op. 21. This Sonata, composed in 1903 near the end of his compositional career, is a work of the highest caliber, deserving a permanent place in the concert pianist's repertoire. The purpose of this paper is to provide performance suggestions based on Paderewski's performance style which will produce a performance closer to the spirit of the times in which it was written. This study provides an overview of the project in Chapter 1, and a background of Paderewski's life as pianist, composer, and statesman in Chapter 2. A time-line chart of his complete works is included for reference. Chapter 3 analyzes Sonata, Op. 21 in regards to form, sound, melody, harmony, and rhythm. Following the analysis, the Sonata is compared compositionally to sonatas that appear alongside Sonata, Op. 21 on Paderewski's programs, including those by Chopin, Beethoven, and Liszt. Graphs summarize the form and dynamic density of the Sonata, and examples illustrate Paderewski's craft at thematic transformation. Chapter 4 examines Paderewski's performance style documented in recordings of his own compositions and of works by Chopin, Schumann, Liszt, and Beethoven. Consideration is given to various aspects of interpretation, including counterpoint, asynchrony, tempo rubato, rhythmic variance, and pedaling. Each of these aspects of Paderewski's performance style is illustrated with transcriptions of excerpts from Paderewski's recordings. The author proposes examples of application of these aspects to Paderewski's Sonata, Op. 21. Chapter 5 provides a summary of the project. Appendix A contains an analysis of the rhythmic grouping that performers may find useful, and Appendix B contains the recital programs required for the degree program.
This thesis surveys a variety of songs and arias for high soprano which feature the nightingale; examines the musical elements that symbolize, refer to, or imitate the nightingale; and compares these musical elements with transcriptions of the nightingale's song. The first chapter reviews the symbolic development of the nightingale and its role in poetry and literature. The interior chapters address a selection of musical compositions that feature the nightingale and its song. The final chapter establishes a relationship between the sound of the actual sound of the nightingale and the musical gestures created by composers to imitate the nightingale.
Isang Yun (1917-1995) embraced a masterful combination of two elements derived from his life: his Korean cultural upbringing and Western musical traditions. This dissertation explores Yun's distinctive style through an analysis of his Kontraste: Zwei Stücke für Violine Solo. Following the introduction (Chapter 1), Chapter 2 contains a brief biography of Isang Yun, and explores the compositions of his Korean period (1917-1955) and his European period (1956-1995). It also discusses how Yun's musical styles changed during these two periods as a result of important life events and due to cultural and political influences. Chapter 3 examines Korean instruments such as Kayakem, Hae-Kem, and Pak; discusses Nonghyun (traditional string techniques of ornamentation in Korean music); and introduces Korean performance techniques. This chapter also provides explanations of these concepts, illustrated through various examples. A subsequent discussion illuminates Yin-Yang theory and Jeong-Jung-Dong, both elements of Taoist philosophy that influenced Yun's compositional style. This is followed by explanations of Hauptton and Umspielung, two compositional techniques that Yun developed and employed in Kontraste. Yun created the idea of Hauptton to reflect the Korean traditional concept of a single note. He used the term Umspielung ("playing around" in German) to describe his interpretation of the four traditional techniques of Nonghyun within a Western notational framework. In Chapter 5, analysis of Kontraste reveals how the piece's contrasting elements represent the concepts of Yin-Yang and Jeong-Jung-Dong, and shows how the violin imitates the sounds of Korean traditional instruments and instrumental technique. Yun's adaption of Korean traditional performance techniques to the violin in Kontraste is aimed at combining East and West and producing a new aesthetic.
Osvaldo da Costa Lacerda (March 23, 1927-July 18, 2011), one of the most significant Brazilian composers of the twentieth century, wrote more than 250 compositions. The purpose of this dissertation is to provide a history and analysis of the Brazilian genres characterized in Osvaldo Lacerda’s, Sonata for Flute and Piano. Written in 1959, the sonata represents traditional Brazilian rhythms within a classical structure and modern harmony. The work provides a basis for the exploration of the embolada, the serestas, and the baião, examples of Brazilian typical song forms and rhythms. Analysis of the historical roots of these nationalistic elements will provide appropriate performance practice considerations when playing Brazilian rhythms; and because this sonata only exists in manuscript form, the historical analysis and performance guide will be of service to disseminate this important Brazilian work. As a basis for a critical edition of the Sonata for Flute and Piano, this initial effort will provide performers with a context for Brazilian flute music. Chapters include the Lacerda’s biography, a background of the nationalistic movement in Brazil and the composers who have influenced Osvaldo Lacerda. Definitions of embolada, serestas, and baião is also provided.
George Crumb (b.1929)'s Makrokosmos is recognized as one of the masterpieces of twentieth century piano writing. Inexplicably, volume four of Makrokosmos, Crumb's only four-hand piano piece, is rarely studied by Crumb scholars. According to Crumb's program notes, his Makrokosmos is meant to be a hybrid of piano and orchestral sound. Crumb devised a list of signs and abbreviated letters to explain his specific instructions to the performers. The pianists who plan to perform Makrokosmos need to study Crumb's notations carefully in order to faithfully realize the composer's intentions. This dissertation examines the composer's treatment of four hands at the piano. In addition, a performer's analysis and practical "translation" of these techniques is provided, in the hopes of rendering this amazing piece more accessible to pianists in search of new and wonderful repertoire for piano four hands. It is also hoped that future composers will be inspired by Crumb's innovations and imaginative ideas.
The Concerto for Trumpet and Orchestra and the Sonata for Trumpet and Piano by Karl Pilss were written in 1934 and 1935, respectively. They are examples for solo trumpet of the late German Romantic style of melody, harmony, form and structure. Musicians and audience often overlook composer Karl Pilss outside his native Vienna. His ties to the Trompeterchor der Stadt Wien and the National Socialist Party during the years preceding the Second World War have limited widespread acceptance of this composer. Pilss' output includes concertos for trumpet, horn, bass trombone, and piano, sonatas for trumpet, violin, and oboe, wind quintets and octets, piano pieces, choral works, and numerous large and small brass works. Pilss' teacher Franz Schmidt is more widely known. His four symphonies provide examples of post-Romanticism at the beginning of the twentieth century. His characteristic use of melody, harmony, form and structure is in the mold of Richard Strauss. Schmidt did not write any works for solo trumpet. However, his Symphony No. 4 begins and ends with extended passages for solo trumpet. Pilss inherited and adopted many of Schmidt's melodic, harmonic and formal traits. These can be clearly heard in his Concerto for Trumpet and Orchestra and the Sonata for Trumpet and Piano. This work discusses in detail the musical and compositional connection between Karl Pilss and his teacher, Franz Schmidt. Musical elements of melody, harmony, form and structure are used to illustrate the close connection between pupil and mentor. The use of the characteristic "Schmidt chord" in Pilss' works cements the link between the two composers. The Concerto for Trumpet and Orchestra and the Sonata for Trumpet and Piano deserve wider acceptance on the basis of their musical merit and as unique examples of the late German Romantic style for solo trumpet.
The purpose of the study is to present a formal analysis of the musical style and performance issues of the original version, for four hands piano, of Gazebo Dances, composed by John Coriglaino (b. 1938), a major American contemporary composer. Corigliano and his compositions have been performed by many performers and scholars over the several years. Gazebo Dances for piano four hands was composed in 1972. Gazebo Dances consists of four movements and was dedicated to his close friends: a dancelike overture movement in a slightly rondo form which is dedicated to Rose Corigliano and Etta Feinberg, waltz movement in a combination of rondo and sonata-allegro form which is dedicated to John Ardoin, adagio movement in a miniature sonata form which is dedicated to Heida Hermanns, and a tarantella movement in a modified rondo form which is dedicated to Jack Romann and Christian Steiner.
James Wintle (b.1942) is one of America's most successful living composers. Wintle and his compositions have attracted the attention of many prominent performers and scholars over the last three decades. The Key for trumpet and piano was composed in 1988 for Chris Gekker, an outstanding trumpet player. The Key consists of four movements: a fast movement in free form, a slow lyrical movement in song form (ABA'), a dance-like movement influenced by ragtime, and a fourth movement with a slow introduction in rondo form (ABA'CA''). The purpose of the study is to introduce the composer, James Wintle, and to present an analysis of The Key for trumpet and piano, a work which receives frequent performance. Through research and analytical approaches, the study focuses on a theoretical analysis of The Key for trumpet and piano. In addition to using available materials and resources, the author was in direct contact with James Wintle for the study. Chapter 1 presents the purpose of the study, the state of research, and method. Chapter 2 is devoted to James Wintle's biography. Chapter 3 examines Wintle's compositional style, including influences and musical language. Chapter 4 offers a theoretical analysis of all four movements of The Key, as well as a discussion of extra-musical influences from the painting entitled The Key by Jackson Pollock. A summation and conclusion follow in chapter 5.
Alexander Grechaninov was one of the most important composers of the late Russian Romantic School. By the second half of the twentieth century he remained one of the few living composers who continued the traditions of the great Russian Romantic masters, such as Tchaikovsky and Rimsky-Korsakov. He is primarily known for his liturgical works, which are truly masterpieces of this genre. Because many of his instrumental works remain unpublished, particularly the chamber works, they continue to be undeservedly ignored in the concert hall. Grechaninov's unpublished works for clarinet include Septet for Clarinet, Bassoon and String Quintet, Op. 172a, Serenade for Clarinet and String Orchestra (without opus number), and Sonata No. 1 for Clarinet and Piano, Op. 161. This project not only brings to light Grechaninov's unpublished clarinet works, but also emphasizes the importance of his published clarinet pieces which have to date been forgotten, especially in the United States. The writer prepares a performance edition of the Sonata No. 1, Op.161 from Grechaninov's original autograph manuscript which is held in the New York Public Library's Toscanini Archives. After a brief introduction, the document describes Grechaninov's biography, including his historical and societal background, compositional growth throughout his career, and outside influences to which he would have been exposed (Chapter 2). Chapter 3 discusses in details Grechaninov's compositional output and distinct features of his style. Chapters 4 and 5 discuss the published and unpublished works for clarinet by Grechaninov. Chapter 6 provides a detailed structural and tonal analysis of the Sonata No. 1, Op. 161 and discusses the process of editing. Included in the appendices are: performance edition of the Sonata No. 1 for Clarinet and Piano, Op. 161 (score and clarinet part); photocopy of the original autograph manuscript of the Sonata No. 1 for Clarinet and Piano, Op. 161 (score and ...
Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane's compositions for vibraphone consistently expand the technical and musical potential of the instrument. Performance of Deane's vibraphone works requires a performer to utilize grips and specific performance techniques that are departures from standard performance practices. Many of the performance techniques needed to successfully execute these pieces are not routinely found in either percussion pedagogy courses or performance ensemble situations. As a result, most percussionists are not familiar with these techniques and will require additional assistance, instruction, or demonstrations. The impetus of this document is to present explanations and solutions for performance areas that require extended performance techniques, to offer recommendations on the creation, choosing, and manipulating of special implements, and to propose varied choices related to artistic interpretation of three of Deane's vibraphone pieces: Mourning Dove Sonnet (1983), The Apocryphal Still Life (1996), and Dis Qui Etude (2004).
More than 200 compositions have been written for solo trombone and organ since the nineteenth century, including contributions from notable composers such as Franz Liszt, Gustav Holst, Gardner Read, Petr Eben, and Jan Koetsier. This repertoire represents a significant part of the solo literature for the trombone, but it is largely unknown to both trombonists and organists. The purpose of this document is to provide a historical perspective of this literature from the nineteenth century to the present, to compile a complete bibliography of compositions for trombone and organ, and to determine the current state of performance of this repertoire. This current state of performance has been determined through an internet survey, a study of recital programs printed in the ITA Journal, a study of recordings of this literature, and interviews and correspondence with well-known performers of these compositions. It is the intention of this author that this document will serve to make the repertoire for trombone and organ more accessible and more widely known to both trombonists and organists.
The connection of music and verse evident in the work of American poet, Carl Sandburg, is a topic that has received inadequate attention. Much preexisting research has focused on Sandburg's work with The American Songbag anthology; however little has been written about music composers' settings of his verse. The relevance of Sandburg's work as a poet has faded in today's society; the rural prairie subject matter and his poetic style are deemed archaic in an ever-evolving mechanistic society. Philip Wharton, a native of Sandburg's Midwest prairie, composes to create an evocative and image-laden world for the hearers of his music. This is what creates a semblance between both artists' works. This paper makes a connection between the work of the 20th century prairie poet and a current, 21st century American composer's musical setting of Sandburg's verse. Both artists are connected not only geographically, but also in their approach to an accessible art form for their audience. Negating current compositional trends and using text from Sandburg's poetry collections, Chicago Poems and Cornhuskers, Wharton melds the text into his evocative, imagistic musical language in his song cycle, The Prairie Sings. Using examples from the five movements of the cycle, I show the dependent relationship of verse and music. An in-depth analysis of the connection of poetry and music in each of the five movements of the cycle is contained in the paper. An additional connection in the dynamic interplay of the vocal line and piano accompaniment, the two "narrators" of the cycle, is also discussed. The resulting research points to an aspect of a creation of a regional American "sound, " reminiscent of trends of nationalism in the 19th and 20th century in art, literature and music.
Robert Schumann's dramatic music remains, for the most part, undiscovered and therefore performed infrequently. Genoveva, Das Paradies und die Peri, Manfred, and Scenen aus Goethes Faust are comprised of some of Schumann's most beautiful music from his last stylistic period. Schumann envisioned a national German opera that had a complete union of text and music and a plot based upon the supernatural and mythical German legends. His lofty aspiration was to raise the dramatic music of his time to the high standards of the literary culture. Composing dramatic music for Goethe's Faust was a challenging endeavor for Schumann. Scenen aus Goethes Faust was a project that he struggled with from 1844-1853 because of both the text and the grand scale of the piece. One purpose of an analysis of the structure and content of Schumann's Scenen aus Goethes Faust and Goethe's poetry is to facilitate the solo vocal performer's interpretation. Utilizing selected scenes from Scenen aus Goethes Faust; "Scene im Garten" from Part I, "Sonnenaufgang," and "Mitternacht" from Part II and "Hier ist die Aussicht frei" from Part III, this research paper will define important recurring musical motives, assess Schumann's usage of contrasting vocal genres and their relationship to the unfolding drama, explore important vocal performance issues for the baritone and soprano soloists and investigate the manner in which Schumann uses the orchestra to depict and communicate the meaning of Goethe's text. Schumann's method of setting Goethe's text will also be examined, as the ability to comprehend the poetic text was of primary importance.
Ellen Taaffe Zwilich is an important figure in the compositional world, having written a diverse body of works for which she has received many accolades, including the coveted Pulitzer Prize. The second chapter examines this American composer, the commission of the American Concerto, and events leading to the piano reduction of the concerto. The America Concerto is a modern work that incorporates synthetic scales, unusual notation, and the organization of melodic material through motives. The third chapter includes an analysis that identifies the form and tonal centers as well as the primary motives used in the concerto. The fourth chapter includes pedagogy considerations for performance. Issues relating to tessitura, articulation, flexibility, endurance factors, fingerings, and technical features of the piano reduction accompaniment are evaluated. Detailed suggestions are provided to aid in preparing the piece for performance, including a study of stylistic concerns. The American Concerto is quite diverse stylistically as Zwilich explores the symphonic and jazz genres. The dual nature of the trumpet is examined as the piece combines classical and jazz styles in a virtuosic setting.
In 1988, Jean Guillou composed Hyperion on a commission from the French oil company, Société Nationale Elf Aquitaine, to celebrate its discovery of oil. He developed this theme of fire using his imagination, European philosophical concepts, and various myths. As with Messiaen, rhythm becomes a significant element in Guillou's organ music to convey a heightened dramatic story of an exaltation of fire and to represent the fourth movement of "Agni-Ignis." For aspects of rhythmic structure, I developed new methodology to analyze rhythm in six sections of "Agni-Ignis." Guillou uses experimental rhythmic techniques such as rhythmic subdivision, cycling, rhythmic ostinato, durational contrast, and rhythmic crescendo to build the musical structure of the piece. Among them, the primary subdivision of 16th-note groups organizes throughout the piece as a cyclic theme to convey the powerful and vivid mood of fire. This rhythmic group creates many pitch patterns as thematic transformation to provide both rhythmic and harmonic complexities. The two types of rhythmic ostinato, which is variable and invariable type, juxtapose below the manual's skillful rhythm to provide variety and unity. The other notable features of rhythm appear at the border of each section, such as rhythmic crescendo, durational contrast, 32nd-note groupings, rest and fermata to build tension and relaxation. The rhetorical figure of pitch D, which is another "fire theme" in the pitch aspect dominates the core section which has a much slower rhythm with sustained notes. In general, Guillou has been influenced by his predecessors such as his teacher, Messiaen, and Stravinsky. However, he is uniquely suited to explore the limitless possibilities of the organ in a more secular and avant-garde style. The purpose of this study is to give the performer new insight to guide his or her 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.
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.
Ida Gotkovsky, a student of Olivier Messiaen and Nadia Boulanger, composed for nearly every instrument, voice, and ensemble. Although Gotkovsky's Concerto for Trombone is a monumental work for the trombone it is rarely performed and recordings are scarce. There is a general lack of scholarly attention to the music of Ida Gotkovsky, however, the technical and aesthetic quality of her music merits further examination. Previous studies of Gotkovsky's music focused on the analysis of individual compositions. However, much more can be learned by examining a work within the context of her general compositional output. Gotkovsky's compositional style includes extensive musical self-borrowing. The goal of this project is to demonstrate melodic and textural similarities and differences within her music to inform performance practice and to establish interest in her music. The context in which Gotkovsky reuses her music is significant and can provide additional musical insight. An informed awareness of her extensive use of self-quotation familiarizes the performer with her compositional language in a variety of musical settings. Such familiarity with her musical style leads to an improved and artistically educated performance.
In recent years, the use of the cimbasso has gained popularity in Giuseppe Verdi opera performances throughout the world. In the past, the tuba or the bass trombone was used regularly instead of the cimbasso because less regard was given to what Verdi may have intended. Today, one expects more attention to historical precedent, which is evident in many contemporary Verdi opera performances. However, the tuba continues to be used commonly in performances of Verdi opera productions throughout the United States. The use of the tuba in the U.S. is due to a lack of awareness and a limited availability of the cimbasso. This paper demonstrates the pedagogical and aesthetic differences between the use of the tuba and the modern cimbasso when performing the works of Giuseppe Verdi operas.
Doubling is defined as playing two instruments. It is becoming increasingly necessary for low brass musicians to double in the course of their careers. Euphoniumists often learn trombone, and trombonists learn euphonium. The instruments share several surface similarities but also differ in many significant ways. Interviews with six professional doublers highlight strategies for learning, teaching, and performing on both trombone and euphonium. Slide and valve technique, adjustment of intonation, tone quality, air usage, repertoire, and skill maintenance are all addressed. Trombone literature comprises a large part of the euphonium repertoire, due to the fact that most trombone pieces can be performed on euphonium. Euphoniumists should avoid playing pieces that require glissandi or extremely loud dynamics to be effective. Euphonium solos are generally too technical to be practical for trombonists to perform. Grøndahl's Concert pour trombone et piano ou orchestre is a standard piece for both instruments. When performing the piece on either instrument, it is helpful to practice the piece on both trombone and euphonium in order to tap into each instrument's strengths.
The Avatar for trumpet and piano by Dr. Steve Rouse is one of the most challenging compositions in the trumpet repertoire. Due to The Avatar's challenges and increasing popularity, a study is necessary to aid its performance. Each movement is performed on a different instrument: Bb piccolo (with an optional A piccolo part) for Nativity, Bb Flugelhorn for Enigma-Release and Bb trumpet for Rebirth. In addition, the performer must convey one of the work's possible programmatic meanings: (1) The Hindu belief of an Avatar and its life cycle, (2) the life of Christ or (3) the human lifecycle. Chapter 1 gives historical information about the work. Chapters 2-4 discuss each movement of The Avatar programmatically and pedagogically. Facets of each movement are analyzed including differences in programmatic choices, rehearsal techniques and sound concepts. Chapter 5 provides recording suggestions, including choosing a recording engineer, preparing and planning for a recording section, choosing a venue and the benefits of hiring a tonmeister.
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