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Introducing the Oboe D'amore to the Woodwind

Description

This project describes the process of creating an arrangement of Gustav Holst's "Second Suite in F for Military Band," to include the oboe d'amore. The oboe d'amore is a member of the oboe family which is not often used in

This project describes the process of creating an arrangement of Gustav Holst's "Second Suite in F for Military Band," to include the oboe d'amore. The oboe d'amore is a member of the oboe family which is not often used in the modern day. Also included are a score, 5 individual parts, and a digital audio file of the arrangement.

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2020-12

Once On This Island - An Exploration of Nontraditional Casting

Description

Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against

Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of the musical "Once on this Island" which I attempted to cast based on vocal quality and skill alone rather than taking physical characteristics into account. I researched the history and implementation of nontraditional casting, both in regards to race and other factors such as gender, socio-economic status, and disability. I also considered the legal and intellectual property challenges that nontraditional casting can pose. I concluded from this research that while nontraditional casting is only one solution to the problem, it still has a great deal of potential to create diversity in theater. For my own show, I held the initial auditions via audio recording, though the callback auditions were held in person so that I and my crew could appraise dance and acting ability. Though there were many challenges with our cast after this initial round of auditions, we were able to solidify our cast and continue through the rehearsal process. All things said, the show was very successful. It is my hope that those who were a part of the show, either as part of the production or the audience, are inspired to challenge the concept of typecasting in contemporary theater.

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Date Created
2014-12

A performer's perspective on double clarinet music: pieces by William O. Smith, Eric Mandat, and Jody Rockmaker with interviews and a recording

Description

This final research paper provides both a performer's perspective and a recording of double clarinet literature by William O. Smith (b. 1926), Eric Mandat (b. 1957), and Jody Rockmaker (b. 1961). The document includes musical examples, references to the recording,

This final research paper provides both a performer's perspective and a recording of double clarinet literature by William O. Smith (b. 1926), Eric Mandat (b. 1957), and Jody Rockmaker (b. 1961). The document includes musical examples, references to the recording, and interviews with the composers. The first chapter contains a brief literature review of sources on world double clarinets, biographies of the above-mentioned composers, and other pertinent information. Chapters 2-4 include the performer's perspective on the following works: Epitaphs for Double Clarinet by William O. Smith, Double Life for Solo Clarinet by Eric Mandat, and two compositions by Jody Rockmaker, Half and Half for demi-clarinet in A, and Double Dip. The final chapter examines how double clarinet music has evolved, the challenges and limitations of the repertoire, and the future of the double clarinet genre.

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Date Created
2013

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Concerto for Piano and Chamber Orchestra

Description

Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow,

Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close.

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Date Created
2013

CYOA an examination of the possibilities of dynamic musical objects as a new format for music distribution

Description

CYOA is a prototype of an iPhone application that produces a single, generative, musical work. This document details some of the thoughts and practices that informed its design, and specifically addresses the overlap between application structure and musical form. The

CYOA is a prototype of an iPhone application that produces a single, generative, musical work. This document details some of the thoughts and practices that informed its design, and specifically addresses the overlap between application structure and musical form. The concept of composed instruments is introduced and briefly discussed, some features of video game design that relate to this project are considered, and some specifics of hardware implementation are addressed.

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Date Created
2013

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Three meditations on the philosophy of Boethius: performance instructions

Description

Three Meditations on the Philosophy of Boethius is a musical piece for guitar, piano interior, and computer. Each of the three movements, or meditations, reflects one level of music according to the medieval philosopher Boethius: Musica Mundana, Musica Humana, and

Three Meditations on the Philosophy of Boethius is a musical piece for guitar, piano interior, and computer. Each of the three movements, or meditations, reflects one level of music according to the medieval philosopher Boethius: Musica Mundana, Musica Humana, and Musica Instrumentalis. From spatial aspects, through the human element, to letting sound evolve freely, different movements revolve around different sounds and sound producing techniques.

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Date Created
2013

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English folk song influences on the Vaughan Williams Concerto for oboe and strings

Description

The Concerto for Oboe and String by Ralph Vaughan Williams is often described as a pastoral work without any consideration for what makes that an accurate description. This paper outlines the connections to English folk song that create what are

The Concerto for Oboe and String by Ralph Vaughan Williams is often described as a pastoral work without any consideration for what makes that an accurate description. This paper outlines the connections to English folk song that create what are considered the pastoral qualities in the work. Vaughan Williams' relationship with English folk song, as collector and arranger, is well-documented, as is his advocacy for their use in compositions. By the time he wrote the Oboe Concerto at the end of his career, folk song elements had completely infused his compositional style. The Oboe Concerto shares many stylistic traits with English folk song. These stylistic elements: mode, melodic structure, form, and rhythm and meter are first analyzed in terms of English folk song, then how these features are utilized in the Oboe Concerto. Another connection to English folk song is in the manner of accompanying the Concerto. Vaughan Williams had firm opinions on how to accompany folk songs and wrote many sample accompaniments, which bear a marked resemblance to the accompaniment for the Oboe Concerto. The same is true for the accompaniment he wrote for a specifically folk song-inspired work, the Six Studies in English Folk Song for Violoncello and Pianoforte. Specific examples from both works are compared to the Concerto accompaniment. Finally, several motives and melodic figures found in folk songs included in the Penguin Book of English Folk Songs, which was edited by Vaughan Williams, are also found in the Oboe Concerto. An understanding of the use of English folk song elements and specific quotes in the Oboe Concerto, as well as the folk song-style treatment in accompaniment provide concrete evidence of the pastoral quality prevalent in many works of Vaughan Williams. Not only can this support a well-informed and more rewarding performance of the Oboe Concerto, but the same analysis can be applied to many of his other works as well, in addition to the works of a generation of English composers whose style he influenced.

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Date Created
2013

Innovation: Chinese folk music influence in contemporary clarinet repertoire

Description

Several contemporary clarinet works use Chinese folk music elements from different regions in new compositions to entice listener's and performer's appreciation of Chinese culture. However, to date, limited academic research on this topic exists. This research paper introduces six contemporary

Several contemporary clarinet works use Chinese folk music elements from different regions in new compositions to entice listener's and performer's appreciation of Chinese culture. However, to date, limited academic research on this topic exists. This research paper introduces six contemporary clarinet works by six Chinese composers: Qigang Chen's Morning Song, Yan Wang's Mu ma zhi ge (The Song of Grazing Horses), An-lun Huang's Capriccio for Clarinet and Strings Op. 41, Bijing Hu's The Sound of Pamir Clarinet Concerto, Mei-Mi Lan's Concerto for Clarinet and String Orchestra with Harp and Percussion, and Yu-Hui Chang's Three Fantasias for Solo Clarinet in B-flat. They are examined from different perspectives, including general structure, style, and rejuvenated folk music use. The focus of this research paper is to investigate the use of Chinese folk music in several works in collaboration with the composers. The author found that although contemporary composers use Chinese folk music differently in their works (i.e., some use melodies, others use harmony, while others use modes), each work celebrates the music and culture of the folk music on which the pieces are based. It is the author's hope to stimulate people's interest in music using Chinese folk music elements, and bring these lesser known works into the common clarinet repertoire.

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Date Created
2013

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An analysis of the Concerto for bassoon and orchestra by Nino Rota

Description

Nino Rota was a prolific composer of twentieth-century film and concert music, including the Concerto for bassoon and orchestra in b-flat major. Composing over 150 film scores for directors such as Federico Fellini, Francis Ford Coppola, Henry Cass, King Vidor

Nino Rota was a prolific composer of twentieth-century film and concert music, including the Concerto for bassoon and orchestra in b-flat major. Composing over 150 film scores for directors such as Federico Fellini, Francis Ford Coppola, Henry Cass, King Vidor and Franco Zeffirelli, Rota received distinguished acclaim from several film institutions, professional film reviewers and film music experts for his contributions to the art form. Rota also composed a great deal of diverse repertoire for the concert stage (ballet, opera, incidental music, concerti, symphonies, as well as several chamber works). The purpose of this analysis is to emphasize the expressive charm and accessibility of his concerto in the bassoon repertoire. The matter of this analysis of the Concerto for bassoon and orchestra concentrates on a single concerto from his concert repertoire completed in 1977, two years before Rota's death. The discussion includes a brief introduction to Nino Rota and his accomplishments as a musician and film composer, and a detailed outline of the motivic and structural events of contained in each movement of the concerto. The shape of the work is analyzed both in detailed discussion and by the use of charts, including reduced score figures of excerpts of the piece, which illustrate significant thematic events and relationships. The analysis reveals how Rota uses lyrical thematic material in a consistently, and he develops the music by creating melodic sequences and varied repetitions of thematic material. He is comfortable writing several forms, as indicated by the first movement, Toccata - a sonata-type form; the second movement, Recitativo, opening with a cadenza and followed by a theme and brief development; and the third movement, a theme (Andantino) and set of six variations. Rota's writing also includes contrapuntal techniques such as imitation, inversion, retrograde and augmentation, all creating expressive interest during thematic development. It is clear from the discussion that Rota is an accomplished, well-studied and lyrical composer. This analysis will inform the bassoonist and conductor, and aid in developing a fondness for the Concerto for bassoon and orchestra and perhaps other concert works.

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Date Created
2012

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Madiba 46664

Description

Nelson Rolihlahla Mandela was born July 18, 1918 into the Madiba clan in Mvezo, Transkei, South Africa. Mandela was a lawyer by trade and a freedom fighter who envisioned freedom and equality for all South Africans regardless of race. In

Nelson Rolihlahla Mandela was born July 18, 1918 into the Madiba clan in Mvezo, Transkei, South Africa. Mandela was a lawyer by trade and a freedom fighter who envisioned freedom and equality for all South Africans regardless of race. In 1965, Mandela was imprisoned at Robben Island for twenty-seven years for treason and terrorist activities against the South African apartheid regime: he was assigned prison numbers 46664. In 1992, Mandela was released from prison and two years later not only became the first democratically elected president of South Africa, but also its first black president. "Madiba 46664" is an eight-minute chamber work scored for flute, oboe, clarinet in B-flat, and bassoon; vibraphone, and two percussionists; piano; violins, violas, and celli. The work blends traditional South African rhythms of the drumming culture with elements of Western harmony and form in contrasting textures of homophony, polyphony and antiphony. "Madiba 46664" utilizes Mandela's prison number, birthdate and age (at the time the composition process began in 2013) for the initial generation of meter, rhythm, harmony, melody, and form. The work also shares intercultural concepts that can be seen in the works of three contemporary African composers, South Africans Jeanne Zaidel-Rudolph and Andile Khumalo, and Nigerian Ayo Oluranti. Each section represents a period of Mandela's life as a freedom fighter, a prisoner, and a president. The inspiration stems from the composer's discussions with Mandela soon after his release from prison and prior to his presidency. These lively discussions pertained to the state of traditional music in then apartheid South Africa and led to this creation. The conversations also played a role in the creative process.

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Date Created
2014