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Description
We endeavored to begin the process of writing a musical. We composed a total of three songs, 30 pages of script (non-consecutive) with an outline summarizing the remaining uncompleted pages, seven character summaries/analyses, and a reflection on the process and next steps, and presented them in a “Producer Pitch” format to our readers. In our paper we discuss the birth of inspiration for Girls And Boys—namely philosophical conflicts about the role of biology vs. society in gender identity and real, local events of public districts reevaluating their sex education program—as well as the challenges we experienced during the process and our intentions for continued work towards the completion of the material. In our written script we span the opening of the show to the climax through sporadically completed scenes, with the outline serving to fill in the blanks. In our music, we composed three pieces—a solo ballad, an ensemble number, and an emotional trio—that we converted into an audio file format, and performed live for a small audience. Ultimately, we seek to use the elevated drama of a musical to convince the audience that empathy is the truest, ageless, and genderless expression of humanity.
ContributorsDoering, Emilie (Co-author) / Moylan, Megan (Co-author) / Yatso, Toby (Thesis director) / Mills, Robert (Committee member) / Harper, Robert (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / School of Politics and Global Studies (Contributor)
Created2015-05
Description
This thesis explores the musical and historical aspects of two of the greatest solo works for the cello: Suite No. 6 in D major, BWV 1012 by Johann Sebastian Bach and the Sonata for Solo Cello, Op. 8 by Zoltán Kodály. The thesis and creative project consists of a researched paper of approximately 30 pages of historical and musical analysis on both pieces and the “defense” was a recital where I performed both pieces memorized with an informed approach. Part I explores of Bach’s Suite No. 6 in D major, BWV 1012, and Section 1 includes a biography and historical context during the period in which the sixth suite was written. Section 2 consists of an analysis of all six movements (Prelude-Allemande-Courante-Sarabande-Gavottes I and II-Gigue). The analysis explores the German dance form of the suite movements and how they are relevant to the sixth suite, as well as musical aspects that make the sixth suite unique. Part II explores Kodály’s Sonata for Solo Cello, Op. 8 that has a similar structure as Part I with a Section 1 of biography and historical context during the period of the sonata, and a Section 2 analysis. Section 1 explores Kodály’s life and studies in folk music that is relevant to the Sonata, and Section 2 musical analysis with points of relevance to the Hungarian language folk song. The Sonata consists of three lengthy movements (Allegro maestoso ma appassionato-Adagio con grand espressione-Allegro vivace) and the analysis consists of formal, musical, and a few pedagogical approaches. The thesis is rounded out with a conclusion of personal reflection added during the revision process. This musical and historical analysis greatly informed my performance of these works and the “defense” recital was highly successful.
ContributorsPepper, Angelese Antoinette (Author) / Landschoot, Thomas (Thesis director) / Park, Yeil (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05