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Many of the works of Dominick Argento have been researched and analyzed, but his choral work Evensong: Of Love and Angels s has received limited attention thus far. Written in memoriam for his wife Carolyn Bailey Argento, Evensong draws its musical material from her initials C.B.A. These letters, translated into note names, form a conspicuous head motive that is present in each movement of the work, and it serves multiple functions: as a melodic feature, as the foundation for a twelve-tone row, and as a harmonic base. This paper provides an overview of the work's conception with specific relation to Argento's biographical details, compositional style, and work habits; a brief review of the critical reception of the work; and a succinct analysis of the form and cyclical materials found in each movement.
ContributorsPage, Carrie Leigh, 1980- (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Levy, Benjamin (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2011
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, 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.
ContributorsSneider, Elliot (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hackbarth, Glenn (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
An eighteenth-century polychoral vespers service of José Gil Pérez: edition and historical context
Description
Compared to sacred choral music of the great Spanish composers of the Renaissance, church music of later Spanish composers is relatively ignored, despite the fact that many left behind a significant body of works worthy of scholarly investigation and performance. In fact, there is a paucity of information on eighteenth-century church music in Spain - music history books generally treat the subject in the briefest way. To correct this situation, scholars must delve into the large caches of unpublished works from this period, which lie dormant in the archives of religious institutions. Even contextualizing these works is difficult, because so much remains to be unearthed. To help fill the lacuna of knowledge about this repertoire, I will shed light on the music of maestro de capilla José Gil Pérez (1715-1762), who was active at the cathedral of Segorbe, Spain from 1745 until his death in 1762, by presenting an edition of one of his vespers services. This service is comprised of a magnificat and three psalms (nos. 116, 122, and 147). These works, transcribed from the composer's autograph housed in the Segorbe cathedral, and written for SAT/SATB chorus and organ, will serve as a valuable contribution to the body of knowledge concerning choral music of the Spanish late Baroque. It will be seen that despite Gil Pérez's innovative use of "theatrical" instruments in the Segorbe cathedral and "Italianisms" in his villancicos, his compositional style in Latin works was largely conservative, in keeping with the practice of most maestros in Spain at this time. In fact his oeuvre demonstrates varying influences, largely dependent upon the genre. To contextualize this composer and his works, I will provide background information regarding music in the Segorbe cathedral during the century in question, including trends and influences, as well as information on Gil Pérez himself.
ContributorsGorton, William Paul (Author) / Feisst, Sabine (Thesis advisor) / DeMars, James (Committee member) / Hill, Gary (Committee member) / Reber, William (Committee member) / Arizona State University (Publisher)
Created2013
Description
Sonata No. 2 in B-flat Major is a work for trumpet and piano. It is composed in the romantic tradition and is thirty minutes in length. Trumpet chamber repertoire has increased dramatically in the past century, but few new works are representative of the harmonic language or extended forms of the late romantic tradition.
The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension.
The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities.
The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work.
The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension.
The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities.
The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work.
ContributorsBrand, Spencer Paul (Author) / DeMars, James (Thesis advisor) / Rockmaker, Jody (Committee member) / Rodney, Rogers (Committee member) / Arizona State University (Publisher)
Created2018
Description
Many of Erik Morales's trumpet compositions have become standard repertoire. This study examines his trumpet works, which are examples of Morales's outstanding compositional skill and versatility. The composer, some of the most significant performers, and people who commissioned these pieces were interviewed. Biographical information and compositional characteristics of Morales are presented. Historical information about the pieces is also provided, including the premieres, commissions, recordings, and significant performances. Technical concerns specific to the trumpet, and performance recommendations, are assessed. This study is a pedagogical and informative source for all trumpet educators and performers interested in solo and trumpet ensemble music.
ContributorsZapata Correa, Oswaldo Arley (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2016