Matching Items (9)

Rakhs-e-Bahâr (Dance of Spring)

Description

Persian music is immensely rich in history, culture, and expression. There has always been a very unique style and feel to it with common themes and elements present in all songs created by Persian artists. It has specific unique elements

Persian music is immensely rich in history, culture, and expression. There has always been a very unique style and feel to it with common themes and elements present in all songs created by Persian artists. It has specific unique elements in its composition, quite different from Western classical music, common across all forms of Persian music regardless of genre or generation: highly vocal melodies, greater use of ornamentation, and particular notation. While different, these elements are not incompatible with one another. This musical composition uses a string ensemble of Violin, Viola, Cello, and Double Bass to combine and incorporate the unique styles and elements of Persian music with those of Western classical music. This Persian-inspired waltz brings out aspects of both styles to convey both styles in harmony together and, at the same time, portrays each respective style within the setting and context of the other.

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Agent

Created

Date Created
2020-05

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Four Piano Works of Ming-Hsiu Yen

Description

More and more Taiwanese composers have been internationally recognizednowadays. However, their works have received scarce attention compared to their Western counterparts, even within Taiwan. Ming-Hsiu Yen (b. 1980) is a perfect example of an active composer whose works have been

More and more Taiwanese composers have been internationally recognizednowadays. However, their works have received scarce attention compared to their Western counterparts, even within Taiwan. Ming-Hsiu Yen (b. 1980) is a perfect example of an active composer whose works have been awarded many international prizes and performed worldwide, and yet there are few published studies that promote deeper understanding of her compositional language.
This paper is the explanatory document for a lecture recital presented by the author. Four of Yen’s compositions for piano are examined, namely The Forgotten Corner (2005), “The Core” and “Frozen March” from Movements (2002-2005), and Fantasy Amour (2013). These works are discussed from both compositional and performance perspectives. After a brief biography of Yen and an overview of her piano compositions, the four works are given detailed description focusing on their coherence created by specific elements. Performance suggestions for each work are provided as well.
The discussion offers insight into the musical organization of these pieces and Yen’s unifying techniques. It is hoped that this information will be beneficial to pianists interested in this composer and the repertoire of contemporary Taiwanese piano music.

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Agent

Created

Date Created
2021

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Final Journey

Description

I have always aspired to compose a large-scale orchestral piece which would be more than 5 minutes in length, rich in harmony and colorfully orchestrated. Impressionism and music for Hollywood films have influenced my music style. I have tried to

I have always aspired to compose a large-scale orchestral piece which would be more than 5 minutes in length, rich in harmony and colorfully orchestrated. Impressionism and music for Hollywood films have influenced my music style. I have tried to emulate the harmony, textures and melody development. In preparation for this project, and I analyzed La Mer, and the orchestral arrangement of Image by Debussy, The Planets by Gustav Holst, and a number of works by John Williams. Carnival Chaos by my advisor, Dr. Christopher Norby, in particular, inspired me. The culmination of my own efforts is Final Journey, a 9-minute work for full orchestra. I endeavored to mimic Debussy’s colors. The main theme mm. 1-5, is built on a non-functional major-minor seventh chord that creates tension through raised and lowered pitches. The treble woodwind sections follow with dramatic dynamic changes that contrast with the earlier melody. Echoes of this tune can be found throughout the piece, for instance in mm. 61-77 and 169-176. The whole tone scale perfectly creates a mysterious and vague soundscape. The interaction between parts in the woodwind sections at mm. 43-60 and 107-121 are reminiscent of Hollywood-style orchestral techniques. The process of creation is also a process of learning. I believe I finally achieved my original goals. These valuable experiences will be the basis as I continue my career.

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Agent

Created

Date Created
2021

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Plant Intelligence and Communication: Distributed, Non-hierarchical Systems as Models For Music Composition and Networked Sound Installations

Description

Increased awareness and technological solutions will not solve the global ecological crises of climate change and mass extinction by themselves. A fundamental shift is needed in how we view ourselves and our relationships with all life to avoid further degradation

Increased awareness and technological solutions will not solve the global ecological crises of climate change and mass extinction by themselves. A fundamental shift is needed in how we view ourselves and our relationships with all life to avoid further degradation of the biosphere and ensure a more equitable future. A crucial part of such a shift means expanding the range of species that fall under human consideration. Viewing non-human life, including plants, as intrinsically rather than instrumentally valuable can be transformative to how we, as a species, think about and enact practices that encourage sustainable development. By highlighting the intelligence and communication abilities of plant life through artistic work, a strong counter-narrative can be developed against the dominant utilitarian view of plants as merely a resource for human cultivation and consumption. This dissertation explores plant intelligence and communication as models for music composition and networked sound installations. It is comprised of two complementary components, a sound installation, Unheard Voices, and the following document that explores the relevant artistic precedents, ecological, philosophical, and practice-based research that was conducted to facilitate the creation of the installation project. Focusing this research are the questions: 1) How can plant intelligence in communication, as outlined by plant neurobiologists and ecologists, serve as a model for creating sound installations? 2) How can such art pieces help viewers reflect on humanity’s interconnection to nature and reconsider plants as sentient, communicative, and intrinsically rather than instrumentally valuable?

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Agent

Created

Date Created
2021

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Concerto Grosso

Description

CONCERTO GROSSO is a 15-minute three-movement piece composed for an 11-instrument ensembleand electronics which is performed by an additional performer. The aim of this piece is to expresses my
interpretation of classical Egyptian and contemporary Western musical idioms through the

CONCERTO GROSSO is a 15-minute three-movement piece composed for an 11-instrument ensembleand electronics which is performed by an additional performer. The aim of this piece is to expresses my
interpretation of classical Egyptian and contemporary Western musical idioms through the methods of both live
orchestration and electronic processing. The relationship between the acoustic instruments and the electronics is meant to sound as if the electronicpart is a live processing of each acoustic instrument in real time, but in reality the processing does not occur live,
and has been prepared prior to the performance by a recording of each individual instrumental part which has been
made in advance. These recordings are processed and prepared into cues which are then triggered by an
individual performer on a synthesizer. CONCERTO GROSSO explores the generation of new timbers, textures and tuning systems out of theacoustic material performed by the instruments through the use of electronic processing. Through the alteration of
timbres, the instruments can be altered to sound similar to native Egyptian and other-wordly instruments. The
alteration of textures results from the duplication of one instrument into a choir of that instrument, which can either
be aligned vertically or offset by small durations to create a brief nebula of sound. Finally, non-western tuning
systems such as the Arabic "Maqamat" are generated through the processing of pitch in order to create intervals
such as neutral seconds, which are not in the common practice technique of the instruments of the ensemble.

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Agent

Created

Date Created
2021

The Persistence of Art Music: Creating Contemporary Clarinet Works Under COVID-19 Restrictions

Description

In the early part of 2020, musicians faced an unprecedented challenge. A novel coronavirus emerged, spreading throughout the world and creating a pandemic. To control the spread of this virus, local governing officials suspended large gatherings in public spaces, which

In the early part of 2020, musicians faced an unprecedented challenge. A novel coronavirus emerged, spreading throughout the world and creating a pandemic. To control the spread of this virus, local governing officials suspended large gatherings in public spaces, which meant that all live music performances were cancelled for the foreseeable future. As a response to these cancellations, many musicians turned to live streaming, sharing transmissions of live performances over the internet. However, as life under COVID-19-related restrictions continued, the internet quickly became oversaturated with live stream music performances. This led musicians to discover innovative ways to adapt their creative practices for virtual settings. Through the process of commissioning, premiering, and recording new works, this research project explores how music practitioners can create music that is designed specifically for the imposed restrictions on the performing arts that accompanied the COVID-19 pandemic. To complete this project, I commissioned new works for clarinet and bass clarinet intended for performance under shelter-in-place conditions. The pieces included in this project are Two Flights for B-Flat Clarinet by Bill Clay (2020), 8 Months by Jessi Harvey (2020), R....v...rs....m oooiiiiii by Gabo Champagne (2021) and Od-ieu by Kim Farris-Manning (2021). I presented these works in two virtual formats: (1) I staged a virtual concert of their premieres from my home studio space, and (2) released studio-quality recordings of them paired with extra-musical video footage. This document offers an account of the virtual concert, a description of the process of the video production component, and performance guides for each commissioned piece. An audio/video recording of the virtual concert is included as a supplemental media file to this document, as are all music videos.

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Date Created
2021

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Forget You're Female: An Engineer's Story

Description

Forget You’re Female focuses on stories of women pursuing engineering degrees and women in the field of engineering. The main character, Samantha (Sam), comes from a family of engineers and is unsure whether she wants to study engineering in college.

Forget You’re Female focuses on stories of women pursuing engineering degrees and women in the field of engineering. The main character, Samantha (Sam), comes from a family of engineers and is unsure whether she wants to study engineering in college. In Opening-Decision, a university admissions counselor insists that Sam enters the engineering program. Sam expresses excitement for the degree in Engineer. However, she faces discrimination and microaggressions in First Class and Peers. These experiences lead her to seek a professor’s advice in Forget You’re Female. Jack’s Song explores the moment when a male student discovers overt sexism in a public part of the engineering building. Finally, in Graduation, Sam completes the degree and reflects on her experiences and potential longevity in the engineering field.
There are some staging instructions written into the score, however, lighting instructions are the only required element. Extras and props are optional but help convey the scene of each song. Projecting relevant footage or written descriptors is recommended in place of extras and props. If no extras are available, then spoken lines (male) need to be recorded and played back as indicated in the score.

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Agent

Created

Date Created
2021

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Collaboration as the Initial Stage of Artistic Group-Work: The collaborative stage of co-creation between music composers and other artists

Description

There are as many different approaches to artistic collaboration theory as there are authors who have created them. This paper postulates that collaboration is a stage of the artistic co-creative group-work process. Theories of collaboration were examined to isolate verbiage

There are as many different approaches to artistic collaboration theory as there are authors who have created them. This paper postulates that collaboration is a stage of the artistic co-creative group-work process. Theories of collaboration were examined to isolate verbiage used in various attempted definitions of artistic collaboration. Two theories were selected to serve as a joint model for the creation and maintenance of a collaboration stage during the artistic co-creative group-work process including a derived series of conditions required for a co-creative initial stage to qualify as collaboration. Those conditions were then applied to five collaborative situations to determine if each situation had established a collaboration stage, how that establishment occurred, if that collaborative atmosphere was maintained over the life of the co-creative process, how the presentational outcome of the group-work was affected by the presence or lack of a collaboration stage, and finally this collaborator’s general reactions to the process.

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Date Created
2021

Temporal Creative Entanglement and the Composer’s Search for a Unique Voice

Description

Temporal Creative Entanglement and the Composer’s Search for a Unique Voice is about some of the creative challenges inherent in the composing process. Creative entanglement is when a composer gets caught up—entangled—in the creative process and it tarnishes their

Temporal Creative Entanglement and the Composer’s Search for a Unique Voice is about some of the creative challenges inherent in the composing process. Creative entanglement is when a composer gets caught up—entangled—in the creative process and it tarnishes their sense of how to appropriately assemble the formal structure of a piece. The word temporal means that I’m focusing on how a lot of creative entanglement happens because of process / product disparities related to time. Process / product disparity is the term I use to describe the enormous differences between the experience of composing and the experience of hearing the premiere of a work. And, I bring up the composer’s search for a unique voice because composers are especially vulnerable to creative entanglement when they are trying to write in a new style. I try to identify some different ways a composer can become entangled by discussing some specific ways that people subconsciously process music (musical expectations and information flow). I draw on the works of David Huron, Fred Lerdahl, and John Sloboda, among others, to paint a picture of the different mental processes that occur during composing and listening. I discuss how schematic, veridical, and dynamic expectations work in the mind of composer and the listener, and how these relate to creative entanglement. I also discuss how the conception of large-scale form fits into this topic. In the conclusion, I offer some thoughts on approaching composing from the perspective of creative entanglement. To close, I offer a perspective about artistic satisfaction and composing.

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Agent

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Date Created
2021