The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time.
well as the identities of the musicians who participate in them. By employing ritual and
performance studies theories of liminality, I demonstrate ways in which jazz musicians,
jam sessions, and other social structures are mobilized and transformed during their
social and musical interactions. I interview three prominent members of the jazz scene in
the greater Phoenix area, and incorporate my experience as a professional jazz musician
in the same scene, to conduct a contextually and socially embedded analysis in order to
draw broader conclusions about jam sessions in general. In this analysis I refer to other
ethnomusicologists who research improvisation, jazz in ritual context, and interactions,
such as Ingrid Monson, Samuel Floyd, Travis Jackson, and Paul Berliner, as well as ideas
proposed by phenomenologically adjacent thinkers such as Gilles Deleuze, Martin
Heidegger, Maurice Merleau-Ponty, and Karen Barad.
This thesis attempts to contribute to current jam session research in fields such as
ethnomusicology and jazz studies by offering a perspective on jam sessions based on
phenomenology and process philosophy, concluding that the jam session is an essential
mechanism in the ongoing social and musical developments of jazz musicians and their
scene. I also attempt to continue and develop the discourse surrounding theories of
liminality in performance and ritual studies by underscoring the web of relations in social
structures that are brought into contact with one another during the liminal performances
of their acting agents.
The turmoil of the Chinese movements is characterized by atonality and fast tempos with contrasting, meditative, lyrical B sections. The outer Latin movements contain the familiar Kyrie and Agnus Dei texts in triple canon with the orchestra. The English middle movement is simultaneously familiar and awkward, with harmonies that almost function, under an altered Credo text. After an aria-like passage, the orchestra takes the “I believe” figure and manipulates it in a modal fugato, culminating in a climactic version of the main motive. A repeated double-dotted quarter note—sixteenth-note rhythm followed by a fast tremolo in the castanets make up the central “bangu motive.” This motive is derived from traditional Beijing Opera, in which the bangu is the principal percussion element. As a rhythmic motive, fragments of it appear in every movement and in several different instrument groups. These fragments undergo various transformations before a version of it arrives as the final Agnus Dei rhythmic figure.
Consequently, Hans Gál is known today mainly as an educator, scholar, and editor of Brahms’s works, rather than as a composer, despite an impressive compositional output spanning over 70 years covering every major musical genre. Within his impressive oeuvre are several little-known gems of the violin repertoire, including the Sonata in D for Violin and Piano and Violin Concerto op. 39 among others. Scholarly writings on Gál and his music are unfortunately scarce, particularly such works exploring his violin music.
However, recent years have seen an increased interest in resurrecting the music of Gál. Recordings of his major works as well as research of his music have furthered the awareness and understating of this forgotten composer’s music. In my document, I will continue the path of recent rediscovery and celebration of this unsung hero of twentieth-century post-Romanticism with an in-depth look at his Sonata in D for Violin and Piano (1933). A light-hearted, accessible and unpretentious work, the Sonata in D distinguishes itself in the violin-piano sonata repertoire of the interwar period by its witty, clear use of form and motivic/thematic unity in the vein of the great Viennese masters. Gál’s take on traditional idioms such as tonality, coupled with masterful use of the implication/realization process, create a highly original and noteworthy style, that renders the Sonata in D an immediately appealing work for performers and listeners alike.
The majority of trust research has focused on the benefits trust can have for individual actors, institutions, and organizations. This “optimistic bias” is particularly evident in work focused on institutional trust, where concepts such as procedural justice, shared values, and moral responsibility have gained prominence. But trust in institutions may not be exclusively good. We reveal implications for the “dark side” of institutional trust by reviewing relevant theories and empirical research that can contribute to a more holistic understanding. We frame our discussion by suggesting there may be a “Goldilocks principle” of institutional trust, where trust that is too low (typically the focus) or too high (not usually considered by trust researchers) may be problematic. The chapter focuses on the issue of too-high trust and processes through which such too-high trust might emerge. Specifically, excessive trust might result from external, internal, and intersecting external-internal processes. External processes refer to the actions institutions take that affect public trust, while internal processes refer to intrapersonal factors affecting a trustor’s level of trust. We describe how the beneficial psychological and behavioral outcomes of trust can be mitigated or circumvented through these processes and highlight the implications of a “darkest” side of trust when they intersect. We draw upon research on organizations and legal, governmental, and political systems to demonstrate the dark side of trust in different contexts. The conclusion outlines directions for future research and encourages researchers to consider the ethical nuances of studying how to increase institutional trust.