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- Genre: Concertos
- Genre: Music--Social aspects--Brazil--Salvador.
- Creators: Arizona State University
Description
Geography, and the social sciences more broadly, have long operated within what is arguably a paradigm of the visual. Expanding the reach of geographical consideration into the realm of the aural, though in no way leaving behind the visual, opens the discipline to new areas of human and cultural geography invisible in ocular-centric approaches. At its broadest level, my argument in this dissertation is that music can no longer be simply an object of geographical research. Re-conceptualized and re-theorized in a geographical context to take into account its very real, active, and more-than-representational presence in social life, music provides actual routes to geographic knowledge of the world. I start by constructing a theoretical framework and methodological approach for studying music beyond representation. Based on these theoretical and methodological arguments, I present four narratives that unfold at the intersections of race and music in the northeast Brazilian city of Salvador. From the favelas of Rio de Janeiro to the troubled neighborhood of the Pelourinho, from the manic tempos of samba to the laid back grooves of samba-reggae, and in the year-round competition between the oppressive forces of ordinary time and the fleeting possibility of carnival, music emerges as a creative societal force with affects and effects far beyond the realm of representation. Together, these narratives exemplify the importance of expanding geographical considerations beyond a strictly visual framework. These narratives contribute to the musicalization of the discipline of geography.
ContributorsFinn, John C (Author) / McHugh, Kevin (Thesis advisor) / Lukinbeal, Christopher (Committee member) / Bolin, Bob (Committee member) / Price, Patricia (Committee member) / Arizona State University (Publisher)
Created2011
Description
A new arrangement of the Concerto for Two Horns in E-flat Major, Hob. VIId/6, attributed by some to Franz Joseph Haydn, is presented here. The arrangement reduces the orchestral portion to ten wind instruments, specifically a double wind quintet, to facilitate performance of the work. A full score and a complete set of parts are included. In support of this new arrangement, a discussion of the early treatment of horns in pairs and the subsequent development of the double horn concerto in the eighteenth century provides historical context for the Concerto for Two Horns in E-flat major. A summary of the controversy concerning the identity of the composer of this concerto is followed by a description of the content and structure of each of its three movements. Some comments on the procedures of the arrangement complete the background information.
ContributorsYeh, Guan-Lin (Author) / Ericson, John (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Pilafian, J. Samuel (Committee member) / Arizona State University (Publisher)
Created2011