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Rapsodia camaleónica: a concerto for piano, trumpet and chamber orchestra

Description
This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is…

This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is scored for a medium-sized orchestra: 2 flutes (flute 2 double piccolo), 2 oboes, 2 clarinets, 2 bassoons, horn, trombone, bass trombone, 4 percussionists (timpani, snare drum, crash cymbals, suspended cymbal, castanets, güiro or carrasca, shekere, whip, xylophone, triangle, pandeiro, tam-tam, wood blocks, 2 congas, glockenspiel, 3 tom-toms, bass drum) and strings. It is written in one multi-sectional movement with a duration of approximately twenty-three minutes. The full score is attached as an appendix. The influences in Rapsodia Camaleónica range from the western classical tradition to world music to urban dance music, all of which fuse together in a work that blends this eclectic mix into a unified whole. This composition is intended as an addition to the piano concerto repertoire from Latin America, which includes compositions by Carlos Chávez, Manuel María Ponce (both Mexican), Alberto Ginastera (Argentinian), Camargo Guarnieri and Heitor Villa-Lobos (both Brazilian). It is the composer's desire to add a Colombian piece of universal appeal to this list.
ContributorsArias-Esguerra, Mauricio (Author) / Meir, Baruch I (Thesis advisor) / DeMars, James (Committee member) / Hamilton, Robert (Committee member) / Pagano, Caio (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
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Notes from the underground: explorations of dissent in the music of Czech-born composers Marek Kopelent and Petr Kotík

Description
Since the collapse of the Soviet Union, musicologists have been delving into formerly inaccessible archives and publishing new research on Eastern Bloc composers. Much of the English-language scholarship, however, has focused on already well-known composers from Russia or Poland. In contrast, composers from smaller countries such as the Czech Republic…

Since the collapse of the Soviet Union, musicologists have been delving into formerly inaccessible archives and publishing new research on Eastern Bloc composers. Much of the English-language scholarship, however, has focused on already well-known composers from Russia or Poland. In contrast, composers from smaller countries such as the Czech Republic (formerly Czechoslovakia) have been neglected. In this thesis, I shed light on the new music scene in Czechoslovakia from 1948–1989, specifically during the period of “Normalization” (1969–1989).

The period of Normalization followed a cultural thaw, and beginning in 1969 the Czechoslovak government attempted to restore control. Many Czech and Slovak citizens kept their opinions private to avoid punishment, but some voiced their opinions and faced repression, while others chose to leave the country. In this thesis, I explore how two Czech composers, Marek Kopelent (b. 1932) and Petr Kotík (b. 1942) came to terms with writing music before and during the period of Normalization.
ContributorsJohnson, Victoria K (Author) / Feisst, Sabine (Thesis advisor) / Oldani, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2015