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Joan Tower's Violin concerto an organic approach to composition /Crawford, Heather A. January 2002 (has links)
Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.
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Joan Tower's Piano Concertos Homage to Beethoven (1985); Rapids (1996); and Still/Rapids (2013): A Style StudyJung, DoHaeng 18 September 2014 (has links)
No description available.
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Twice CollapsedNormann, Andrew J. 20 April 2015 (has links)
No description available.
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The Musical Language of Joan Tower: An Energy Line Analysis of Island Prelude for Oboe and Wind QuartetShouha, Laura 12 1900 (has links)
This dissertation provides an analysis of Island Prelude based on a method of analysis prescribed by the composer. The method, Energy Line Analysis, is essential to an enlightened performance. The content of this dissertation includes: biographical information, compositional influences, Joan Tower style periods, her works involving the oboe in a major role, and an Energy Line Analysis chart of Island Prelude. Island Prelude represents Joan Tower's musical language, the understanding of which is essential in an interpretation of her music.
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Joan Tower's Hexachords for Solo Flute: an Analysis and Comparison of its Flute Writing to Tower's Flute Concerto with Three Recitals of Selected Works of Vivaldi, Rivier, Mozart, Davidowsky, and OthersJones, Margo S. 05 1900 (has links)
This dissertation discusses two flute works by Joan Tower (born 1938). The performance medium consists of flute alone, Hexachords for Solo Flute (1972), and flute and orchestra, the Flute Concerto (1989). The discussion on Hexachords consists of a theoretical analysis; discussion on the Flute Concerto pertains to Tower's flute writing through an investigation into her musical language and specific performance techniques. Numerous examples are included to illustrate various aspects of Tower's style. Conclusions follow. The purpose of the paper is, first, to illustrate that basic knowledge of the twelve-tone method can bring a composition out of uncertainty for the performer and allow him to present what is unique within it. Secondly, it is to investigate the stylistic maturation of Joan Tower's flute works. In order to facilitate a better understanding of Tower's music and to provide commentary about the performance of each work, the writer has quoted from personal interviews with the composer and with flutists Carol Wincenc and Patricia Spencer, to whom the works are dedicated.
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A graduate recital in wind band conducting: featuring analysis of Malcolm Arnold's Four Scottish Dances, arr. John Paynter, Marion Gaetano's Mosaic, Op. 30 for percussion octet, and Joan Tower's Celebration Fanfare from "Stepping Stones," arr. Jack StampMaughlin, Ashley Marie January 1900 (has links)
Master of Music / Department of Music / Frank C. Tracz / This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master’s of Music Education degree. It contains information about music education philosophy, what defines quality literature, theoretical and historical analyses, and rehearsal plans for each of the three pieces that were performed on the Graduate Student Conducting Recital on Wednesday, March 11, 2009. Selections performed on the recital included in the document’s analysis portion include Four Scottish Dances by Malcolm Arnold, arranged by John Paynter, Mosaic, Op. 30 by Mario Gaetano, and Celebration Fanfare from “Stepping Stones” by Joan Tower, arranged by Jack Stamp. The analytical methods employed in this document and the rehearsal techniques listed are based on the Blocker/Miles unit studies and macro-micro-macro concepts from the Teaching Music Through Performance in Band book series.
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