Thesis (M.M.)--California State University, Long Beach, 2007. / Thesis called v.1, score called v.2. Media material contains author's Master's recital, performed September 16, 2006. Photocopy of typescript. Abstract preceding title page. Includes bibliographical references (leaves 33-34).

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed July 24, 2007. Includes bibliographical references (p. 96).

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. "Suggestions for performance practice": leaves 209-230. Includes bibliographical references (leaves 251-270). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (M.M.)--Bowling Green State University, 2007. / Document formatted into pages; contains vi, 36 p. Includes bibliographical references.

<p> <i> Ondo</i> was written for my grandmother&rsquo;s 88th birthday. The composition comprises six sections based on a popular folksong, called &ldquo;<i>Tanko-Bushi</i>,&rdquo; which can be heard in every Japanese town during the <i>Bon</i> festival. Obon is a holiday in August, when we return home once a year to pay respect to our elders and ancestors. &ldquo;<i>Tanko-Bushi</i>&rdquo; became popular in Japan around the end of the Second World War and was based on a popular song from the early part of the twentieth century, around the time my grandmother was born, and has taken many forms since; it continues to do so under varied contexts and the versions I encountered there as a child, while attending the summer festivals with her, would have been but a small sample of these. As I worked on <i>Ondo</i>, I tried to imagine what it might have been like to live through all of the changes that took place in Japan over the past century. I think of the composition as a commentary on the westernization that has been taking place there and on the orientalization of Japanese identity&mdash;as an act of harmonizing disparate values. Between and within the sections, I explore varying degrees of fragmentation as they relate to, or disrupt, unifying threads that run through the four main sections (1, 3, 5 and 6). Above all, I wanted the piece to be enjoyable for my grandmother to listen to. The Saint Paul Chamber Orchestra gave a reading of the four main sections of <i> Ondo</i> on 28 January 2011 at the SPCO Center in Saint Paul, MN. Subsequent to the reading, two interludes (sections 2 and 4) were added as contrasting materials and as expansions upon the relationships explored between the diverse approaches to formal considerations in the piece.</p><p>

<p> Throughout his career, Alexander Scriabin created a bridge between traditional romantic harmony and modernistic, chromatic tendencies that ultimately led to the post-tonal era. Scriabin&rsquo;s middle period after Opus 32 displays several examples of his progressive harmony. However, Scriabin&rsquo;s transition into harmonic exploration is quite apparent in his <i>Fantasy in B minor </i>, which was written three years before his middle period is observed. This may demonstrate that Scriabin was developing his harmonic techniques much earlier in his career. </p><p> Furthermore, the thorough documentation of Scriabin&rsquo;s color associations shows that Scriabin conceived his music with a strong integration of sound-color awareness. Many moments in the <i>Fantasy</i> appear to possess relationships between sound and color, which can be found in expanded harmonic techniques and multi-timbral textures within the pianistic writing. This essay will first discuss the existing research completed on Scriabin&rsquo;s harmonic tendencies within earlier works, and then analyze the similar techniques used in the <i>Fantasy</i>. Using previous knowledge gathered about synesthesia, this essay will then examine the connections between Scriabin&rsquo;s perspective on composition and his connection to synesthesia. </p><p> In summary, Scriabin&rsquo;s unconventional voice leading, chromatic harmonic progressions, and altered tertian voicing, will be analyzed in Opus 28. Afterwards, synesthetic and multi-textural analysis will be demonstrated for the purposes of observing Scriabin&rsquo;s exploration of the pianistic soundscape and synesthetic-inspired compositional techniques.</p><p>

The purpose of this qualitative study was to investigate the processes in which eight and nine year old children engaged as they composed generative expressions with music and language. This study was a classroom-based ethnography conducted by a teacher/researcher in the context of her own general music classroom and the home room of the participant students. Twenty-one boys and girls in a suburban grade three class were involved in this four and one-half month study; three children were chosen as target (focus) composers. This study was designed so that the primary voice and point of view was that of the student-composers rather than that of the adult teacher/researcher. To that end, methodologies for data collection and interpretation were flexible and emergent, to allow for inclusion of unexpected events, interactions, foci/directions, etc. and to ensure that student-composers' self-described decisions about their work were at the forefront of the discussion and interpretation of the data. A framework was devised to inform and clarify the teacher/researcher's understanding of what the children were doing as they composed. This framework provided a flexible structure for organization and illustration of data used for interpretive purposes. Data collected included: 1) journals, written self evaluations and in-process verbal critiques by all students 2) video-tapes of focus composers in: a) working sessions b) reflective discussion with the teacher/researcher 3) video-tapes of all students in: a) in-process sharing/critiquing sessions b) final performances of compositions 4) field notes of the teacher/researcher, including observations, informal conversations with student-composers, and observations and comments of the home room teacher. Findings from this study included these insights: 1) For these child-composers, process and product were intertwined throughout the making of their compositions; 2) These child-composers began with a holistic idea of what they wanted to do and proceeded to explore, revise and polish their compositions in the particular medium until they reached their self-determined goal; 3) Socio-cultural factors of informal (enculturated or acquired) learning, and general maturity, were primary influences in decision-making in compositions with both music and language; 4) Training made a difference in the baseline starting point in composing ability, attitude, speed of the compositional process, and expectations for the final product; 5) These eight and nine year old children, untrained in music, demonstrated that they could compose rather than just improvise; 6) These child-composers went through the same four processes of exploration, making choices, editing/drafting, and completing a coherent product, when composing in two different modalities; they engaged in these processes recursively as well as sequentially in both media. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

No description available.

This examination of my own works (presented largely in chronological order) and of related music by others, broadly concerns itself with appropriation and allusion on the part of twentieth and twenty-first century composers. It considers how the deliberate synthesis of existing works affects the responding composers' own output. To this end, whether surveying my own music or others', I do so within a four-pronged framework: 1. The philosophical premise and aesthetic of pieces which somehow appropriate existing composition (as claimed overtly by the composer, or inferred from available research). 2. The compositional procedure and techniques employed in the process of composing works which allude to or synthesise other pieces. 3. The product resulting from the interaction of the above two factors (naturally the latter is more concrete). 4. Critics' and scholars' responses: the basic phenomenology of the allusive element, synthesis, or stylistic appropriation, and the ethical problems surrounding any appropriation. My analyses address one or more of these connected points. They raise a number of significant questions. Is synthesis and re-composition (the latter taken to be more specifically referential) affective or effective? That is to say, is it aesthetically prescriptive? Can composers manage to quarantine 'Les objets trouvés' from their individual practice? Of interest are composers with individual credibility as innovators, whose craft is its own defence against criticism on dogmatic grounds. I consider what is to be gained, in terms of technique, and in terms of developing an aesthetic, from the process of specifically engaging with other pieces, and explore the effects of differing methods of synthesis as compared across compositional practices.

Thesis (M.M.)--The University of North Carolina at Greensboro, 2009. / Directed by Mark Engebretson; submitted to the School of Music. Title from PDF t.p. (viewed Jun. 4, 2010). Includes bibliographical references (p. 28).