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301	The Utilization of Folk Song Elements in Selected Works by Ralph Vaughan Williams and Percy Grainger with Subsequent Treatment Exemplified in the Wind Band music of David Stanhope Birdwell, John Cody 05 1900 (has links) An examination of the utilization of folk song elements in the wind band music of Australian composer David Stanhope, represented in two movements ("Lovely Joan" and "Rufford Park Poachers") from his Folk Songs for Band. Sets 1 and 2. Included is an historical overview of English folk music, emphasizing the theoretical properties of the English folk song and the events surrounding the modern renaissance of British folk music. Background information related to the musical development of Vaughan Williams, Grainger, and Stanhope is provided, noting the influence of the folk idiom in their compositional styles and Grainger's influence on the music of David Stanhope. An historical account of the two folk songs examines the events and compositional procedures related to the inclusion of "Lovely Joan" in Vaughan Williams' Fantasia on Greensleeves. and Grainger's use of "Rufford Park Poachers" in Lincolnshire Posv. Emphasis is placed on the subsequent compositional treatment of the folk elements in Stanhope's wind band compositions. A detailed analysis of Stanhope's compositional style includes structural, harmonic, melodic, and historical considerations, while specifically illuminating his contemporary and innovative approaches to scoring and instrumentation. folk song elements Ralph Vaughan Williams Percy Grainger David Stanhope wind band music Folk music -- England.
302	A comparison of Petar Christoskov’s Op. 1 and Op. 24 Caprices for Solo Violin: The effect of the changing Bulgarian political climate on his compositional style Vassileva, Veronika 05 1900 (has links) Bulgaria, though a fairly small Eastern European country, boasts an ancient history of folk traditions and music; however, very few notated works exist due to the people's primitive lifestyle throughout Bulgaria's history. Singing and dancing as well as creating instruments from wood and animal skin were considered an integral part of everyday life, equal to cooking, sewing, herding, or farming; in fact, one almost always accompanied the other. Thus, more than 1500 years of folklore was orally passed on and preserved generation after generation; however, nothing was notated until only very recently when Bulgarians realized the cultural and national value of their history. After the liberation from Ottoman Rule (1453-1877) a nationalist movement spread throughout the Balkan countries, which resulted in the emergence of Bulgarian composers. Music and songs from the local folk traditions evolved, developed, and - with notation - became the foundation for the vocal and instrumental music of the so-called first generation of Bulgarian composers. Around the turn of the century, many Bulgarian artists and musicians traveled to Western Europe (mostly Austria, Germany, and Russia) and upon their return, their artistic output created an original mixture of Bulgarian national folk with influences from Western classical music. After World War II, Bulgaria became one of the countries governed by the Communist regime, which restricted all travel to and contact with the West, including cultural influences from the West. Gradually, as the Communist regime became less controlling until it dissolved completely in 1989, restrictions on music and culture started to lift. Petar Christoskov (1917-2006), considered part of the second generation of Bulgarian composers, began his compositional career immediately after returning from Germany to a communist-ruled Bulgaria. His first opus was the set of 12 Caprices for Solo Violin (1953, formerly known as Concert Etudes in Folk Style); they have a fairly simple compositional style but are full of elements from the Bulgarian folk tradition. Some of these caprices, along with other works from the beginning of Christoskov's compositional career, were commissioned by the nationalist government and/or were required repertoire at national music competitions. Nearly thirty years after the first set of caprices, Christoskov composed another set: 24 Caprices for Solo Violin, Op. 24 (1978-9). These later works also contain many Bulgarian folk characteristics, but their compositional style is much more abstract, atonal, and complex - more “mainstream Western.” The goal of this document is to compare and contrast the two sets of Caprices for Solo Violin, Op. 1 and Op. 24, by investigating the development of Petar Christoskov's compositional style. I will argue that the constantly-changing political systems in twentieth-century Bulgaria had a direct impact on the composer's artistic output. After a historical overview of Bulgaria's music and political background, the two sets of caprices will be compared and contrasted by focusing on technical, musical, and sociological similarities and differences. In order to illustrate these similarities and differences, three caprices from each set will be selected and analyzed, as well as compared and contrasted with each other. The second part of the document will discuss the negative influence of the political climate on music and printing, with a focus on the difficulties of preserving Bulgarian culture itself. This research has the additional purpose of serving as scholarly support for a future project: as a personal contribution to the circulation and preservation of Bulgarian music, I intend to produce a new violin edition of Petar Christoskov's caprices as well as complete the arrangements for viola. Peter Christoskov Bulgarian music Communism Music and politics Bulgarian folk music Composers Music -- Political aspects Violin music Viola music, Arranged Academic theses Scores Arrangements (Music)
303	“The Nonmusical Message Will Endure With It:” The Changing Reputation and Legacy of John Powell (1882-1963) Adam, Karen 24 April 2012 (has links) This thesis explores the changing reputation and legacy of John Powell (1882-1963). Powell was a Virginian-born pianist, composer, and ardent Anglo-Saxon supremacist who created musical propaganda to support racial purity and to define the United States as an exclusively Anglo-Saxon nation. Although he once enjoyed international fame, he has largely disappeared from the public consciousness today. In contrast, the legacies of many of Powell’s musical contemporaries, such as Charles Ives and George Gershwin, have remained vigorous. By examining the ways in which the public has perceived and portrayed Powell both during and after his lifetime, this thesis links Powell’s obscurity to a deliberate, public rejection of his Anglo-Saxon supremacist definition of the United States. John Powell (1882-1963) Powell John musical propaganda Anglo-Saxon Clubs of America Anglo-Saxon supremacy white supremacy Racial Integrity Act of 1924 one drop rule racial integrity racial purity John Powell Foundation White Top Folk Festival Annabel Morris Buchanan Buchanan Annabel Morris Radford University Radford College Powell Hall Roy Hamlin Johnson Johnson Roy Hamlin classical music classical piano classical pianist pianist Virginian Virginia Earnest Sevier Cox Cox Earnest Sevier Walter Ashby Plecker Plecker Walter Ashby Sonate Noble Sonata Teutonica Symphony in A Rhapsodie Negre Richard Brockwell Brockwell Richard At the Fair Sonata Virginianesque Marcus Garvey Garvey Marcus John Powell Day Anglo-Saxon folk music Anglo-Saxon racism racist Martin Luther King Jr. King Martin Luther Jr. musical politics sociopolitical memory public memory public history reputation legacy Richmond Virginia John Powell Arts and Humanities History

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