2024-03-29T10:06:26Zhttps://scholarsbank.uoregon.edu/oai/requestoai:scholarsbank.uoregon.edu:1794/259782021-01-06T08:21:29Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Jorge Manuel, Briceño González
2021-01-06T00:04:17Z
2021-01-06T00:04:17Z
2020-05
https://scholarsbank.uoregon.edu/xmlui/handle/1794/25978
143 pages
Although academic papers and dissertations on Costa Rican music are not completely uncommon, only a handful focus on piano music. The purpose of this document is to provide an overview of the sonata genre in the Costa Rican piano literature. Even though piano music has been written in Costa Rica since the end of the nineteenth century, the first piano sonata was not written until 1965. There are only six composers – five of them living – that have written at least one sonata for piano, and only one of these sonatas has been published.
In this document, I provide an overview of one piano sonata by each of the Costa Rican composers that have written in this genre. This work is divided into two parts. The first part aims to provide more context on the history of Costa Rican piano music. The second part includes a biographical sketch of each composer, an overview of the elements of their musical style, and an overview of the form, structure, and musical language in the selected piano sonata.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Costa Rican Music
Latin American Music
Piano sonata
Piano music
Piano literature
The Piano Sonata in Costa Rica
Terminal Project
ORIGINAL
briceno_lecture_document_2020.pdf
briceno_lecture_document_2020.pdf
application/pdf
8318965
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25978/1/briceno_lecture_document_2020.pdf
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MD5
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LICENSE
license.txt
license.txt
text/plain
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TEXT
briceno_lecture_document_2020.pdf.txt
briceno_lecture_document_2020.pdf.txt
Extracted text
text/plain
192504
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25978/3/briceno_lecture_document_2020.pdf.txt
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MD5
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1794/25978
oai:scholarsbank.uoregon.edu:1794/25978
2021-01-06 00:21:29.963
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/184812014-10-17T09:00:40Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Seregow, Michael
2014-10-16T21:20:11Z
2014-10-16T21:20:11Z
2014-06
http://hdl.handle.net/1794/18481
84 pages
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Robert Schumann
Symphonic Etudes, Opus 13
Etudes Symphoniques
The Life and Times of Schumann’s Symphonic Etudes, Opus 13
Terminal Project
ORIGINAL
SeregowLectureDoc.pdf
SeregowLectureDoc.pdf
application/pdf
3469308
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18481/1/SeregowLectureDoc.pdf
ef096e966b82b448422a936d388fd7f4
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license.txt
license.txt
text/plain
2180
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b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
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TEXT
SeregowLectureDoc.pdf.txt
SeregowLectureDoc.pdf.txt
Extracted text
text/plain
132358
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18481/3/SeregowLectureDoc.pdf.txt
82b9c8c738b73b33eca79ab4e0a62ffb
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1794/18481
oai:scholarsbank.uoregon.edu:1794/18481
2014-10-17 02:00:40.441
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/201082019-04-26T19:31:30Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Skinner, Brandon
2016-09-14T20:13:44Z
2016-09-14T20:13:44Z
2016-06
http://hdl.handle.net/1794/20108
noteScape
is
a
piece
performed
at
the
Future
Music
Oregon
concert
at
the
UO
School
of
Music
and
Dance
in
June
2015.
noteScape
is
also
the
name
of
the
program
I
wrote
using
free,
open-‐source
software
(PureData
and
GEM)
to
accomplish
this
performance.
In
noteScape,
performers
are
cued
by
computer-‐generated
on-‐screen
visual
prompts.
The
large
projection
during
performance
takes
the
place
of
the
traditional
paper
score
and
guides
the
performers
in
their
playing.
Also,
live,
instantaneous
visual
feedback
of
each
player’s
individual
sonic
output
(pitch
and
amplitude)
is
displayed
on
the
same
screen.
The
system
facilitates
live,
two-‐way
musical
communication
between
conductor/composer
and
performers.
A
large
part
of
the
purpose
behind
this
work
is
to
explore
the
possibilities
afforded
by
this
system.
Live
composition
with
a
mid-‐sized
ensemble
is
possible,
as
well
as
gaming/improvisation
scenarios
between
performers
with
no
composer/conductor
necessary.
The
key
innovations
explored
in
noteScape
are:
the
live,
highly
calibrated
analysis
of
players’
sonic
output,
the
instantaneous
visual
representation
of
that
data
on
screen
for
performers
and
audience,
and
the
use
of
that
data
in
performance,
improvisation,
and/or
composition
schemes.
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Intermedia Music Technology
PureData
GEM
Future Music Oregon
Improvisation
Live composition
Music technology
noteScape
Terminal Project
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/20108/3/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
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B_Skinner_final_project_video_2016.mp4
B_Skinner_final_project_video_2016.mp4
Performance
application/octet-stream
89632652
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/20108/2/B_Skinner_final_project_video_2016.mp4
fbfea5b03a9a2126353e533dcf537555
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1794/20108
oai:scholarsbank.uoregon.edu:1794/20108
2019-04-26 12:31:30.88
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/130392015-06-17T14:51:43Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Willson, Nicoleen Mae
2013-07-30T21:54:29Z
2013-07-30T21:54:29Z
2012-05
http://hdl.handle.net/1794/13039
76 pages
Teaching Artist practices are a critical component of training artists in the 21st century. This paper explores the history and current state of the field of Teaching Artists, in addition to comparing and contrasting the methods of Teaching Artists in comparison with university pedagogical methods for clarinetists. The research conducted throughout this paper is primarily literature based, and although there is a focus on clarinet pedagogy, the research concludes that the unique and diverse skills of Teaching Artists are essential to achieving success as an artist in the 21st century.
en_US
University of Oregon
All Rights Reserved.
Education, Higher
Music -- Instruction and study
Clarinet -- Instruction and study
Teaching Artists and Clarinet Pedagogy in the University
Terminal Project
ORIGINAL
DMA_lecture_document_Willson.pdf
DMA_lecture_document_Willson.pdf
application/pdf
952089
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13039/3/DMA_lecture_document_Willson.pdf
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license.txt
text/plain
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DMA_lecture_document_Willson.pdf.txt
DMA_lecture_document_Willson.pdf.txt
Extracted text
text/plain
126809
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13039/4/DMA_lecture_document_Willson.pdf.txt
56e1d9ea7089165322b4e2f6ad91e8dc
MD5
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1794/13039
oai:scholarsbank.uoregon.edu:1794/13039
2015-06-17 07:51:43.496
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/234012019-01-18T18:56:41Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Nelson, Valerie A.
2018-07-11T21:12:09Z
2018-07-11T21:12:09Z
2018
http://hdl.handle.net/1794/23401
84 pages
The mission of this lecture document is to present a string education nonprofit startup
model which addresses the need for equal access to string education. It includes original research
from interviews with four nonprofits currently serving low-income children and families in the
United States. Also included is a literature review of current scholarship regarding low-income
children and the numerous struggles they face in life. Benefits of music education are discussed in
relation to improving the lives of these children. Suzuki and El Sistema pedagogical philosophies
are discussed. Guiding steps for nonprofit formation are included, but are specific to the state of
Oregon.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Suzuki
El Sistema
Low-income
Nonprofit organizations
Music education
Bringing Music to Underserved Children
Terminal Project
ORIGINAL
nelson_lecture_doc_2018.pdf
nelson_lecture_doc_2018.pdf
application/pdf
1487393
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23401/1/nelson_lecture_doc_2018.pdf
19aa2ce74d3536b838550d30714f23e1
MD5
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LICENSE
license.txt
license.txt
text/plain
2280
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nelson_lecture_doc_2018.pdf.txt
nelson_lecture_doc_2018.pdf.txt
Extracted text
text/plain
158099
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23401/3/nelson_lecture_doc_2018.pdf.txt
0b7d44713a79f05121bc3781887d220e
MD5
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1794/23401
oai:scholarsbank.uoregon.edu:1794/23401
2019-01-18 10:56:41.784
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/262812021-05-26T07:24:49Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Yun, Misook
2021-05-26T01:39:52Z
2021-05-26T01:39:52Z
1999-11-18
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26281
131 pages
An accurately written representation of Korean diction has
been in my thoughts since my study at Hanyang University in Seoul,
Korea. While studying Italian, English, French and German diction, I
came to realize that no manual for Korean diction existed.
Originally, I wanted to write a Korean diction manual for Korean
singers as my master's thesis. While that was never accomplished,
that idea has served as the impetus for this document.
This lecture document is A Study Korean Diction for Singers.
Such a manual can be useful to Western singers who wish to explore
Korean art song. The lecture demonstration will
provide a brief introduction to the Korean alphabet, and selected
Korean songs have been chosen to demonstrate the pronunciation.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Singing
Korean art song
Phonemes
Music
Pronunciation
A Study of Korean Diction for Singers
Thesis / Dissertation
ORIGINAL
yun_m_1999_Redacted.pdf
yun_m_1999_Redacted.pdf
application/pdf
53569763
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26281/1/yun_m_1999_Redacted.pdf
d6e50f6de4bdac07ba5f0669250382ce
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LICENSE
license.txt
license.txt
text/plain
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http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26281/2/license.txt
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yun_m_1999_Redacted.pdf.txt
yun_m_1999_Redacted.pdf.txt
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e4848dbd0851c41c3033b2a2217e050f
MD5
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1794/26281
oai:scholarsbank.uoregon.edu:1794/26281
2021-05-26 00:24:49.253
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/274702023-01-10T21:24:30Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Haskell, Evelyn
2022-07-28T18:49:50Z
2022-07-28T18:49:50Z
2022
https://scholarsbank.uoregon.edu/xmlui/handle/1794/27470
21 pages; Website link here (last accessed July 28th, 2022): https://eviehaskellprocessfolio.wordpress.com/
A processfolio can be defined as a collection of items that demonstrate steps taken to achieve a final product (Newalker, 2015), both encapsulating the final product and the process of its creation (McKay et al., 2015). A “silent mentor,” the processfolio can provide guidance and synthesis throughout an academic program (Torff, 1997). The guiding question of this processfolio is, “How has this master’s program enhanced or altered my perceptions and approaches toward music teaching and learning?” To answer this question, I will discuss the experiences and coursework that have shaped my thinking during my time in this program. The process I have undergone has been comparable to a digital image gaining both greater definition and dimensions. In several key areas which I will discuss, my thinking has gained more clarity and specificity, while also increasing in its scope. Therefore, this discussion will be framed by the metaphor of a digital image being both sharpened and enlarged.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Music
Teaching
SHARPENED & ENLARGED
Thesis / Dissertation
ORIGINAL
README_haskell.txt
README_haskell.txt
text/plain
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d46c5a5e88da928a42271befa77d6383
MD5
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haskell_processfolio.pdf
haskell_processfolio.pdf
Music and Dance Processfolio - 2022
application/pdf
184767
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27470/1/haskell_processfolio.pdf
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Evie_Haskell_ARCHIVEIT.warc.gz
Evie_Haskell_ARCHIVEIT.warc.gz
Music and Dance Website
application/octet-stream
6135270
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27470/2/Evie_Haskell_ARCHIVEIT.warc.gz
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LICENSE
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license.txt
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d0be00266aeb8a7a17b1561b7cbc2cc7
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haskell_processfolio.pdf.txt
haskell_processfolio.pdf.txt
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e99b09f6486123b42f86f5d7d0e9b3e4
MD5
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1794/27470
oai:scholarsbank.uoregon.edu:1794/27470
2023-01-10 13:24:30.666
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/280472023-03-03T08:28:10Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Sulaiman, Michelle Josephine
2023-03-02T23:51:39Z
2023-03-02T23:51:39Z
2023-02
https://scholarsbank.uoregon.edu/xmlui/handle/1794/28047
93 pages
While there are performance editions of Sergey Prokofiev’s Visions Fugitives, Op. 22, there are few academic writings and performance guides based on comparing recordings by Prokofiev and other pianists. This document aims to provide readers with a performance guide for Prokofiev’s Visions Fugitives, Op. 22, based on analyses of Visions recordings by Prokofiev and other prominent pianists, namely Boris Berman, Sviatoslav Richter, and Emil Gilels. This document consists of five chapters. Following an introduction to the document in Chapter One, Chapter Two provides a historical background of Prokofiev and the Visions Fugitives. An analysis of Prokofiev performing the work and the performances of Berman, Richter, and Gilels are presented in Chapters Three and Four, respectively. Chapter Five offers readers a performance guide to the Visions Fugitives.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Piano performance
Prokofiev
Visions Fugitives
Prokofiev's Visions Fugitives: A Performance Guide
Terminal Project
ORIGINAL
Sulaiman_Lecture Document_2.23.23.pdf
Sulaiman_Lecture Document_2.23.23.pdf
application/pdf
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https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28047/1/Sulaiman_Lecture%20Document_2.23.23.pdf
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MD5
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LICENSE
license.txt
license.txt
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Sulaiman_Lecture Document_2.23.23.pdf.txt
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3ed7b2a0f07f7474707c7ffbc9dbd936
MD5
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1794/28047
oai:scholarsbank.uoregon.edu:1794/28047
2023-03-03 00:28:10.017
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/282902023-05-11T07:29:17Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
TAY, JOAN LYNETTE SZE ERN
2023-05-10T22:08:08Z
2023-05-10T22:08:08Z
2023-05
https://scholarsbank.uoregon.edu/xmlui/handle/1794/28290
115 pages
When compared to other piano concertos from the Romantic era, Brahms’s First Piano Concerto in D minor, Op. 15 is underrepresented on the performance stage perhaps because it is more difficult to interpret and avoids overt displays of virtuosity. This document aims to provide readers with a performance guide for Brahms’s Piano Concerto in D minor, Op. 15, with solutions for technically challenging passages based on personal experience and references to Brahms’s 51 Exercises, W! oO 6. This document consists of five chapters. Following an introduction to the document, Chapter One provides a brief overview of Brahms as a pianist and teacher, and the pianos that he encountered in his lifetime. Chapter Two offers a curated selection of the 51 Exercises and the application of these selections to the First Piano Concerto. An analysis of the concerto is provided in Chapter Three, followed by the performance guide in Chapter Four. Chapter Five offers readers some concluding remarks on the document.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
A PERFORMER’S COMPANION TO JOHANNES BRAHMS’S PIANO CONCERTO IN D MINOR, OP. 15
Terminal Project
ORIGINAL
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2023-05-11 00:29:17.187
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/227672017-09-09T08:02:55Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Stevens, Mark
2017-09-08T21:52:31Z
2017-09-08T21:52:31Z
2017-07
http://hdl.handle.net/1794/22767
88 pages
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Aaron Copeland
American music
20th century music
Piano
What to Listen for in Copland: An Interpretive Analysis of His 1941 Piano Sonata
Terminal Project
ORIGINAL
DMA_LectureDoc_MStevens_2017.pdf
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2017-09-09 01:02:55.218
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/184832019-02-19T23:39:32Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Geertz, Lois Kathryn
2014-10-16T21:20:43Z
2014-10-16T21:20:43Z
2014-06
http://hdl.handle.net/1794/18483
84 pages
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
G. P. Telemann
Solo violin
J. S. Bach
Violin pedagogy
Violin technique
Fantasias
Telemann’s 12 Fantasias for Solo Violin as Precursors to the Solo Sonatas and Partitas of J.S. Bach
Terminal Project
ORIGINAL
LoisGeertzLecDoc.pdf
LoisGeertzLecDoc.pdf
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1305544
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2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18483/2/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
2
TEXT
LoisGeertzLecDoc.pdf.txt
LoisGeertzLecDoc.pdf.txt
Extracted text
text/plain
117301
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18483/3/LoisGeertzLecDoc.pdf.txt
0062c1d371ba3dc582f64218b4319234
MD5
3
1794/18483
oai:scholarsbank.uoregon.edu:1794/18483
2019-02-19 15:39:32.311
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/266002021-08-27T07:23:03Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Mak, Connie
2021-08-26T22:06:44Z
2021-08-26T22:06:44Z
2021-08
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26600
75 pages
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Johannes Brahms
piano pedagogy
character piece
A Performance Guide to the Late Character Pieces for Piano by Johannes Brahms
Terminal Project
ORIGINAL
Lecture_Doc_Mak_2021.pdf
Lecture_Doc_Mak_2021.pdf
application/pdf
6734749
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26600/1/Lecture_Doc_Mak_2021.pdf
34e2ad036e675599848dd53be8e11fe9
MD5
1
LICENSE
license.txt
license.txt
text/plain
2271
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26600/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
Lecture_Doc_Mak_2021.pdf.txt
Lecture_Doc_Mak_2021.pdf.txt
Extracted text
text/plain
98647
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26600/3/Lecture_Doc_Mak_2021.pdf.txt
4c3e4a325a4fcd1fa3284e807e56a849
MD5
3
1794/26600
oai:scholarsbank.uoregon.edu:1794/26600
2021-08-27 00:23:03.227
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/186252019-02-19T23:39:17Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Thackston, Elizabeth Celine
2014-12-05T22:21:37Z
2014-12-05T22:21:37Z
2014-12
http://hdl.handle.net/1794/18625
146 pages
This lecture document, “Developing Artistry Via Thoughtful Practice: A Method
Book For Intermediate Flute Students,” is an intermediate method book for young flutists
that covers aspects of holistic practice (breathing, stretching, mindfulness, meditation,
and productive practice strategies), as well as the development of artistry through the
exploration of musicality, tone color, and creative improvisation. It includes etudes for daily practice as well as technical flexibility exercises and standard material such as
scales, arpeggios, and thirds.
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Violin pedagogy
Violin technique
Music instruction
Intermediate students
Flexibility exercises
Tone color
Improvisation
Violin performance
Developing Artistry Via Thoughtful Practice: A Method Book for Intermediate Flutists
Terminal Project
ORIGINAL
DMA_lecture_doc_Thackston.pdf
DMA_lecture_doc_Thackston.pdf
application/pdf
6793812
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18625/1/DMA_lecture_doc_Thackston.pdf
e099f309682ae375cf2c24c2f3fcbba3
MD5
1
LICENSE
license.txt
license.txt
text/plain
2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18625/2/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
2
TEXT
DMA_lecture_doc_Thackston.pdf.txt
DMA_lecture_doc_Thackston.pdf.txt
Extracted text
text/plain
167502
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18625/3/DMA_lecture_doc_Thackston.pdf.txt
7defdf89b69f7bafb5807ac9af46eb05
MD5
3
1794/18625
oai:scholarsbank.uoregon.edu:1794/18625
2019-02-19 15:39:17.484
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/184762014-10-17T09:00:31Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Nelson, Janene M.
2014-10-16T21:18:13Z
2014-10-16T21:18:13Z
2013-06
http://hdl.handle.net/1794/18476
78 pages
en_US
University of Oregon
All Rights Reserved.
Chiaroscuro: A Singer's Approach to Exploring Artistic Individuality in Interpretation
ORIGINAL
DMA_lecture document j nelson.pdf
DMA_lecture document j nelson.pdf
application/pdf
4407851
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18476/1/DMA_lecture%20document%20j%20nelson.pdf
ed3a0de13618d682fc438952a5f342f3
MD5
1
LICENSE
license.txt
license.txt
text/plain
2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18476/2/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
2
TEXT
DMA_lecture document j nelson.pdf.txt
DMA_lecture document j nelson.pdf.txt
Extracted text
text/plain
135747
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18476/3/DMA_lecture%20document%20j%20nelson.pdf.txt
e787c8655699488931158fcff7cbcada
MD5
3
1794/18476
oai:scholarsbank.uoregon.edu:1794/18476
2014-10-17 02:00:31.828
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/269152021-12-01T08:24:30Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Stanley, Justin Michael
2021-11-30T22:59:59Z
2021-11-30T22:59:59Z
2021-11
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26915
107 pages
Performers are adept at creating lines and shape in the music we play. This
comes from many hours of practicing, listening, playing with others, lessons,
sectionals, and master classes. It also comes from studying musical form and
music history. I argue that performance interpretation is analysis, and that
interpretation can be enhanced by tools being created by scholars of performance
and analysis. The pedagogy of musicality in the horn studio is improved through
the shared agency (a term borrowed from theorist and performer Daphne Leong)
of musical disciplines, including theory and musicology. To be inclusive of
repertoires, I advocate for a greater use of analysis in music making by using
concepts that are widely understandable, including gesture and agency. Many
horn pedagogues already utilize these concepts, and their work is analyzed in
Chapter 2. I propose that methodically adding theories of gesture and agency to
horn pedagogy will provide a powerful tool to hornists – and all performers or
pre-written works – to better perceive shape and structure in the music they
prepare. Gesture and agency are methodically utilized in the analysis of Alice
Gomez’s La Calavera and Robert Schumann’s Adagio and Allegro, Opus 70.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
inclusivity
performance interpretation
music pedagogy
gestures
horn pedagogy
Alice Gomez
La Calavera
Robert Schumann
Adagio and Allegro, Opus 70
Gesture and Agency: Inclusive Interpretation Tools for Hornists
Terminal Project
ORIGINAL
DMA_lecture_doc_Stanley_2021.pdf
DMA_lecture_doc_Stanley_2021.pdf
application/pdf
4875988
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26915/1/DMA_lecture_doc_Stanley_2021.pdf
48ce9d219d8d4a8b63bfefd4cca95efb
MD5
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LICENSE
license.txt
license.txt
text/plain
2271
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26915/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
DMA_lecture_doc_Stanley_2021.pdf.txt
DMA_lecture_doc_Stanley_2021.pdf.txt
Extracted text
text/plain
120836
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26915/3/DMA_lecture_doc_Stanley_2021.pdf.txt
caebf409209ebf35df9fd73225911b1d
MD5
3
1794/26915
oai:scholarsbank.uoregon.edu:1794/26915
2021-12-01 00:24:30.315
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/131862019-02-19T22:46:06Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Fredenburg, Sean
2013-09-12T20:22:56Z
2013-09-12T20:22:56Z
2013-09-03
http://hdl.handle.net/1794/13186
70 page DMA lecture-document
The medium of saxophone quartet provides performers and theorists with a repertoire rife with analytic material. Two works of the late 20th century merit serious consideration as vehicles for analysis: XAƧ by Iannis Xenakis (1987) and Franco Donatoni’s Rasch for saxophone quartet (1990). These two pieces share complex compositional logics that inform the aesthetic choices made by each composer. Viewing Rasch and XAƧ through the lens of the composer and performer presents a multi-angled analysis that demonstrates a more complete representation of the music. It is my hope that by building upon existing research of the saxophone quartet and the music of these composers, the richness of academic material available will enhance the fields of both performance and music theory.
This document will detail the selection of repertoire and its composers, available scholarly literature, and the contribution of the Raschèr Saxophone Quartet to saxophone chamber music. A theoretical analysis of XAƧ follows, detailing composer Iannis Xenakis’ creation and manipulation of “sieves” as harmonic and melodic material in his music. After that, the piece is presented from the point of view of the performer, with a concentration on overtones, altissimo, and texture. Next is a post-tonal analysis of Rasch, highlighting the method of composition that Franco Donatoni chooses, combining dodecaphonic language with Allen Forte’s set theory. Finally, an analysis of the performance considerations of Rasch emphasizes aspects of the piece related to dynamics, rhythm, and articulation as definitions of its formal divisions.
en_US
University of Oregon
Creative Commons BY
Saxophone quartet
Iannis Xenakis
Franco Donatoni
XAS
Rasch
Theoretical analysis
Performance analysis
A Theoretical and Performance Analysis of Two Works for Saxophone Quartet: XAS by Iannis Xenakis and Rasch by Franco Donatoni
Terminal Project
ORIGINAL
Fredenburg_DMA_LectureDocument.pdf
Fredenburg_DMA_LectureDocument.pdf
Lecture-Document
application/pdf
7817441
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13186/1/Fredenburg_DMA_LectureDocument.pdf
54f76bbffc8884ef8376f2cff2809fe6
MD5
1
Fredenburg_license.pdf
Fredenburg_license.pdf
Fredenburg license
application/pdf
113971
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13186/2/Fredenburg_license.pdf
1e632e540f889b510c1f2617347620a7
MD5
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LICENSE
license.txt
license.txt
text/plain
2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13186/3/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
3
TEXT
Fredenburg_DMA_LectureDocument.pdf.txt
Fredenburg_DMA_LectureDocument.pdf.txt
Extracted text
text/plain
99531
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13186/4/Fredenburg_DMA_LectureDocument.pdf.txt
c8cd3a982d87343d0e72336f83bb4c9c
MD5
4
Fredenburg_license.pdf.txt
Fredenburg_license.pdf.txt
Extracted text
text/plain
4421
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13186/5/Fredenburg_license.pdf.txt
069034d7b1d4bf5f8555d8abd506903f
MD5
5
1794/13186
oai:scholarsbank.uoregon.edu:1794/13186
2019-02-19 14:46:06.686
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/258682020-12-08T08:24:10Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Hengyue, Lin
2020-12-08T01:51:01Z
2020-12-08T01:51:01Z
2020-12-07
https://scholarsbank.uoregon.edu/xmlui/handle/1794/25868
72 pages
The purpose of the paper is to explore Schubert’s “Wanderer” Fantasy for solo piano
in relation to the song “Der Wanderer.” I will discuss the technical challenges posed by this
great piano masterpiece, incorporating the teachings of Theodore Leschetizky (June 22, 1830-
November 14, 1915), Artur Schnabel (April 17, 1882-August 15, 1951) and other great
pianist/pedagogues, as well as ideas from my own experience in playing the “Wanderer”
Fantasy.
en
Creative Commons BY-NC-ND 4.0-US
Franz Schubert
Der Wanderer
Wanderer Fantasy
Piano pedagogy
Piano performance
Der Wanderer and the Wanderer Fantasy – the Song and the Concert Piano Work by Franz Schubert
Terminal Project
LICENSE
license.txt
license.txt
text/plain
2271
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25868/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
ORIGINAL
hengyue_lecture_document_2020.pdf
hengyue_lecture_document_2020.pdf
application/pdf
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http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25868/1/hengyue_lecture_document_2020.pdf
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MD5
1
TEXT
hengyue_lecture_document_2020.pdf.txt
hengyue_lecture_document_2020.pdf.txt
Extracted text
text/plain
97176
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25868/3/hengyue_lecture_document_2020.pdf.txt
bb79dda24214b8a4b42c7d8663cd7376
MD5
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1794/25868
oai:scholarsbank.uoregon.edu:1794/25868
2020-12-08 00:24:10.663
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/131792017-08-15T17:59:41Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Wei, Ting-Yu Jannie
2013-09-09T17:08:23Z
2013-09-09T17:08:23Z
2013-08-22
http://hdl.handle.net/1794/13179
DMA Lecture-document 97 pages
The purpose of this thesis is to present a new, collaborative approach to teaching
and learning the violin. I will first analyze the traditional one-to-one lesson and its
relevance to collegiate violin beginners. Secondly, I will outline the concept known as
collaborative learning and its benefits while explore the existing collaborative learning
techniques used in some music classes. Thirdly, I will explore the benefits of
collaborative learning for collegiate students learning the violin. Finally, I will discuss the
application of collaborative learning in violin lessons and provide a detailed lesson plan
for using this alternative approach.
en_US
University of Oregon
Creative Commons BY
Violin
Violin lessons
Collaborative learning
Beginner
An Alternative Approach to Collegiate Beginner Violin Lessons: Collaborative Learning
Terminal Project
ORIGINAL
LecDocJannieWei.pdf
LecDocJannieWei.pdf
97-page lecture document
application/pdf
1484319
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13179/1/LecDocJannieWei.pdf
2967f7fcef02a0cc8ed7e1455f0f6046
MD5
1
Wei_license.pdf
Wei_license.pdf
application/pdf
118015
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13179/3/Wei_license.pdf
bff0b63faa416dc8cb6e0544127c3a88
MD5
3
LICENSE
license.txt
license.txt
text/plain
2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13179/2/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
2
TEXT
LecDocJannieWei.pdf.txt
LecDocJannieWei.pdf.txt
Extracted text
text/plain
107825
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13179/4/LecDocJannieWei.pdf.txt
fc8e0b70f672894a82d7015c15a660e2
MD5
4
Wei_license.pdf.txt
Wei_license.pdf.txt
Extracted text
text/plain
4336
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/13179/5/Wei_license.pdf.txt
b4e3685ffa5a076f7b9debdf346ed06f
MD5
5
1794/13179
oai:scholarsbank.uoregon.edu:1794/13179
2017-08-15 10:59:41.688
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/189172019-04-26T19:51:35Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Hoffman, Nick
2015-06-04T23:16:26Z
2015-06-04T23:16:26Z
2015
http://hdl.handle.net/1794/18917
Project files include: video of composition performance, pdf of technical information, and author's note.
Evil Eye is a four-part work for live audio and video processing via Max/MSP/Jitter. All sounds are
synthesized in real-time – no prerecorded sounds are used. The work is performed via a computer
keyboard with key triggers programmed into the Max patch. This work utilizes dynamic stochastic
synthesis, as defined by Iannis Xenakis, as well as FM synthesis. The stochastic sounds are generated
by “gendy” MSP objects developed by Nic Collins, the FM sounds are generated by simple sine wave
oscillators, and the visuals are generated using “gl.gridshape” jitter objects that correspond to changes
in the audio signal/number stream. Rather than a completely fixed composition, Evil Eye can be
thought of as a dynamic performance patch, thus there is no written score.
en_US
University of Oregon
Creative Commons BY-NC-SA
Computer music
Electronic music
Noise
Stochastic synthesis
Iannis Xenakis
Digital art
FM synthesis
Animation
Markov chain
Music technology
Evil Eye
Terminal Project
ORIGINAL
Evil_Eye.mp4
Evil_Eye.mp4
performance
video/mpeg
392898097
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18917/1/Evil_Eye.mp4
20a64e192de4c5391f0e9dd21a805587
MD5
1
Technical Information.pdf
Technical Information.pdf
technical details
application/pdf
72147
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18917/2/Technical%20Information.pdf
5dbfed86bc271cf480aa85f3d9d0e262
MD5
2
Author's_note_150604.pdf
Author's_note_150604.pdf
application/pdf
25379
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18917/3/Author%27s_note_150604.pdf
2d303e722e98f1fd0b5adbbeaefee3e4
MD5
3
LICENSE
license.txt
license.txt
text/plain
2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18917/4/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
4
TEXT
Technical Information.pdf.txt
Technical Information.pdf.txt
Extracted text
text/plain
2355
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18917/5/Technical%20Information.pdf.txt
a6693342ffd1f4b9e72529cd4941becb
MD5
5
Author's_note_150604.pdf.txt
Author's_note_150604.pdf.txt
Extracted text
text/plain
248
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18917/6/Author%27s_note_150604.pdf.txt
be7184255dcc1a0ed7c95971bd3aebc2
MD5
6
1794/18917
oai:scholarsbank.uoregon.edu:1794/18917
2019-04-26 12:51:35.317
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/247502019-07-02T18:07:41Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Chu-Sharp, Wing In Crystal
2019-07-01T19:49:12Z
2019-07-01T19:49:12Z
2019-06
https://scholarsbank.uoregon.edu/xmlui/handle/1794/24750
121 pages
Over the last century, there has been a dramatic increase in the amount of music repertoire that utilizes other art forms to contribute to its effectiveness. We now routinely see musicians work alongside poets, visual or multimedia artists, dancers and/or other artists, or even incorporate theatrical elements into their own performances. Due to this increase, the advent of personal and large-scale technology, and other variables, there is a greater demand among audiences that a live music performance incorporate other art forms in some way. This paper gives a brief survey of the history of these developments, going back to Futurism in the early 20th century, through the contemporary composers. A central point of this lecture-document is that education in this historical background is not available widely enough to music students, who increasingly are attempting interdisciplinary repertoire, new and old, without being properly informed of the context from which it comes. To remedy this, I have designed a course specifically designed to assist music students to tackle this repertoire in a more informed way. The course draws on more than a century of history and my own collaborative experience, and invites guest artists from other disciplines to create a well-rounded and informative experience for the next generation of interdisciplinary collaborative artists.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Interdisciplinary art
Interdisciplinary music
Interdisciplinary repertoire
Interdisciplinary collaboration
Interdisciplinary community
Theatrical percussion
Experimental music
Futurism
Dada
Unconventional music
Fluxus
Creative performance practice
Multimedia
Poetry
Painting
Modern
Multidisciplinary
Dance
New music
Contemporary music
Ensemble music
Movement
Approaching 21st-Century Interdisciplinary Repertoire: A Course Designed to Equip Students to Engage in Creative Performance Practice
Other
ORIGINAL
c_chu_2019.pdf
c_chu_2019.pdf
application/pdf
23817840
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24750/1/c_chu_2019.pdf
358da0eea9d76576c7e571eb3b3708a4
MD5
1
LICENSE
license.txt
license.txt
text/plain
2271
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24750/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
c_chu_2019.pdf.txt
c_chu_2019.pdf.txt
Extracted text
text/plain
200225
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24750/3/c_chu_2019.pdf.txt
cc6e595d1d55e996d315680f5c90677f
MD5
3
1794/24750
oai:scholarsbank.uoregon.edu:1794/24750
2019-07-02 11:07:41.587
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
Tk9OLUVYQ0xVU0lWRSBESVNUUklCVVRJT04gTElDRU5TRQoKQnkgc2lnbmluZyBhbmQgc3VibWl0dGluZyB0aGlzIGxpY2Vuc2UsIHlvdSAodGhlIGF1dGhvcihzKSBvciBjb3B5cmlnaHQKb3duZXIpIGdyYW50IHRvIHRoZSBVbml2ZXJzaXR5IG9mIE9yZWdvbiAoVU8pIHRoZSBub24tZXhjbHVzaXZlIHJpZ2h0IHRvCnJlcHJvZHVjZSwgY29udmVydCAoYXMgZGVmaW5lZCBiZWxvdyksIGFuZC9vciBkaXN0cmlidXRlIHlvdXIgc3VibWlzc2lvbgooaW5jbHVkaW5nIHRoZSBhYnN0cmFjdCkgd29ybGR3aWRlIGluIHByaW50IGFuZCBlbGVjdHJvbmljIGZvcm1hdCBhbmQKaW4gYW55IG1lZGl1bSwgaW5jbHVkaW5nIGJ1dCBub3QgbGltaXRlZCB0byBhdWRpbyBvciB2aWRlby4KCllvdSBhZ3JlZSB0aGF0IFVPIG1heSwgd2l0aG91dCBjaGFuZ2luZyB0aGUgY29udGVudCwgY29udmVydCB0aGUKc3VibWlzc2lvbiB0byBhbnkgbWVkaXVtIG9yIGZvcm1hdCBmb3IgdGhlIHB1cnBvc2Ugb2YgcHJlc2VydmF0aW9uLgoKWW91IGFsc28gYWdyZWUgdGhhdCB0aGUgVU8gTGlicmFyaWVzIG1heSBrZWVwIG1vcmUgdGhhbiBvbmUgY29weSBvZgp0aGlzIHN1Ym1pc3Npb24gZm9yIHB1cnBvc2VzIG9mIHNlY3VyaXR5LCBiYWNrLXVwIGFuZCBwcmVzZXJ2YXRpb24uClRoZSBMaWJyYXJpZXMgd2lsbCBtYWtlIGEgZ29vZCBmYWl0aCBlZmZvcnQgdG8gcHJlc2VydmUgYW5kIGRpc3RyaWJ1dGUKdGhpcyBzdWJtaXNzaW9uLiAgSW4gdGhlIGV2ZW50IHRoYXQgdGhlIExpYnJhcmllcyBhcmUgdW5hYmxlIHRvIGNvbnRpbnVlCnRvIG1haW50YWluIHRoaXMgc3VibWlzc2lvbiBhcyBwYXJ0IG9mIHRoZSBpbnN0aXR1dGlvbmFsIHJlcG9zaXRvcnksCnRoZSBMaWJyYXJpZXMgcmVzZXJ2ZSB0aGUgcmlnaHQgdG8gcmV0dXJuIHRoZSBjb250ZW50IHRvIHRoZSBzdWJtaXR0aW5nCmRlcGFydG1lbnRzL3VuaXRzL2luZGl2aWR1YWxzLiBJZiB0aGUgZW50aXR5IGlzIG5vIGxvbmdlciBpbiBleGlzdGVuY2UsCm9yIGlmIHRoZSBpbmRpdmlkdWFsIGlzIHVudHJhY2VhYmxlLCB0aGUgTGlicmFyaWVzIHdpbGwgYXJyYW5nZSB0byBoYXZlCnRoZSBtYXRlcmlhbHMgYXBwcmFpc2VkIGFuZCBwb3NzaWJseSBhcmNoaXZlZCBhcyBwYXJ0IG9mIHRoZSB1bml2ZXJzaXR5J3MKZGlnaXRhbCBhcmNoaXZlcy4KCllvdSByZXByZXNlbnQgdGhhdCB0aGUgc3VibWlzc2lvbiBpcyB5b3VyIG9yaWdpbmFsIHdvcmssIGFuZCB0aGF0IHlvdQpoYXZlIHRoZSByaWdodCB0byBncmFudCB0aGUgcmlnaHRzIGNvbnRhaW5lZCBpbiB0aGlzIGxpY2Vuc2UuIFlvdSBhbHNvCnJlcHJlc2VudCB0aGF0IHlvdXIgc3VibWlzc2lvbiBkb2VzIG5vdCwgdG8gdGhlIGJlc3Qgb2YgeW91ciBrbm93bGVkZ2UsCmluZnJpbmdlIHVwb24gYW55b25lJ3MgY29weXJpZ2h0LgoKSWYgdGhlIHN1Ym1pc3Npb24gY29udGFpbnMgbWF0ZXJpYWwgZm9yIHdoaWNoIHlvdSBkbyBub3QgaG9sZCBjb3B5cmlnaHQsCnlvdSByZXByZXNlbnQgdGhhdCB5b3UgaGF2ZSBvYnRhaW5lZCBhbnkgbmVjZXNzYXJ5IHBlcm1pc3Npb24gZnJvbSB0aGUKY29weXJpZ2h0IG93bmVyIHRvIGdyYW50IFVPIHRoZSByaWdodHMgcmVxdWlyZWQgYnkgdGhpcyBsaWNlbnNlLCBhbmQgCnRoYXQgc3VjaCB0aGlyZC1wYXJ0eSBvd25lZCBtYXRlcmlhbCBpcyBjbGVhcmx5IGlkZW50aWZpZWQgYW5kCmFja25vd2xlZGdlZCB3aXRoaW4gdGhlIHRleHQgb3IgY29udGVudCBvZiB0aGUgc3VibWlzc2lvbi4KCklGIFRIRSBTVUJNSVNTSU9OIElTIEJBU0VEIFVQT04gV09SSyBUSEFUIEhBUyBCRUVOIFNQT05TT1JFRCBPUiBTVVBQT1JURUQKQlkgQU4gQUdFTkNZIE9SIE9SR0FOSVpBVElPTiBPVEhFUiBUSEFOIFVPLCBZT1UgUkVQUkVTRU5UIFRIQVQgWU9VIEhBVkUKRlVMRklMTEVEIEFOWSBSSUdIVCBPRiBSRVZJRVcgT1IgT1RIRVIgT0JMSUdBVElPTlMgUkVRVUlSRUQgQlkgU1VDSApDT05UUkFDVCBPUiBBR1JFRU1FTlQuCgpVTyB3aWxsIGNsZWFybHkgaWRlbnRpZnkgeW91ciBuYW1lKHMpIGFzIHRoZSBhdXRob3Iocykgb3Igb3duZXIocykgb2YKdGhlIHN1Ym1pc3Npb24sIGFuZCB3aWxsIG5vdCBtYWtlIGFueSBhbHRlcmF0aW9uLCBvdGhlciB0aGFuIGFzIGFsbG93ZWQKYnkgdGhpcyBsaWNlbnNlLCB0byB5b3VyIHN1Ym1pc3Npb24uCgpQbGVhc2Ugbm90ZSB0aGF0IGVsZWN0cm9uaWMgdGhlc2VzIGFuZCBkaXNzZXJ0YXRpb25zIGNhbm5vdCBiZSB3aXRoZHJhd24KZnJvbSB0aGUgYXJjaGl2ZS4K
oai:scholarsbank.uoregon.edu:1794/184772014-10-17T09:00:28Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Kotova, Svetlana
2014-10-16T21:18:33Z
2014-10-16T21:18:33Z
2013-06
http://hdl.handle.net/1794/18477
75 pages
en_US
University of Oregon
All Rights Reserved.
''I Write Music That Sings To Me": The Vocal Ideal in Solo Piano Works by Francis Poulenc
Terminal Project
ORIGINAL
DMA_lecture document s kotova.pdf
DMA_lecture document s kotova.pdf
application/pdf
4185993
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18477/1/DMA_lecture%20document%20s%20kotova.pdf
d7feddd158af1e3398a74f776dcc5319
MD5
1
LICENSE
license.txt
license.txt
text/plain
2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18477/2/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
2
TEXT
DMA_lecture document s kotova.pdf.txt
DMA_lecture document s kotova.pdf.txt
Extracted text
text/plain
179869
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18477/3/DMA_lecture%20document%20s%20kotova.pdf.txt
6b154ce342349c1e3cf533e30de604a4
MD5
3
1794/18477
oai:scholarsbank.uoregon.edu:1794/18477
2014-10-17 02:00:28.845
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/290542023-11-14T21:41:07Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Galarneau, David F.
2023-11-14T21:41:07Z
2023-11-14T21:41:07Z
2023
https://scholarsbank.uoregon.edu/xmlui/handle/1794/29054
Website link here (last accessed Nov 1st, 2023): https://eviehaskellprocessfolio.wordpress.com/
To fulfill the requirements of the University of Oregon Master of Music Education degree, I present a Processfolio as my capstone project. This website reflects my growth as a music educator over the course of this program. Not only do I exhibit several of my greatest academic accomplishments, but they are woven within a narrative that answers the core question, highlighting the three main themes to affect my perspective of music education. These artifacts, while not always polished, can be used to measure my professional development throughout my time at the University of Oregon.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Jazz pedagogy
Research-based education
Capstone project
University of Oregon Processfolio
Other
ORIGINAL
daniel-f.warc
daniel-f.warc
Processfolio website
application/octet-stream
26700073
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/29054/1/daniel-f.warc
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README_glanrneau.txt
README_glanrneau.txt
text/plain
3226
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/29054/2/README_glanrneau.txt
ca8379d7ebec01dee164cf1c9da63a3f
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LICENSE
license.txt
license.txt
text/plain
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1794/29054
oai:scholarsbank.uoregon.edu:1794/29054
2023-11-14 13:41:07.702
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/219902019-01-31T23:50:28Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Chang, Yinchi
2016-12-12T23:05:21Z
2016-12-12T23:05:21Z
2016-06
http://hdl.handle.net/1794/21990
64 pages
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Oboe pedagogy
Protean
20th century oboe repertoire
Oboe extended techniques
Self-efficacy
Progressive building approach
The Protean Oboist: An Educational Approach to Learning Oboe Repertoire from 1960- 2015
Terminal Project
ORIGINAL
chang_protean_oboist.pdf
chang_protean_oboist.pdf
application/pdf
3699917
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21990/1/chang_protean_oboist.pdf
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MD5
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LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21990/2/license.txt
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TEXT
chang_protean_oboist.pdf.txt
chang_protean_oboist.pdf.txt
Extracted text
text/plain
106774
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21990/3/chang_protean_oboist.pdf.txt
55e87175495a7e8eff9551ff5ce1f59c
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1794/21990
oai:scholarsbank.uoregon.edu:1794/21990
2019-01-31 15:50:28.526
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/227682017-09-09T08:02:58Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Loken, Ulysses
2017-09-08T22:13:06Z
2017-09-08T22:13:06Z
2017-08
http://hdl.handle.net/1794/22768
74 pages
In Claude Debussy’s late works one sometimes encounters passages with unclear and seemingly fragmented structures. Performers often make interpretive decisions based on musical structure, and understanding these problematic sections is a necessary step in developing an informed interpretation. While current research identifies possible models and compositional predilections that may have influenced the fragmented style of Debussy’s late works, the passages in question have yet to be subjected to a comprehensive analysis. This document begins with a survey of current research on Debussy’s late style, and of new types of narrative structures that may have influenced his thinking on musical form, which developed in late nineteenth and early twentieth-century poetry, visual arts, and early film editing techniques. It continues with a presentation of analyses of these “fragmented” sections from a selection of late works that include his chamber sonatas and solo piano works. The analyses use a reductive analytical approach and result in illustrative reductive graphs that reveal their underlying structure. The analyses of these pieces unravel some of Debussy’s techniques for creating both a fragmented and yet unified
structure, looking both to the extra-musical influences that Debussy may have used as models, and to the specific musical interpretation and results of his experiments with these models. These studies of Debussy’s late chamber works are relevant for performers in terms of informing and developing an interpretation, and to theorists as case studies for Debussy’s use of fragmented structural models.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Claude Debussy
Fragmentation
Turn of the century
Multiplicity
Cubism
Structural Models in Debussy's Late Works
Terminal Project
ORIGINAL
DMA_LectureDoc_ULoken_2017.pdf
DMA_LectureDoc_ULoken_2017.pdf
application/pdf
24445985
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/22768/1/DMA_LectureDoc_ULoken_2017.pdf
d71bc331ee381739e3287cdcf3943e0e
MD5
1
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/22768/2/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
2
TEXT
DMA_LectureDoc_ULoken_2017.pdf.txt
DMA_LectureDoc_ULoken_2017.pdf.txt
Extracted text
text/plain
82035
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/22768/3/DMA_LectureDoc_ULoken_2017.pdf.txt
8e7eee493503c1a201044ba332ac20e9
MD5
3
1794/22768
oai:scholarsbank.uoregon.edu:1794/22768
2017-09-09 01:02:58.192
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/235392018-07-31T08:20:14Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Osuga, Amalia A.
2018-07-31T00:10:12Z
2018-07-31T00:10:12Z
2018-07
http://hdl.handle.net/1794/23539
79 pages
This document explores Franz Schubert’s songs that feature women. These include his
small but significant body of songs by female poets, 12 in all. In order to gain perspective on this
often-overlooked body of songs, I examine the composer’s biographical, musical, and literary
connections with women. Scholars and performers have long celebrated Schubert’s connection to poetry and keen ability to express musically the essence of each poem. (I will explore some of
this research in later chapters, including the work of Susan Youens, Kristina Muxfeldt, and
Michael Hall, among others.) By examining this body of songs as a whole, I aim to highlight
specific ways that Schubert’s gifts lend themselves to the expression of the woman’s voice in
song.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Franz Schubert
Women in Schubert’s Lieder: Exploring the Female Voice through His Songs
Terminal Project
ORIGINAL
osuga_2018.pdf
osuga_2018.pdf
application/pdf
805317
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23539/1/osuga_2018.pdf
b0183b14f3e1577cd69e5448ff2ecdf1
MD5
1
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23539/2/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
2
TEXT
osuga_2018.pdf.txt
osuga_2018.pdf.txt
Extracted text
text/plain
155790
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23539/3/osuga_2018.pdf.txt
3e15d6b29d757034b13563f926feb8b7
MD5
3
1794/23539
oai:scholarsbank.uoregon.edu:1794/23539
2018-07-31 01:20:14.378
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/258672020-12-08T08:24:09Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Xu, Yunhan
2020-12-08T00:55:42Z
2020-12-08T00:55:42Z
2020-08
https://scholarsbank.uoregon.edu/xmlui/handle/1794/25867
79 pages
The purpose of the document is to provide a thorough analysis of Ni Hongjin and Chen Qigang`s solo piano compositions Four Qupai Piano Etudes and Instants d'un Opéra de Pékin in order to create a better understanding of their piano compositions, as well as the relationship of these pieces to a Chinese traditional art form, the Peking Opera. The document will provide a comprehensive view of these pieces as an instructional guide for performers, teachers, and music lovers.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Ni Hongjin
Chen Qigang
Solo piano
Peking Opera
Music composition
Music pedagogy
An Analysis of Selected Piano Works Inspired by Peking Opera: Four Qupai Piano Etudesby Ni Hongjin and Instants D'un Opéra de Pékin by Chen Qigang
Terminal Project
ORIGINAL
yunhan_lecture_document_final.pdf
yunhan_lecture_document_final.pdf
application/pdf
9803084
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25867/1/yunhan_lecture_document_final.pdf
64a300c48b3233cc0c8a7a4b13c12774
MD5
1
LICENSE
license.txt
license.txt
text/plain
2271
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25867/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
yunhan_lecture_document_final.pdf.txt
yunhan_lecture_document_final.pdf.txt
Extracted text
text/plain
94356
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25867/3/yunhan_lecture_document_final.pdf.txt
74a89d8c68c43c1a09615f7cc1ca716e
MD5
3
1794/25867
oai:scholarsbank.uoregon.edu:1794/25867
2020-12-08 00:24:09.54
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/266012021-08-31T07:23:07Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Donovan, Elizabeth Ann
2021-08-30T18:29:45Z
2021-08-30T18:29:45Z
2021-08
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26601
83 pages
The document is divided into two main sections. Section one will discuss listening, communicating, and synchronizing and the different ways students will be utilizing these skills while performing in a string quartet. This section will highlight specific examples from the Jansa Quartet which will help to teach students the three skills listed above. Section two of the document will focus on structuring lessons for ten weeks with the goal of the students performing the first movement of the Jansa in the tenth week. While part one focuses on the skills of listening, communicating, and synchronizing, this part will focus on how to work on these skills while coaching specific sections of the quartet. There are ten weeks of lessons planned out in detail which highlight options for first time coaches looking to work on this piece with a beginning string quartet.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Chamber music
pedagogy
Leopold Jansa
coaching skills
A Coach’s Guide to Leopold Jansa’s String Quartet No. 1, Op. 51
Terminal Project
ORIGINAL
Donovan_Lecture_Document_2021.pdf
Donovan_Lecture_Document_2021.pdf
application/pdf
5180670
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26601/1/Donovan_Lecture_Document_2021.pdf
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MD5
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license.txt
license.txt
text/plain
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Donovan_Lecture_Document_2021.pdf.txt
Donovan_Lecture_Document_2021.pdf.txt
Extracted text
text/plain
126088
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26601/3/Donovan_Lecture_Document_2021.pdf.txt
1cf2d2c6489590426190ecf074e10bdb
MD5
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1794/26601
oai:scholarsbank.uoregon.edu:1794/26601
2021-08-31 00:23:07.709
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/186282019-02-19T23:38:19Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
White, Katie
2014-12-09T20:26:25Z
2014-12-09T20:26:25Z
2014-11-21
http://hdl.handle.net/1794/18628
70 pages
My intent in this document is to provide an introduction to nine works, written between 1987 and 2013, for teachers and performers of the viola, in a pedagogically-based context with suggestions for complementary “standard” works – works that provide musical contrast while presenting a similar level of technical challenge for the progressing violist.
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Viola performance
Viola pedagogy
Contemporary viola works
Music instruction
A Pedagogical Introduction: Viola Repertoire from 1986-2013
Terminal Project
ORIGINAL
DMA_doc_White.pdf
DMA_doc_White.pdf
application/pdf
4680854
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18628/3/DMA_doc_White.pdf
2e4651293506d692cde76a379f15619a
MD5
3
LICENSE
license.txt
license.txt
text/plain
2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18628/2/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
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TEXT
DMA_doc_White.pdf.txt
DMA_doc_White.pdf.txt
Extracted text
text/plain
101707
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18628/4/DMA_doc_White.pdf.txt
2621da62e7fced5ffbb8f9007e92be24
MD5
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1794/18628
oai:scholarsbank.uoregon.edu:1794/18628
2019-02-19 15:38:19.702
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/245932019-06-11T07:25:13Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Stolet, Jeffrey
Oseth, Olga O.
2019-06-10T17:00:43Z
2019-06-10T17:00:43Z
2019-06
https://scholarsbank.uoregon.edu/xmlui/handle/1794/24593
This Digital Portfolio Dissertation presents seven original real-time electroacoustic compositions that employ data-driven instruments, videos of their performances, associated files needed to perform the works, and a text document that describes the seven compositions. Each of the seven compositions began with recorded material that was subsequently transformed into musical experiences and journeys. I used Symbolic Sound's Kyma to execute the sonic transformations. Each of the seven compositions employed different performance interfaces and required different performance techniques. The control data, data mapping strategies, technical configurations, and sound-producing algorithms were all elements of my data-driven instruments. The individual capability of the interfaces, embodiment, as well as my choice of interaction with my interfaces were elements of performance techniques. In the written document I will discuss how my seven compositions were transformed from sound recordings to musical journeys focusing on musical, technical, and creative concepts.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Data-driven instruments
Music technology
Electroacoustic composition
Kyma
Music composition
Sound Recordings to Musical Journeys: A Digital Portfolio Dissertation of Seven Electroacoustic Compositions for Data-Driven Instruments
Thesis / Dissertation
ORIGINAL
Oseth_Dissertation_2019
Oseth_Dissertation_2019
Dissertation
application/pdf
40219168
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/1/Oseth_Dissertation_2019
d05bbede29b31aab1a7fd3c0146c9521
MD5
1
README_Oseth_2019.pdf
README_Oseth_2019.pdf
READ ME
application/pdf
105535
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/2/README_Oseth_2019.pdf
2963d2e1868d0f74bbbf1c515b2960a2
MD5
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(1)RideOn.zip
(1)RideOn.zip
1. "Ride On"-- associated files
application/octet-stream
49917547
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/4/%281%29RideOn.zip
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MD5
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(2)USCGCHealy(WAGB-20).zip
(2)USCGCHealy(WAGB-20).zip
2. "USCGC Healy (WAGB-20)"-- associated files
application/octet-stream
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http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/5/%282%29USCGCHealy%28WAGB-20%29.zip
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MD5
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(3)IvanaKupala.zip
(3)IvanaKupala.zip
3. "Ivana Kupala"-- associated files
application/octet-stream
55097371
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/6/%283%29IvanaKupala.zip
328d3f7411c643601400da987189f14e
MD5
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(4)WindInTheForest.zip
(4)WindInTheForest.zip
4. "Wind in the Forest"-- associated files
application/octet-stream
4671600
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/7/%284%29WindInTheForest.zip
c3b086a55bca249f4d2412de00dcf0ac
MD5
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(5)Immigration(GametrakVariations).zip
(5)Immigration(GametrakVariations).zip
5. "Immigration (Gametrak Variations)"-- associated files
application/octet-stream
190089303
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/8/%285%29Immigration%28GametrakVariations%29.zip
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MD5
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(6)S_VList.zip
(6)S_VList.zip
6. "S/V List"-- associated files
application/octet-stream
110655907
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/9/%286%29S_VList.zip
b6eb712b01d914081ae800ae66bb21f0
MD5
9
(7)Brigit.zip
(7)Brigit.zip
7. "Brigit"-- associated files
application/octet-stream
33039595
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/10/%287%29Brigit.zip
8e8df3de878b4ebe51d85de565526a61
MD5
10
LICENSE
license.txt
license.txt
text/plain
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http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/3/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
3
TEXT
Oseth_Dissertation_2019.txt
Oseth_Dissertation_2019.txt
Extracted text
text/plain
220328
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/11/Oseth_Dissertation_2019.txt
89c93d4dcbb87d1d555d8eccc44ae4f3
MD5
11
README_Oseth_2019.pdf.txt
README_Oseth_2019.pdf.txt
Extracted text
text/plain
34016
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24593/12/README_Oseth_2019.pdf.txt
6eed8d5eb62f95717404e92940cae883
MD5
12
1794/24593
oai:scholarsbank.uoregon.edu:1794/24593
2019-06-11 00:25:13.58
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/285052023-07-31T23:48:13Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Peña, Melissa
Keller, Rebecca
2023-07-10T20:36:12Z
2023-07-10T20:36:12Z
2023-06
https://scholarsbank.uoregon.edu/xmlui/handle/1794/28505
0009-0003-8170-7162
42 pages
Alyssa Morris is an award winning oboist and composer with two recent solo oboe works
that highlight contrasting musical representations of different forms of perception. In the first
piece, Collision Etudes, two movements utilize a musical translation of synesthetic perception
based on the color wheel of Alexander Scriabin according to the color palettes by artists Joan
Mitchell and Alma Thomas. For the second piece, Ruminations, Morris notated musical
representations of her own perceptions of the strenuous emotions brought on by the COVID-19
pandemic. This work examines these two pieces closely, highlighting the uses of sensory and
emotional perception through compositional similarities and differences in performing each
work.
en
University of Oregon
University of Oregon theses, School of Music and Dance, DEGREE, YEAR;
Creative Commons BY-NC-ND 4.0-US
Alyssa Morris
solo oboe
Representations of Visual and Emotional Perception in Two Solo Oboe Works by Alyssa Morris
Thesis / Dissertation
ORIGINAL
keller_2023.pdf
keller_2023.pdf
application/pdf
2981560
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28505/1/keller_2023.pdf
25487ef0d876b79835ea382b11703913
MD5
1
LICENSE
license.txt
license.txt
text/plain
2271
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28505/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
keller_2023.pdf.txt
keller_2023.pdf.txt
Extracted text
text/plain
58860
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28505/3/keller_2023.pdf.txt
fba23149e13cfce7bd3dd3af8aa3afc7
MD5
3
1794/28505
oai:scholarsbank.uoregon.edu:1794/28505
2023-07-31 16:48:13.619
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/279172023-01-11T08:27:26Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
FUHRMAN, CLARA NICOLE
2023-01-10T22:11:25Z
2023-01-10T22:11:25Z
2022-05
https://scholarsbank.uoregon.edu/xmlui/handle/1794/27917
59 pages
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
A NEGLECTED TRAILBLAZER: JULIA PERRY’S VIOLIN CONCERTO
Terminal Project
ORIGINAL
fuhrman_lecture_document-compressed.pdf
fuhrman_lecture_document-compressed.pdf
application/pdf
707538
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27917/1/fuhrman_lecture_document-compressed.pdf
8bb7ba94b66f92fd739f4af7e36aedac
MD5
1
LICENSE
license.txt
license.txt
text/plain
2271
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27917/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
fuhrman_lecture_document-compressed.pdf.txt
fuhrman_lecture_document-compressed.pdf.txt
Extracted text
text/plain
81635
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27917/3/fuhrman_lecture_document-compressed.pdf.txt
28bbfee1a619a32b89ae4de7c7dee164
MD5
3
1794/27917
oai:scholarsbank.uoregon.edu:1794/27917
2023-01-11 00:27:26.923
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/199922016-07-24T10:11:21Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Lerttamrab, Maykin
2016-07-21T18:47:01Z
2016-07-21T18:47:01Z
2016-02
http://hdl.handle.net/1794/19992
“Albeniz’s Monumental Work Iberia, A Perfomer’s Guide to the Complete Iberia,” a
lecture-document prepared by Maykin Lerttamrab in partial fulfillment of the
requirements for the Doctor of Musical Arts degree in the School of Music and Dance.
An in-depth examination of the work of the Spanish pianist and composer Isaac Manuel Francisco Albéniz y Pascual. This examination is coupled with a guide for performers who desire to perform his works. This project comes with a list of the complete Iberia discography. For those less accustomed to musical writings there is also a list of musical terms.
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
ISAAC ALBÉNIZ
IBERIA
IBERIA DISCOGRAPHY
Maykin Lerttamrab
Albéniz's Monumental Work Iberia
Terminal Project
Thesis / Dissertation
ORIGINAL
Iberia Final.pdf
Iberia Final.pdf
Thesis Writings
application/pdf
7784417
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/19992/1/Iberia%20Final.pdf
97fd7a76164140846d5e5dabfa99107c
MD5
1
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/19992/2/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
2
TEXT
Iberia Final.pdf.txt
Iberia Final.pdf.txt
Extracted text
text/plain
66295
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/19992/3/Iberia%20Final.pdf.txt
8b251eb24443cdbcaaa44b838efbc310
MD5
3
1794/19992
oai:scholarsbank.uoregon.edu:1794/19992
2016-07-24 03:11:21.895
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/288862023-09-13T07:32:33Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Spivey, Meg
2023-09-12T20:34:55Z
2023-09-12T20:34:55Z
2023-08
https://scholarsbank.uoregon.edu/xmlui/handle/1794/28886
This terminal project consists of a description PDF file (4 pages), a contents PDF file (4 pages), four channel audio recordings, and one stereo audio recording.
Composed in three sections, “I used to...” explores the tension between my past and present self. It is a reflection on growth, stagnation, and how we can perceive ourselves through past identities and grieve for them. Composed in three sections, the piece slowly transitions from the abstract to the concrete, with more voice added to the sonic field in each section. The phrase of “I used to…” is repeated throughout and grows more insistent towards the end of the piece. Sound material used for “I used to…” includes original recordings of cello and voice. It was composed in four channels using the Kyma sound design environment.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Kyma sound design environment
abstract art
cello
identity
I used to...
Terminal Project
ORIGINAL
I_used_to_Project_Description.pdf
I_used_to_Project_Description.pdf
Project description PDF
application/pdf
1739482
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28886/1/I_used_to_Project_Description.pdf
7f630aa795efb8769357462d2a789ecf
MD5
1
Spivey_Terminal_Project_Contents.pdf
Spivey_Terminal_Project_Contents.pdf
Project contents PDF
application/pdf
79928
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28886/2/Spivey_Terminal_Project_Contents.pdf
9d2e125fc0a70f8116c79b93052d30ed
MD5
2
I_Used_To_1.aif
I_Used_To_1.aif
Channel AIF 1
audio/x-aiff
77336576
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28886/3/I_Used_To_1.aif
f4a63f82b9ea117e17844bd6440f2131
MD5
3
I_Used_To_.2.aif
I_Used_To_.2.aif
Channel AIF 2
audio/x-aiff
77336576
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28886/4/I_Used_To_.2.aif
bcadb432ea2c63541282b539bbfbb99d
MD5
4
I_Used_To_.3.aif
I_Used_To_.3.aif
Channel AIF 3
audio/x-aiff
77336576
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28886/5/I_Used_To_.3.aif
6859ca329215f5c4d740ad1241a7ee77
MD5
5
I_Used_To_.4.aif
I_Used_To_.4.aif
Channel AIF 4
audio/x-aiff
77336576
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28886/6/I_Used_To_.4.aif
98c2e1da0adccac1ab039af3b36862a9
MD5
6
I_Used_To_Stereo.aif
I_Used_To_Stereo.aif
Stereo AIF
audio/x-aiff
157172970
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28886/7/I_Used_To_Stereo.aif
48ecb94e9317b8271674289122ef4443
MD5
7
LICENSE
license.txt
license.txt
text/plain
2271
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28886/8/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
8
TEXT
I_used_to_Project_Description.pdf.txt
I_used_to_Project_Description.pdf.txt
Extracted text
text/plain
1097
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28886/9/I_used_to_Project_Description.pdf.txt
f8f252c360cdc6a7a6fb01864d49f9ab
MD5
9
Spivey_Terminal_Project_Contents.pdf.txt
Spivey_Terminal_Project_Contents.pdf.txt
Extracted text
text/plain
1719
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28886/10/Spivey_Terminal_Project_Contents.pdf.txt
4a92c12b91a1a1b07dbb3a73dbbd9184
MD5
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1794/28886
oai:scholarsbank.uoregon.edu:1794/28886
2023-09-13 00:32:33.062
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/274672022-07-29T07:25:48Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Aguayo, Anthony
2022-07-28T18:24:41Z
2022-07-28T18:24:41Z
2022-05
https://scholarsbank.uoregon.edu/xmlui/handle/1794/27467
168 pages
In this document, I will discuss a broad spectrum of topics ranging from biographical information on the composer, analyses and performance guides for the works being discussed, and the presence of traditional Mexican, Cuban, and Brazilian idioms within each movement of Eduardo Gamboa’s Concierto para Clarinete. Gaps in the extant literature exist in relation to my immediate topic, the idioms as related to Eduardo Gamboa and their presence within his music.
en
Creative Commons BY-NC-ND 4.0-US
Music
Clarinet
Mexican Culture
Cuban Culture
The Life and Clarinet Works of Eduardo Gamboa: The Presence of Traditional Mexican and Cuban Idioms in Concierto para Clarinete
Thesis / Dissertation
ORIGINAL
Aguayo_Lecture_Document.pdf
Aguayo_Lecture_Document.pdf
MFA Thesis - 2022
application/pdf
25382945
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27467/1/Aguayo_Lecture_Document.pdf
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MD5
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LICENSE
license.txt
license.txt
text/plain
2271
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TEXT
Aguayo_Lecture_Document.pdf.txt
Aguayo_Lecture_Document.pdf.txt
Extracted text
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MD5
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1794/27467
oai:scholarsbank.uoregon.edu:1794/27467
2022-07-29 00:25:48.244
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/239742018-12-14T08:29:38Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Moreira, Eduardo
2018-12-13T18:28:32Z
2018-12-13T18:28:32Z
2018-06
http://hdl.handle.net/1794/23974
153 pages
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Messiaen
Preludes
Piano
Messiaen’s 8 Préludes: The Origins Of a Style
Terminal Project
ORIGINAL
lecture-document_eduardo_moreira.pdf
lecture-document_eduardo_moreira.pdf
application/pdf
20385144
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23974/1/lecture-document_eduardo_moreira.pdf
f4bffd888b845863b3edb2074a32d478
MD5
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LICENSE
license.txt
license.txt
text/plain
2280
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fd97841ec4c7352b12e3b5786757aed5
MD5
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TEXT
lecture-document_eduardo_moreira.pdf.txt
lecture-document_eduardo_moreira.pdf.txt
Extracted text
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230209
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1794/23974
oai:scholarsbank.uoregon.edu:1794/23974
2018-12-14 00:29:38.878
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/265932021-08-24T07:23:47Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Miao, Yaoyun
2021-08-23T18:40:00Z
2021-08-23T18:40:00Z
2021-07
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26593
105 pages
The purpose of this document is to explore the text painting in Robert
Schuman’s art songs and how he realized the inner emotion of the poet through the
piano part. A general overview of Schumann’s life as both a composer and critic will
be presented. The musical materials to be covered in this document are Frauenliebe
und -leben Op. 42 and Dichterliebe Op. 48. Schumann was influenced by the
philosophers and artists of his time, and these influences are evident in his music. The
composer’s personal life, his aesthetics of poetry and music, the independent
functions of the structural and harmonic elements, and specific performance practices
will be thoroughly examined to establish the programmatic content that provides a
direct connection with the music itself. This document will provide a musical analysis
of two major works from the perspective of a collaborative pianist. Schumann’s
approach to text-painting and his exploration of the poet’s inner emotion will be
examined as well.
This study is a performer’s guide for professional musicians to more fully
realize the inner voice of the text, and it can also serve as a resource for amateurs to
learn more about Schumann’s songwriting genius.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Schumann
text painting
piano part
poet
art songs
emotions
A Performer’s Guide to Robert Schumann’s Song Cycles – Dichterliebe Op. 42 and Frauenliebe und -leben Op. 48
Terminal Project
ORIGINAL
Yaoyun_Lecture_Document_2021.pdf
Yaoyun_Lecture_Document_2021.pdf
application/pdf
13373199
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26593/1/Yaoyun_Lecture_Document_2021.pdf
725571cdd6d892db83318b4bf6374c6d
MD5
1
LICENSE
license.txt
license.txt
text/plain
2271
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26593/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
Yaoyun_Lecture_Document_2021.pdf.txt
Yaoyun_Lecture_Document_2021.pdf.txt
Extracted text
text/plain
102006
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26593/3/Yaoyun_Lecture_Document_2021.pdf.txt
15c887b52c5de4837ac9772edfe0f0f1
MD5
3
1794/26593
oai:scholarsbank.uoregon.edu:1794/26593
2021-08-24 00:23:47.959
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/230202018-01-20T08:39:33Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Uchida, Rika
2018-01-19T19:50:28Z
2018-01-19T19:50:28Z
2004-03
http://hdl.handle.net/1794/23020
230 pages
Claude Debussy’s Pour les Sonorités opposées from Douze Études presents the composer’s new language and experimentations for the keyboard. This lecture- document presents the analysis of Pour les Sonorités opposées, a comparison of interpretations by three pianists, Walter Gieseking, Maurizio Pollini and Mitsuko Uchida, and my own interpretation. The document explores how analysis contributes to a better interpretation.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Debussy’s Pour les Sonorités opposées: Its Analysis and Interpretations
Terminal Project
ORIGINAL
rika_uchida_2004.pdf
rika_uchida_2004.pdf
application/pdf
19213505
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23020/3/rika_uchida_2004.pdf
b85f7173eae8765ab58d00f38cac1fcb
MD5
3
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23020/2/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
2
TEXT
rika_uchida_2004.pdf.txt
rika_uchida_2004.pdf.txt
Extracted text
text/plain
147953
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23020/4/rika_uchida_2004.pdf.txt
b48c2388bd29e1d5fe639dee9b373faa
MD5
4
1794/23020
oai:scholarsbank.uoregon.edu:1794/23020
2018-01-20 00:39:33.691
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/292532024-02-13T08:38:02Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Shin, Ji Yeon
2024-02-12T22:58:39Z
2024-02-12T22:58:39Z
2018-08
https://scholarsbank.uoregon.edu/xmlui/handle/1794/29253
135 pages
The purpose of this lecture document is to present a four-year course of study,
using the Sonatas and Partitas, BWV 1001-1006 by Johann Sebastian Bach, for an
entering first-year college student. Even though the Sonatas and Partitas by Bach have
been included in college auditions as repertoire to present the student’s musicality and
technique as a solo violinist without any accompaniment, many students have little
experience with this literature. In the proposed course of study, three case studies (the
Allemanda in D Minor, the Gavotte en Rondeau in E Major, and the Fuga in G Minor) of
the Sonatas and Partitas are presented in two different approaches – the historically
informed performance practice (HPP) and the mainstream performance practice (MSP).
The list of references for the first-year student in each approach is included.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Pedagogical and Technical Suggestions for J. S. Bach’s Sonatas and Partitas, BWV 1001-1006, for First-year College Students in a Four-year Course of Study
Terminal Project
ORIGINAL
dma_lec_doc_ji_yeon_shin.pdf
dma_lec_doc_ji_yeon_shin.pdf
application/pdf
13702140
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/29253/1/dma_lec_doc_ji_yeon_shin.pdf
c9680b2f1d94e83f92ffdd2687af9123
MD5
1
LICENSE
license.txt
license.txt
text/plain
2271
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/29253/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
dma_lec_doc_ji_yeon_shin.pdf.txt
dma_lec_doc_ji_yeon_shin.pdf.txt
Extracted text
text/plain
220555
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/29253/3/dma_lec_doc_ji_yeon_shin.pdf.txt
1344ee2f82c94a8ed566eda44443763e
MD5
3
1794/29253
oai:scholarsbank.uoregon.edu:1794/29253
2024-02-13 00:38:02.798
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/290442023-10-31T07:34:26Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Liu, Ting-Yu
2023-10-30T23:22:44Z
2023-10-30T23:22:44Z
2023-03
https://scholarsbank.uoregon.edu/xmlui/handle/1794/29044
63 pages
The purpose of this study is to explore Ravel’s stylistic approach and inimitable textural
characteristics in his three water pieces: Jeux d’eau, Une barque sur l’ocean, and Ondine. Through
this study I aim to show the development of Ravel’s compositional style in his piano works related
to water, especially the relationship between musical components and extra-musical ideas.
Therefore, I will discuss and analyze these three pieces from multiple perspectives: timbre,
harmony, and rhythm. As part of the analysis, I will also be looking at a myriad of textural levels
and how these characteristics and the overall sonorities relate to portraying water.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Maurice Ravel
Impressionism and Symbolism
Texture and Harmony
Penatonic
Octatonic
Ravel’s Water Music for Solo Piano: Jeux d’eau, Une barque sur l’ocean, and Ondine
Other
ORIGINAL
liu_2023.pdf
liu_2023.pdf
application/pdf
12871179
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/29044/1/liu_2023.pdf
e5d4ac6b47ce1ebe356c989623a50917
MD5
1
LICENSE
license.txt
license.txt
text/plain
2271
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d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
liu_2023.pdf.txt
liu_2023.pdf.txt
Extracted text
text/plain
82845
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036ca3c008dcb072e88a76d0b97821c5
MD5
3
1794/29044
oai:scholarsbank.uoregon.edu:1794/29044
2023-10-31 00:34:26.423
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/247492019-07-02T07:26:53Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Finlayson, Marissa
2019-07-01T19:31:00Z
2019-07-01T19:31:00Z
2019-03
https://scholarsbank.uoregon.edu/xmlui/handle/1794/24749
95 pages
The purpose of this capstone project was to examine the extent of the diversity and inclusion of the Latinx community within a California high school band curriculum. The diversity and representation of the Latinx community was examined through the relationship between this community and the repertoire available for high school bands. Within this capstone project, there were three mini projects that were utilized to explore the extent of the diversity and inclusion of the Latinx community within a high school band curriculum. The first mini project was a content analysis to determine if there was an increase in listed compositions for high school bands within the Teaching Music Through Performance in Band series (1997-2017), volumes one through 11, and grade levels three through five that hold representation and/or identity within the Latinx community. The third mini project consisted of instructional strategies developed for educators based upon selected pieces from the first mini project that were identified as holding representation and/or identity within the Latinx community, Within each of the four compositions utilized for this project, cultural identity and representation within each composition were discussed along with their relationship to the Latinx community. National Core Arts Standards and the California State Standards for Music Education were identified for each of the compositions. Identified Latinx elements were then discussed in relationship to the standards.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Music education
Latinx representation
The diversity and inclusion of the Latinx community within high school band curricula
Terminal Project
ORIGINAL
capstone_latinx_band_2019.pdf
capstone_latinx_band_2019.pdf
application/pdf
724461
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24749/1/capstone_latinx_band_2019.pdf
3349594906349ad8902358eae7bea88d
MD5
1
LICENSE
license.txt
license.txt
text/plain
2271
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d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
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TEXT
capstone_latinx_band_2019.pdf.txt
capstone_latinx_band_2019.pdf.txt
Extracted text
text/plain
143869
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24749/3/capstone_latinx_band_2019.pdf.txt
6f894d599db6f5ff67b6d87c7718c89b
MD5
3
1794/24749
oai:scholarsbank.uoregon.edu:1794/24749
2019-07-02 00:26:53.455
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/265952022-12-02T22:08:07Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Sin, Anson Ka-lik
2021-08-23T21:33:52Z
2021-08-23T21:33:52Z
2021-06
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26595
79 pages
The project will focus on how warm-up exercises are a vitally important activity for
pianists both mentally and physically. I will research the best methods for pianists to warm up
before piano practice, lessons, and performance. Warm-up exercises should include a variety of
physical and mental elements, such as: activating the kinesthetic sense, body mapping the
arms/hands, creating a ready-to-play mode, breathing, as well as creating a positive mindset. The
project will also illustrate how to apply these elements to optimize the warm-up exercises.
Additionally, several stretching exercises from the Chinese martial arts (Qigong) will be
explained and demonstrated as to how they are beneficial to piano warm-up exercises.
Pianists are often able to learn much better through practical application at the piano,
rather than trying to absorb abstract information. Applying the above strategies will transform
the ways pianists approach the piano to produce a better quality of movement, reduce tension and
prevent pain. A pianist who is completely warmed up can better concentrate on the creation of
sound, musical gesture, and interpretation.
Please note: In this document, I will use the word “warm up” as a noun, and “warm-up”
as an adjective.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Stretching Exercises From Martial Arts and Preconditioning Piano Exercises With Scores and Video Demonstrations to Prepare Pianists for Practice and Performance Without Physical Tension
Terminal Project
ORIGINAL
Sin_M.M.Piano_Pedagogy_Project.pdf
Sin_M.M.Piano_Pedagogy_Project.pdf
application/pdf
17044927
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26595/1/Sin_M.M.Piano_Pedagogy_Project.pdf
6be4818b4334216afb95bfed94a75a32
MD5
1
LICENSE
license.txt
license.txt
text/plain
2271
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26595/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
Sin_M.M.Piano_Pedagogy_Project.pdf.txt
Sin_M.M.Piano_Pedagogy_Project.pdf.txt
Extracted text
text/plain
92923
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26595/3/Sin_M.M.Piano_Pedagogy_Project.pdf.txt
0c1c3889628c1bc8e2311888b1f1225a
MD5
3
1794/26595
oai:scholarsbank.uoregon.edu:1794/26595
2022-12-02 14:08:07.553
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/239582018-12-11T08:30:28Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Camelo Borba, Ednaldo
2018-12-10T22:25:39Z
2018-12-10T22:25:39Z
2018-11
http://hdl.handle.net/1794/23958
143 pages.
The present document explores two works by Brazilian composer Edmundo Villani-Côrtes - his Série Brasileira Op. 8 and Cinco Miniaturas Brasileiras – and discusses their relationship with nationalism, raising the question if Villani could be labeled as a “nationalist composer.“ The answer is achieved by establishing proper definitions for the concept of nationalism based on recent academic publications, followed by the composer’s biography and an analysis of his works, in order to reveal their cultural influences and aesthetic goals.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Edmundo Villani-Côrtes
Nationalism
Brazilian music
Série Brasileira Op. 8
Cinco Miniaturas Brasileiras
Nationalism in Two Works by Edmundo Villani-Côrtes,”
Other
ORIGINAL
lecturedocumentvillani19.pdf
lecturedocumentvillani19.pdf
application/pdf
16040813
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23958/1/lecturedocumentvillani19.pdf
d32278b28519d197121ecb0fe0b9b1e3
MD5
1
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23958/2/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
2
TEXT
lecturedocumentvillani19.pdf.txt
lecturedocumentvillani19.pdf.txt
Extracted text
text/plain
235369
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/23958/3/lecturedocumentvillani19.pdf.txt
87b94aba03128c7a7e07fc96b22c7974
MD5
3
1794/23958
oai:scholarsbank.uoregon.edu:1794/23958
2018-12-11 00:30:28.437
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
Tk9URTogUExBQ0UgWU9VUiBPV04gTElDRU5TRSBIRVJFClRoaXMgc2FtcGxlIGxpY2Vuc2UgaXMgcHJvdmlkZWQgZm9yIGluZm9ybWF0aW9uYWwgcHVycG9zZXMgb25seS4KCk5PTi1FWENMVVNJVkUgRElTVFJJQlVUSU9OIExJQ0VOU0UKCkJ5IHNpZ25pbmcgYW5kIHN1Ym1pdHRpbmcgdGhpcyBsaWNlbnNlLCB5b3UgKHRoZSBhdXRob3Iocykgb3IgY29weXJpZ2h0Cm93bmVyKSBncmFudHMgdG8gdGhlIFVuaXZlcnNpdHkgb2YgT3JlZ29uIChVTykgdGhlIG5vbi1leGNsdXNpdmUgcmlnaHQgdG8KcmVwcm9kdWNlLCBjb252ZXJ0IChhcyBkZWZpbmVkIGJlbG93KSwgYW5kL29yIGRpc3RyaWJ1dGUgeW91ciBzdWJtaXNzaW9uCihpbmNsdWRpbmcgdGhlIGFic3RyYWN0KSB3b3JsZHdpZGUgaW4gcHJpbnQgYW5kIGVsZWN0cm9uaWMgZm9ybWF0IGFuZAppbiBhbnkgbWVkaXVtLCBpbmNsdWRpbmcgYnV0IG5vdCBsaW1pdGVkIHRvIGF1ZGlvIG9yIHZpZGVvLgoKWW91IGFncmVlIHRoYXQgVU8gbWF5LCB3aXRob3V0IGNoYW5naW5nIHRoZSBjb250ZW50LCBjb252ZXJ0IHRoZQpzdWJtaXNzaW9uIHRvIGFueSBtZWRpdW0gb3IgZm9ybWF0IGZvciB0aGUgcHVycG9zZSBvZiBwcmVzZXJ2YXRpb24uCgpZb3UgYWxzbyBhZ3JlZSB0aGF0IHRoZSBVTyBMaWJyYXJpZXMgbWF5IGtlZXAgbW9yZSB0aGFuIG9uZSBjb3B5IG9mCnRoaXMgc3VibWlzc2lvbiBmb3IgcHVycG9zZXMgb2Ygc2VjdXJpdHksIGJhY2stdXAgYW5kIHByZXNlcnZhdGlvbi4KVGhlIExpYnJhcmllcyB3aWxsIG1ha2UgYSBnb29kIGZhaXRoIGVmZm9ydCB0byBwcmVzZXJ2ZSBhbmQgZGlzdHJpYnV0ZQp0aGlzIHN1Ym1pc3Npb24uICBJbiB0aGUgZXZlbnQgdGhhdCB0aGUgTGlicmFyaWVzIGFyZSB1bmFibGUgdG8gY29udGludWUKdG8gbWFpbnRhaW4gdGhpcyBzdWJtaXNzaW9uIGFzIHBhcnQgb2YgdGhlIGluc3RpdHV0aW9uYWwgcmVwb3NpdG9yeSwKdGhlIExpYnJhcmllcyByZXNlcnZlIHRoZSByaWdodCB0byByZXR1cm4gdGhlIGNvbnRlbnQgdG8gdGhlIHN1Ym1pdHRpbmcKZGVwYXJ0bWVudHMvdW5pdHMvaW5kaXZpZHVhbHMuIElmIHRoZSBlbnRpdHkgaXMgbm8gbG9uZ2VyIGluIGV4aXN0ZW5jZSwKb3IgaWYgdGhlIGluZGl2aWR1YWwgaXMgdW50cmFjZWFibGUsIHRoZSBMaWJyYXJpZXMgd2lsbCBhcnJhbmdlIHRvIGhhdmUKdGhlIG1hdGVyaWFscyBhcHByYWlzZWQgYW5kIHBvc3NpYmx5IGFyY2hpdmVkIGFzIHBhcnQgb2YgdGhlIHVuaXZlcnNpdHkncwpkaWdpdGFsIGFyY2hpdmVzLgoKWW91IHJlcHJlc2VudCB0aGF0IHRoZSBzdWJtaXNzaW9uIGlzIHlvdXIgb3JpZ2luYWwgd29yaywgYW5kIHRoYXQgeW91CmhhdmUgdGhlIHJpZ2h0IHRvIGdyYW50IHRoZSByaWdodHMgY29udGFpbmVkIGluIHRoaXMgbGljZW5zZS4gWW91IGFsc28KcmVwcmVzZW50IHRoYXQgeW91ciBzdWJtaXNzaW9uIGRvZXMgbm90LCB0byB0aGUgYmVzdCBvZiB5b3VyIGtub3dsZWRnZSwKaW5mcmluZ2UgdXBvbiBhbnlvbmUncyBjb3B5cmlnaHQuCgpJZiB0aGUgc3VibWlzc2lvbiBjb250YWlucyBtYXRlcmlhbCBmb3Igd2hpY2ggeW91IGRvIG5vdCBob2xkIGNvcHlyaWdodCwKeW91IHJlcHJlc2VudCB0aGF0IHlvdSBoYXZlIG9idGFpbmVkIGFueSBuZWNlc3NhcnkgcGVybWlzc2lvbiBmcm9tIHRoZQpjb3B5cmlnaHQgb3duZXIgdG8gZ3JhbnQgVU8gdGhlIHJpZ2h0cyByZXF1aXJlZCBieSB0aGlzIGxpY2Vuc2UsIGFuZCAKdGhhdCBzdWNoIHRoaXJkLXBhcnR5IG93bmVkIG1hdGVyaWFsIGlzIGNsZWFybHkgaWRlbnRpZmllZCBhbmQKYWNrbm93bGVkZ2VkIHdpdGhpbiB0aGUgdGV4dCBvciBjb250ZW50IG9mIHRoZSBzdWJtaXNzaW9uLgoKSUYgVEhFIFNVQk1JU1NJT04gSVMgQkFTRUQgVVBPTiBXT1JLIFRIQVQgSEFTIEJFRU4gU1BPTlNPUkVEIE9SIFNVUFBPUlRFRApCWSBBTiBBR0VOQ1kgT1IgT1JHQU5JWkFUSU9OIE9USEVSIFRIQU4gVU8sIFlPVSBSRVBSRVNFTlQgVEhBVCBZT1UgSEFWRQpGVUxGSUxMRUQgQU5ZIFJJR0hUIE9GIFJFVklFVyBPUiBPVEhFUiBPQkxJR0FUSU9OUyBSRVFVSVJFRCBCWSBTVUNICkNPTlRSQUNUIE9SIEFHUkVFTUVOVC4KClVPIHdpbGwgY2xlYXJseSBpZGVudGlmeSB5b3VyIG5hbWUocykgYXMgdGhlIGF1dGhvcihzKSBvciBvd25lcihzKSBvZgp0aGUgc3VibWlzc2lvbiwgYW5kIHdpbGwgbm90IG1ha2UgYW55IGFsdGVyYXRpb24sIG90aGVyIHRoYW4gYXMgYWxsb3dlZApieSB0aGlzIGxpY2Vuc2UsIHRvIHlvdXIgc3VibWlzc2lvbi4K
oai:scholarsbank.uoregon.edu:1794/219882019-03-22T19:53:02Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Tantikarn, Nattapol
2016-12-12T22:45:23Z
2016-12-12T22:45:23Z
2016-06-02
http://hdl.handle.net/1794/21988
Terminal project consists of 35 page pdf lecture-document and performance video.
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Piano pedagogy
Beethoven
The Eroica “Etudes”: Mastering the Technical Challenges in Beethoven’s “Eroica” Variations, Op. 35
Terminal Project
ORIGINAL
Tantikarn_lecture_doc_2016.pdf
Tantikarn_lecture_doc_2016.pdf
application/pdf
5254357
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21988/1/Tantikarn_lecture_doc_2016.pdf
46de32718cb62430b2d82e0ab5750ea5
MD5
1
Tantikarn_Eroica_Etudes.mp4
Tantikarn_Eroica_Etudes.mp4
application/octet-stream
296585487
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21988/2/Tantikarn_Eroica_Etudes.mp4
e3f18f3b8616a6e47e8fc2049a807880
MD5
2
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21988/3/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
3
TEXT
Tantikarn_lecture_doc_2016.pdf.txt
Tantikarn_lecture_doc_2016.pdf.txt
Extracted text
text/plain
37790
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21988/4/Tantikarn_lecture_doc_2016.pdf.txt
0347967595f892d146852b8f014d8c72
MD5
4
1794/21988
oai:scholarsbank.uoregon.edu:1794/21988
2019-03-22 12:53:02.775
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/219892016-12-15T11:12:21Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Khoo, Hui Ling
2016-12-12T22:58:20Z
2016-12-12T22:58:20Z
2016-04-30
http://hdl.handle.net/1794/21989
Terminal project consists of 62 page pdf lecture-document and performance video.
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Multimedia Performance
Chinese painting
Chinese Piano Music
A Confluence of Artistic Realms: Tan Dun’s 8 Memories in Watercolor
Terminal Project
ORIGINAL
dma_lecture_document__khoo.pdf
dma_lecture_document__khoo.pdf
application/pdf
11659720
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21989/1/dma_lecture_document__khoo.pdf
56b5296ccca0f3ded4928d5d0632400a
MD5
1
huiling_khoo_8_Memories_in_Watercolor.mp4
huiling_khoo_8_Memories_in_Watercolor.mp4
application/octet-stream
497451813
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21989/2/huiling_khoo_8_Memories_in_Watercolor.mp4
39ed2bed644b0bb973a53d16829a1704
MD5
2
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21989/3/license.txt
fd97841ec4c7352b12e3b5786757aed5
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TEXT
dma_lecture_document__khoo.pdf.txt
dma_lecture_document__khoo.pdf.txt
Extracted text
text/plain
67697
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21989/4/dma_lecture_document__khoo.pdf.txt
ebef24b7f66402d283833a85cbfe75d8
MD5
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1794/21989
oai:scholarsbank.uoregon.edu:1794/21989
2016-12-15 03:12:21.087
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/274972022-08-11T07:27:26Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Lee, Soo Jung
2022-08-10T22:57:18Z
2022-08-10T22:57:18Z
2022-07
https://scholarsbank.uoregon.edu/xmlui/handle/1794/27497
115 pages
Isang Yun (1917-1995) is one of the most influential composers in the twentieth century.
He received the title of Living Top 5 Composers in Europe and The Most Important 56
Composers in Twentieth Century in Germany. Although Yun’s music has been acclaimed in
Germany and Korea, it is not well-known yet to American musicians and scholars. In Europe, he
received the spotlight for achieving a satisfying synthesis of elements from multiple cultures. His
focuses are Eastern philosophy (Taoism), Hauptton technique inspired by Oriental music,
Korean traditional music, and Western technique (twelve-tone technique and serial music). The
comprehensive understanding of all these dimensions elevated his sense of timbre, musical time,
and musical space. In addition, Isang Yun had a unique and challenging life story. His long exile,
caused by political conflicts with the South Korean government, brought him and his family
much suffering, and clearly influenced his music. As a passionate nationalist, Yun frequently had
political messages regarding to world peace and reconciliation between human through music.
This document will examine Isang Yun’s life and representative musical features, and will
provide thorough analysis of two piano solo works: Fünf Stücke für Klavier (1958) and
Interludium A (1982).
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
An Analysis of Two Piano Works by Isang Yun: Symbiosis of Eastern and Western Musical Languages
Terminal Project
LICENSE
license.txt
license.txt
text/plain
2271
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27497/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
ORIGINAL
Soo_Jung_Lee_Lecture_Document.pdf
Soo_Jung_Lee_Lecture_Document.pdf
application/pdf
52904420
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27497/3/Soo_Jung_Lee_Lecture_Document.pdf
ae4beca8e60341ee2257420bf7a87d81
MD5
3
TEXT
Soo_Jung_Lee_Lecture_Document.pdf.txt
Soo_Jung_Lee_Lecture_Document.pdf.txt
Extracted text
text/plain
144946
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27497/4/Soo_Jung_Lee_Lecture_Document.pdf.txt
bec91f6c51b80237bff90377d6a75620
MD5
4
1794/27497
oai:scholarsbank.uoregon.edu:1794/27497
2022-08-11 00:27:26.578
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/290032023-10-20T07:34:15Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Lee, Mei-ling
2023-10-19T23:54:41Z
2023-10-19T23:54:41Z
2023-03
https://scholarsbank.uoregon.edu/xmlui/handle/1794/29003
Digital Portfolio Dissertation files include: Dissertation text document; zipped computer files; and 7 performance videos linked for streaming at this URL on University of Oregon Panopto service: https://uoregon.hosted.panopto.com/Panopto/Pages/Sessions/List.aspx#folderID=%22eba8a7df-69b3-4e67-a924-b0a001853032%22. Archival copies of videos have been preserved by the UO Libraries.
This Digital Portfolio Dissertation is a collection of seven original real-time, interactive,
multichannel compositions featuring data-driven instruments. This dissertation includes video
recordings of seven individual performances, associated files needed for the performance of each
work, and a descriptive text document for each of the seven compositions. The text document in
this digital portfolio dissertation describes the storytelling components and the musical ideas and
compositional structure of each composition, the design and implementation of each data-driven
instrument, the sonic materials and data mapping strategies, as well as other extra-musical
elements associated with each composition.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Data-driven composition
Data-driven instruments
Storytelling: The Human Experience Through Data-Driven Instruments
Thesis / Dissertation
ORIGINAL
I. Mei-ling Lee Dissertation Text.pdf
I. Mei-ling Lee Dissertation Text.pdf
application/pdf
22450551
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/29003/1/I.%20Mei-ling%20Lee%20Dissertation%20Text.pdf
37b979a3abf420548a077f5d2e0c002b
MD5
1
II. Custom Software and Affiliated Files.zip
II. Custom Software and Affiliated Files.zip
application/octet-stream
226354344
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/29003/2/II.%20Custom%20Software%20and%20Affiliated%20Files.zip
4d6154cfffa6c5d563150941943db3db
MD5
2
LICENSE
license.txt
license.txt
text/plain
2271
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/29003/3/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
3
TEXT
I. Mei-ling Lee Dissertation Text.pdf.txt
I. Mei-ling Lee Dissertation Text.pdf.txt
Extracted text
text/plain
139698
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/29003/4/I.%20Mei-ling%20Lee%20Dissertation%20Text.pdf.txt
196697465a3c277f38c0d44ab9e2ff4e
MD5
4
1794/29003
oai:scholarsbank.uoregon.edu:1794/29003
2023-10-20 00:34:15.018
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/223982017-06-13T07:29:18Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Coté, Abbigail Katharine
2017-06-12T19:36:50Z
2017-06-12T19:36:50Z
2017-06
http://hdl.handle.net/1794/22398
129 pages
This paper is a study of pedagogical approaches for the cultivation of an efficient,
balanced vocal onset. The research will provide a historical survey of onset discussions from
various pedagogical sources and conclude with a compendium of exercises which
exemplify a systematic, prescriptive approach to balanced onset through development of
an advantageous prephonatory throat posture and maintaining that posture with varied
articulatory gestures and air pressure. Although the methodology I have used in this
research could be applied to each aspect of vocal technique, I believe teaching the
execution of an efficient onset has been especially controversial and, therefore, more
elusive to today’s teachers, warranting this in depth investigation.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Vocal onset
Voice pedagogy
Singing
Voice care and hygiene
Breath support
Onset exercises
Unraveling the Discussion of Vocal Onset: Strategies for the Cultivation of Balanced Onset Based Upon Historical and Current Vocal Pedagogical Teachings
Terminal Project
ORIGINAL
abbigail_cote_lecture_document.pdf
abbigail_cote_lecture_document.pdf
application/pdf
3103232
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/22398/1/abbigail_cote_lecture_document.pdf
2224544043440bf964530409088253c3
MD5
1
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/22398/2/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
2
TEXT
abbigail_cote_lecture_document.pdf.txt
abbigail_cote_lecture_document.pdf.txt
Extracted text
text/plain
216884
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/22398/3/abbigail_cote_lecture_document.pdf.txt
157c5606ad70f797a7640f76b9e27f23
MD5
3
1794/22398
oai:scholarsbank.uoregon.edu:1794/22398
2017-06-13 00:29:18.761
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
Tk9URTogUExBQ0UgWU9VUiBPV04gTElDRU5TRSBIRVJFClRoaXMgc2FtcGxlIGxpY2Vuc2UgaXMgcHJvdmlkZWQgZm9yIGluZm9ybWF0aW9uYWwgcHVycG9zZXMgb25seS4KCk5PTi1FWENMVVNJVkUgRElTVFJJQlVUSU9OIExJQ0VOU0UKCkJ5IHNpZ25pbmcgYW5kIHN1Ym1pdHRpbmcgdGhpcyBsaWNlbnNlLCB5b3UgKHRoZSBhdXRob3Iocykgb3IgY29weXJpZ2h0Cm93bmVyKSBncmFudHMgdG8gdGhlIFVuaXZlcnNpdHkgb2YgT3JlZ29uIChVTykgdGhlIG5vbi1leGNsdXNpdmUgcmlnaHQgdG8KcmVwcm9kdWNlLCBjb252ZXJ0IChhcyBkZWZpbmVkIGJlbG93KSwgYW5kL29yIGRpc3RyaWJ1dGUgeW91ciBzdWJtaXNzaW9uCihpbmNsdWRpbmcgdGhlIGFic3RyYWN0KSB3b3JsZHdpZGUgaW4gcHJpbnQgYW5kIGVsZWN0cm9uaWMgZm9ybWF0IGFuZAppbiBhbnkgbWVkaXVtLCBpbmNsdWRpbmcgYnV0IG5vdCBsaW1pdGVkIHRvIGF1ZGlvIG9yIHZpZGVvLgoKWW91IGFncmVlIHRoYXQgVU8gbWF5LCB3aXRob3V0IGNoYW5naW5nIHRoZSBjb250ZW50LCBjb252ZXJ0IHRoZQpzdWJtaXNzaW9uIHRvIGFueSBtZWRpdW0gb3IgZm9ybWF0IGZvciB0aGUgcHVycG9zZSBvZiBwcmVzZXJ2YXRpb24uCgpZb3UgYWxzbyBhZ3JlZSB0aGF0IHRoZSBVTyBMaWJyYXJpZXMgbWF5IGtlZXAgbW9yZSB0aGFuIG9uZSBjb3B5IG9mCnRoaXMgc3VibWlzc2lvbiBmb3IgcHVycG9zZXMgb2Ygc2VjdXJpdHksIGJhY2stdXAgYW5kIHByZXNlcnZhdGlvbi4KVGhlIExpYnJhcmllcyB3aWxsIG1ha2UgYSBnb29kIGZhaXRoIGVmZm9ydCB0byBwcmVzZXJ2ZSBhbmQgZGlzdHJpYnV0ZQp0aGlzIHN1Ym1pc3Npb24uICBJbiB0aGUgZXZlbnQgdGhhdCB0aGUgTGlicmFyaWVzIGFyZSB1bmFibGUgdG8gY29udGludWUKdG8gbWFpbnRhaW4gdGhpcyBzdWJtaXNzaW9uIGFzIHBhcnQgb2YgdGhlIGluc3RpdHV0aW9uYWwgcmVwb3NpdG9yeSwKdGhlIExpYnJhcmllcyByZXNlcnZlIHRoZSByaWdodCB0byByZXR1cm4gdGhlIGNvbnRlbnQgdG8gdGhlIHN1Ym1pdHRpbmcKZGVwYXJ0bWVudHMvdW5pdHMvaW5kaXZpZHVhbHMuIElmIHRoZSBlbnRpdHkgaXMgbm8gbG9uZ2VyIGluIGV4aXN0ZW5jZSwKb3IgaWYgdGhlIGluZGl2aWR1YWwgaXMgdW50cmFjZWFibGUsIHRoZSBMaWJyYXJpZXMgd2lsbCBhcnJhbmdlIHRvIGhhdmUKdGhlIG1hdGVyaWFscyBhcHByYWlzZWQgYW5kIHBvc3NpYmx5IGFyY2hpdmVkIGFzIHBhcnQgb2YgdGhlIHVuaXZlcnNpdHkncwpkaWdpdGFsIGFyY2hpdmVzLgoKWW91IHJlcHJlc2VudCB0aGF0IHRoZSBzdWJtaXNzaW9uIGlzIHlvdXIgb3JpZ2luYWwgd29yaywgYW5kIHRoYXQgeW91CmhhdmUgdGhlIHJpZ2h0IHRvIGdyYW50IHRoZSByaWdodHMgY29udGFpbmVkIGluIHRoaXMgbGljZW5zZS4gWW91IGFsc28KcmVwcmVzZW50IHRoYXQgeW91ciBzdWJtaXNzaW9uIGRvZXMgbm90LCB0byB0aGUgYmVzdCBvZiB5b3VyIGtub3dsZWRnZSwKaW5mcmluZ2UgdXBvbiBhbnlvbmUncyBjb3B5cmlnaHQuCgpJZiB0aGUgc3VibWlzc2lvbiBjb250YWlucyBtYXRlcmlhbCBmb3Igd2hpY2ggeW91IGRvIG5vdCBob2xkIGNvcHlyaWdodCwKeW91IHJlcHJlc2VudCB0aGF0IHlvdSBoYXZlIG9idGFpbmVkIGFueSBuZWNlc3NhcnkgcGVybWlzc2lvbiBmcm9tIHRoZQpjb3B5cmlnaHQgb3duZXIgdG8gZ3JhbnQgVU8gdGhlIHJpZ2h0cyByZXF1aXJlZCBieSB0aGlzIGxpY2Vuc2UsIGFuZCAKdGhhdCBzdWNoIHRoaXJkLXBhcnR5IG93bmVkIG1hdGVyaWFsIGlzIGNsZWFybHkgaWRlbnRpZmllZCBhbmQKYWNrbm93bGVkZ2VkIHdpdGhpbiB0aGUgdGV4dCBvciBjb250ZW50IG9mIHRoZSBzdWJtaXNzaW9uLgoKSUYgVEhFIFNVQk1JU1NJT04gSVMgQkFTRUQgVVBPTiBXT1JLIFRIQVQgSEFTIEJFRU4gU1BPTlNPUkVEIE9SIFNVUFBPUlRFRApCWSBBTiBBR0VOQ1kgT1IgT1JHQU5JWkFUSU9OIE9USEVSIFRIQU4gVU8sIFlPVSBSRVBSRVNFTlQgVEhBVCBZT1UgSEFWRQpGVUxGSUxMRUQgQU5ZIFJJR0hUIE9GIFJFVklFVyBPUiBPVEhFUiBPQkxJR0FUSU9OUyBSRVFVSVJFRCBCWSBTVUNICkNPTlRSQUNUIE9SIEFHUkVFTUVOVC4KClVPIHdpbGwgY2xlYXJseSBpZGVudGlmeSB5b3VyIG5hbWUocykgYXMgdGhlIGF1dGhvcihzKSBvciBvd25lcihzKSBvZgp0aGUgc3VibWlzc2lvbiwgYW5kIHdpbGwgbm90IG1ha2UgYW55IGFsdGVyYXRpb24sIG90aGVyIHRoYW4gYXMgYWxsb3dlZApieSB0aGlzIGxpY2Vuc2UsIHRvIHlvdXIgc3VibWlzc2lvbi4K
oai:scholarsbank.uoregon.edu:1794/245022019-05-21T18:21:12Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Lu, Peiyue
2019-03-26T21:51:21Z
2019-03-26T21:51:21Z
2019-03
http://hdl.handle.net/1794/24502
Project files include descriptive text file, performance video and multiple computer files.
Tied Threads is an interactive composition for two Gametrak controllers and Symbolic Sound’s Kyma. The title of the piece reflects two layers of meanings: first, the performance actions of the piece concentrated on pulling out and tying up the strings from the Gametrak controllers; second, Tied Threads is derived from a Chinese idiom “丝入扣 ”, which can be translated as “all threads neatly tied up”. “丝入扣 ” has the metaphoric meaning of doing things with meticulous care and flawless artistry, and often used to describe literature, artistic work, and music that are regarded as exquisite, deliberate and vivid. In this project, I intend to re-imagine ways of controllers’ performance embodiment and ways to engage data streams. By incorporating microphone stands and two Gametrak controllers in different physical placements, I am able to create unique data streams, performance actions, and sound control mechanisms. Two Gametrak controllers function as the data acquirement interface of the data-driven instrument system, through the software layer created in Max and sound producing algorithm created in Kyma. The data streams controlled by the Gametraks are eventually routed to multiple musical parameters. For instance, pulling strings and breaching threshold can trigger musical events swinging strings up-down and left-right can change the pitch, timbre, and time index of the sound in this composition. The data from Gametrack controllers are derived using custom software created in Max/MSP and then sent to Kyma via high-resolution MIDI protocol. Sound materials used in Tied Threads are recordings of Shakuhachi, Bamboo flutes, percussions, and processed mechanical sound.
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Kyma
Music composition
Data-driven music
Interactive composition
Music technology
Gametrak
Mechanical sound
Tied Threads
Other
ORIGINAL
1__Peiyue_TerminalProject_Contents.pdf
1__Peiyue_TerminalProject_Contents.pdf
Project Contents. 6 pages.
application/pdf
113730
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/1/1__Peiyue_TerminalProject_Contents.pdf
f20ea2cb2134e632e1f4b863d5334f2d
MD5
1
2__Tied_Threads_Project_Description.pdf
2__Tied_Threads_Project_Description.pdf
Project Description. 10 pages.
application/pdf
53030528
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/2/2__Tied_Threads_Project_Description.pdf
470641557ff3a65e275c57b08c34b0e1
MD5
2
3__Tied_Threads_Performance_Instructions.pdf
3__Tied_Threads_Performance_Instructions.pdf
Performance Instructions. 16 pages.
application/pdf
18875631
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/3/3__Tied_Threads_Performance_Instructions.pdf
9b95cce30393618a3de6625c8dd3bf1d
MD5
3
4__Tied_Threads.mp4
4__Tied_Threads.mp4
Performance. Video recording.
application/octet-stream
283403062
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/4/4__Tied_Threads.mp4
907cfe5b455edd5fabc28284890c49a2
MD5
4
5__Tied Threads.aiff
5__Tied Threads.aiff
Performance. Audio recording.
audio/x-aiff
113542770
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/5/5__Tied%20Threads.aiff
2373234be89e55c6211263ac7863093a
MD5
5
6__additional_files.zip
6__additional_files.zip
Project files.
application/octet-stream
63907461
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/6/6__additional_files.zip
b542a956cbb2c5449c9b32d4362b5737
MD5
6
7__test123_0303_1J2.ktl
7__test123_0303_1J2.ktl
Kyma Timeline file.
application/octet-stream
1124603
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/7/7__test123_0303_1J2.ktl
d4d29be1fa427c4fcaab2c55a1c072e2
MD5
7
8__Double GT 8.maxpat
8__Double GT 8.maxpat
Max Patch file.
application/octet-stream
169022
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/8/8__Double%20GT%208.maxpat
c646b9c8b3d21509f37b2c7b6a327e1e
MD5
8
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/9/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
9
TEXT
1__Peiyue_TerminalProject_Contents.pdf.txt
1__Peiyue_TerminalProject_Contents.pdf.txt
Extracted text
text/plain
4644
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/10/1__Peiyue_TerminalProject_Contents.pdf.txt
177756352e41797eba1e02c2ab3fa5c5
MD5
10
2__Tied_Threads_Project_Description.pdf.txt
2__Tied_Threads_Project_Description.pdf.txt
Extracted text
text/plain
2106
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/11/2__Tied_Threads_Project_Description.pdf.txt
1a5d58e2ff6c8b4c61c175bbb450f08a
MD5
11
3__Tied_Threads_Performance_Instructions.pdf.txt
3__Tied_Threads_Performance_Instructions.pdf.txt
Extracted text
text/plain
4154
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24502/12/3__Tied_Threads_Performance_Instructions.pdf.txt
edeb868a780ab5b6f22d747c083e7853
MD5
12
1794/24502
oai:scholarsbank.uoregon.edu:1794/24502
2019-05-21 11:21:12.794
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/189142019-04-26T19:52:28Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Oseth, Olga O.
2015-06-02T19:09:05Z
2015-06-02T19:09:05Z
2015
http://hdl.handle.net/1794/18914
Project files include: video of composition performance, audio recording of composition, pdf of detailed instructions regarding how to perform the composition, and video providing direction for its performance
This piece is based on the idea of how distinctive natures
compliment each other in creation of unique art. Duration of the
composition is ca.8 minutes. Sound material contains field recordings of
engines and female vocal recording of text. The text is entitled Not
intrigued with Evening from Soul of Rumi by Mewalan Jalaluddin Rumi.
Big thanks to my friends, who dedicated their time to recording sessions.
Shapes of Each Other is performed using Symbolic Sound’s Kyma,
which allows the performer to manipulate sound in real time by
interacting with the sound environment using data received from
eMotion Technology.
The instrument itself is called ларец- a small chest that stores
delicate gems.
en_US
University of Oregon
Creative Commons CC0 1.0 Universal
Electronic music
Music composition
Digital music
Computer music
Music technology
Shapes of Each Other
Terminal Project
ORIGINAL
shapes_of_each_other.mp4
shapes_of_each_other.mp4
performance
application/octet-stream
381028122
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18914/1/shapes_of_each_other.mp4
64374dc64f417b71fba6a048583c1db9
MD5
1
table_of_contents.pdf
table_of_contents.pdf
project table of contents
application/pdf
62902
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18914/2/table_of_contents.pdf
6ff3a1946aa80b8671b8bccc6e0fa213
MD5
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TerminalTake3.aif
TerminalTake3.aif
audio recording
audio/x-aiff
133006144
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18914/4/TerminalTake3.aif
6acf3481f4c36329db2632a91b681239
MD5
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directions_for_terminal_project.mp4
directions_for_terminal_project.mp4
performance directions
application/octet-stream
38818417
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18914/7/directions_for_terminal_project.mp4
2ff1f76057c0ae41ac3933bd1e3a3f43
MD5
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LICENSE
license.txt
license.txt
text/plain
2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18914/6/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
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TEXT
table_of_contents.pdf.txt
table_of_contents.pdf.txt
Extracted text
text/plain
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c36b25d1ec65a2938d2abc24166bc5cd
MD5
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1794/18914
oai:scholarsbank.uoregon.edu:1794/18914
2019-04-26 12:52:28.972
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/281432023-04-07T07:28:41Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Boyt, Zachary James
2023-04-06T23:30:23Z
2023-04-06T23:30:23Z
2023-03
https://scholarsbank.uoregon.edu/xmlui/handle/1794/28143
Digital Portfolio Dissertation files include: descriptive text document; README; zipped computer files; and 7 performance videos linked for streaming at this URL on University of Oregon Panopto service: https://uoregon.hosted.panopto.com/Panopto/Pages/Sessions/List.aspx#folderID=a45a8cd1-312d-45d7-9079-afbe01839275 . Archival copies of videos have been preserved by the UO Libraries.
Sounds of Unseen Boundaries: A Digital Portfolio Dissertation of Seven Original
Compositions for Data-driven Instruments is presented as a Digital Portfolio Dissertation
of seven compositions for data-driven instruments. The entirety of the Digital Portfolio
Dissertation consists of video documentation of each piece, software and score material
used in performance, and a text document serving as an accompanying analytical guide to
each composition and its respective data-driven instrument. This document contains
definitions related to the conceptual frameworks of data-driven instruments, an analysis
of the design and implementation of each instrument, data mapping strategies used,
compositional structures, and issues and practices in their performance. The compositions
included in this Digital Portfolio Dissertation are: unFamiliar, Within the Tallest Tree,
Things Look Different Here, A Need to Be Free, A Musical Interpretation on the Findings
of Voyager 2, family, friends, and Virtualability.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Data-driven composition
Data-driven instruments
Music composition
Sounds of Unseen Boundaries: A Digital Portfolio Dissertation of Seven Original Compositions for Data-driven Instruments
Terminal Project
ORIGINAL
README.txt
README.txt
text/plain
164288
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28143/2/README.txt
1cd49fafb5e4dd6c3bf8cf1907686e0c
MD5
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ZacharyBoyt_DPD_Text_Document.pdf
ZacharyBoyt_DPD_Text_Document.pdf
application/pdf
6188726
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28143/3/ZacharyBoyt_DPD_Text_Document.pdf
524fa229e80ad1a28b2671fbbd067347
MD5
3
Software_and_Files.zip
Software_and_Files.zip
application/octet-stream
1153228842
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28143/4/Software_and_Files.zip
5e1a48ce69b423b3d93128585f55f952
MD5
4
LICENSE
license.txt
license.txt
text/plain
2271
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28143/5/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
5
TEXT
ZacharyBoyt_DPD_Text_Document.pdf.txt
ZacharyBoyt_DPD_Text_Document.pdf.txt
Extracted text
text/plain
119804
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/28143/6/ZacharyBoyt_DPD_Text_Document.pdf.txt
46ea767d9d4066381e0fea070715716a
MD5
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1794/28143
oai:scholarsbank.uoregon.edu:1794/28143
2023-04-07 00:28:41.885
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/199912019-04-26T19:25:20Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Feng, Churan
2016-07-21T18:30:12Z
2016-07-21T18:30:12Z
2015-12
http://hdl.handle.net/1794/19991
Voyage to the Other Shore is an interactive composition. As an international student from
the South China coastline, I have been studying here at the University of Oregon near a
coastline in Northwest America. The meaning of “other shore,” for me, could be either to
a distant land or to my native homeland. During more than two years, I have learned and
experienced things from my school, daily life, social media and culture here in the U.S.
All of these ideas interest me and are the motivations of this piece.
Voyage to the Other Shore is an interactive musical composition that uses the Microsoft
Xbox 360 Kinect sensor as the interface for performance. This piece uses Delicode NI
Mate to receive data from the Kinect, Max/MSP/Jitter as the environment to execute data
mapping and scaling, and Symbolic Sound's Kyma system as the sound-producing, final
performance environment. The Kinect transforms body movement, which look like
conducting and dancing motions, into data streams that controls the sonic fabric of the
composition. Musical recording from both musical and non-musical sources were made
in both in United States and China to form the fundamental material of the composition.
The composition is approximately nine minutes in duration and has eight sections each
representing the different emotions and moods I experienced during the time of my stay
here in U.S. and how two cultures impact me.
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
University of Oregon
School of Music and Dance
Intermedia Music Technology
Interactive music
Electronic music
Ambient music
Microsoft Xbox 360 Kinect
Delicode Ni Mate
Max/MSP/Jitter
Symbolic Sound Kyma
Churan Feng
Music technology
Voyage to the Other Side
Presentation
Recording, musical
Recording, oral
Terminal Project
Thesis / Dissertation
Video
ORIGINAL
Voyage_to_the_Other_Shore_Thesis.pdf
Voyage_to_the_Other_Shore_Thesis.pdf
Thesis Writings
application/pdf
90985
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/19991/1/Voyage_to_the_Other_Shore_Thesis.pdf
b0c9c90b6b729a213295bf34cf36678d
MD5
1
Voyage_to_the_Other_Shore.mp4
Voyage_to_the_Other_Shore.mp4
First Video of Churan Feng's Performance
application/octet-stream
356946283
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/19991/2/Voyage_to_the_Other_Shore.mp4
f052446a10383b04af658c8a6261b5e4
MD5
2
Voyage_to_the_Other_Shore2.MP4
Voyage_to_the_Other_Shore2.MP4
Second Video of Churan Feng's Performance
application/octet-stream
660832256
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/19991/3/Voyage_to_the_Other_Shore2.MP4
ee5866bf14da4605a44e114fd92477aa
MD5
3
LICENSE
license.txt
license.txt
text/plain
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fd97841ec4c7352b12e3b5786757aed5
MD5
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TEXT
Voyage_to_the_Other_Shore_Thesis.pdf.txt
Voyage_to_the_Other_Shore_Thesis.pdf.txt
Extracted text
text/plain
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http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/19991/5/Voyage_to_the_Other_Shore_Thesis.pdf.txt
1937c3fe949660afc18605ac1e7970d5
MD5
5
1794/19991
oai:scholarsbank.uoregon.edu:1794/19991
2019-04-26 12:25:20.289
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/274962022-08-11T07:27:23Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Bengoa Roldán, Marina
2022-08-10T22:00:54Z
2022-08-10T22:00:54Z
2022-07
https://scholarsbank.uoregon.edu/xmlui/handle/1794/27496
96 pages
In this Lecture recital, I will discuss two piano fantasies composed in Spain, a little over a hundred years apart. I will provide context, historical background, an analysis of the Spanish idioms and other aspects of these fantasies, and the impact these pieces had or will have in contemporary piano literature. The composers of these works are Manuel de Falla and Pascual Gimeno. I chose these pieces because the Fantasia Baetica is the primary representation of the classical and “pure” flamenco. I commissioned the Fantasía Flamenca because I know the style of Gimeno, and he has a new and fresh vision of music. I wanted an updated vision of a flamenco fantasy in classical piano music.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Spanish Fantasy: Use of idioms and folklore in the Fantasies for Piano of Manuel de Falla and Pascual Gimeno
Terminal Project
ORIGINAL
Bengoa- Spanish Fantasy.pdf
Bengoa- Spanish Fantasy.pdf
application/pdf
13650071
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27496/1/Bengoa-%20Spanish%20Fantasy.pdf
fc507471839afb2cd130bc52062dacc2
MD5
1
LICENSE
license.txt
license.txt
text/plain
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d0be00266aeb8a7a17b1561b7cbc2cc7
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TEXT
Bengoa- Spanish Fantasy.pdf.txt
Bengoa- Spanish Fantasy.pdf.txt
Extracted text
text/plain
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9676cbc8aa3e8bdc0879f1342d13d90b
MD5
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1794/27496
oai:scholarsbank.uoregon.edu:1794/27496
2022-08-11 00:27:23.682
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/274692023-01-10T21:16:36Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Bettencourt, Aaron
2022-07-28T18:40:49Z
2022-07-28T18:40:49Z
2022-06-06
https://scholarsbank.uoregon.edu/xmlui/handle/1794/27469
23 pages; linked website (last accessed July 28th, 2022): aaronbettencourtprocessfolio.wordpress.com
I believe all teachers should possess a lifelong desire to learn. I have demonstrated this desire through the pursuit of a Master’s degree. Students come into the classroom with certain needs, interests, and ability levels. Therefore, I need to constantly update and refine my skills in order to best serve student needs. I have also refined my writing by completing assignments and receiving feedback, developed my vocal technique through studying voice, and improved my teaching skills in practical teaching experiences throughout this degree. I know all of these skills will enhance the learning environment and experiences of future students.
en
Creative Commons BY-NC-ND 4.0-US
Music Education Processfolio
Thesis / Dissertation
ORIGINAL
README_Bettencourt.txt
README_Bettencourt.txt
text/plain
1559
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27469/5/README_Bettencourt.txt
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MD5
5
aaron_bettencourt_music_education_processfolio.pdf
aaron_bettencourt_music_education_processfolio.pdf
Music and Dance Processfolio
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https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27469/1/aaron_bettencourt_music_education_processfolio.pdf
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MD5
1
Aaron_Bettencourt_ARCHIVEIT.warc.gz
Aaron_Bettencourt_ARCHIVEIT.warc.gz
Music and Dance website
application/octet-stream
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https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27469/2/Aaron_Bettencourt_ARCHIVEIT.warc.gz
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LICENSE
license.txt
license.txt
text/plain
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MD5
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TEXT
aaron_bettencourt_music_education_processfolio.pdf.txt
aaron_bettencourt_music_education_processfolio.pdf.txt
Extracted text
text/plain
40816
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27469/4/aaron_bettencourt_music_education_processfolio.pdf.txt
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1794/27469
oai:scholarsbank.uoregon.edu:1794/27469
2023-01-10 13:16:36.747
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/184782014-10-17T09:00:34Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Baechtel, Harry Luther
2014-10-16T21:18:56Z
2014-10-16T21:18:56Z
2014-06
http://hdl.handle.net/1794/18478
105 pages
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Mahler
Wunderhorn
Folk
A Cultural Analysis of Gustav Mahler’s Early Des Knaben Wunderhorn Settings
Terminal Project
ORIGINAL
DMA_lecture_doc_Baechtel.pdf
DMA_lecture_doc_Baechtel.pdf
application/pdf
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http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18478/1/DMA_lecture_doc_Baechtel.pdf
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MD5
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LICENSE
license.txt
license.txt
text/plain
2180
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MD5
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TEXT
DMA_lecture_doc_Baechtel.pdf.txt
DMA_lecture_doc_Baechtel.pdf.txt
Extracted text
text/plain
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MD5
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1794/18478
oai:scholarsbank.uoregon.edu:1794/18478
2014-10-17 02:00:34.102
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/184542018-10-17T18:25:59Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
True, Wyatt
2014-10-07T21:51:29Z
2014-10-07T21:51:29Z
2014-06
http://hdl.handle.net/1794/18454
247 pages
“A Modern Violinist’s Introduction to Early Music and Historical Performance
Practice,” is a gateway to repertoires from the late sixteenth century to the early
eighteenth century for the intermediate to advanced violinist who has previously played
early music from a twentieth- and twenty-first-century aesthetic, and is interested in a
more historically informed approach, both technically and intellectually.
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Zannetti
Lasso
Palestrina
Cima
Castello
Schmelzer
Biber
Westhoff
Playford
Division violin
Diminunitions
Bononcini
Scordatura
Corelli
Solo sonata
Dance suite
Valentini
Rebel
Telemann
Cupis
J. S. Bach
Accompanied sonata
Ornamentation
Rhetoric
A Modern Violinist’s Introduction to Early Music and Historical Performance Practice
Terminal Project
ORIGINAL
DMA_lecture_document_Wyatt.pdf
DMA_lecture_document_Wyatt.pdf
application/pdf
115205515
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18454/1/DMA_lecture_document_Wyatt.pdf
89decb0202c2482c90f80c3d3f479e62
MD5
1
LICENSE
license.txt
license.txt
text/plain
2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18454/2/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
2
TEXT
DMA_lecture_document_Wyatt.pdf.txt
DMA_lecture_document_Wyatt.pdf.txt
Extracted text
text/plain
261689
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18454/3/DMA_lecture_document_Wyatt.pdf.txt
71611553a3af698fbb3c6669d0f4a608
MD5
3
1794/18454
oai:scholarsbank.uoregon.edu:1794/18454
2018-10-17 11:25:59.514
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/188222015-03-19T09:00:30Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Oviatt, Merietta
2015-03-18T21:50:09Z
2015-03-18T21:50:09Z
2015-03
http://hdl.handle.net/1794/18822
127 pages
The purpose of this Lecture Document is to analyze and discuss the lives, musical
backgrounds, pedagogical approaches, and contributions of Doris and William Preucil,Sr. to the Suzuki Viola School. The document will reveal the importance of the
contributions made by the couple to the realm of music, their unique approach to
pedagogy, their process for developing the Suzuki Viola School, and the purpose behind
the music the Suzuki Viola School contains. This information offers teachers and violists
insight into how the Preucils became involved in the Suzuki Association, their approach
to teaching students, and an understanding of the organization of the various works
within and the creation of the nine volumes of the Suzuki Viola School.
en_US
University of Oregon
All Rights Reserved.
Viola pedagogy
Preucil
The Preucils: A Legacy of Music, Pedagogy, and the Suzuki Viola School
Terminal Project
ORIGINAL
DMS_lecture_doc_Oviatt.pdf
DMS_lecture_doc_Oviatt.pdf
application/pdf
723167
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18822/1/DMS_lecture_doc_Oviatt.pdf
f8478a467505a617a3612c4e826f800c
MD5
1
TEXT
DMS_lecture_doc_Oviatt.pdf.txt
DMS_lecture_doc_Oviatt.pdf.txt
Extracted text
text/plain
279291
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18822/3/DMS_lecture_doc_Oviatt.pdf.txt
0134e454a62ffac59c282c4511f6b3de
MD5
3
LICENSE
license.txt
license.txt
text/plain
2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18822/2/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
2
1794/18822
oai:scholarsbank.uoregon.edu:1794/18822
2015-03-19 02:00:30.008
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/219922019-03-22T19:53:17Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Song, Minkyung
2016-12-12T23:26:39Z
2016-12-12T23:26:39Z
2016-12-05
http://hdl.handle.net/1794/21992
94 pages
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Piano pedagogy
Beethoven’s Bagatelles: Miniature Masterpieces
Terminal Project
ORIGINAL
minkyungs_lecture_doc.pdf
minkyungs_lecture_doc.pdf
application/pdf
5266954
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21992/1/minkyungs_lecture_doc.pdf
60c879262273c31900f77e272c78e2de
MD5
1
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21992/2/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
2
TEXT
minkyungs_lecture_doc.pdf.txt
minkyungs_lecture_doc.pdf.txt
Extracted text
text/plain
139231
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21992/3/minkyungs_lecture_doc.pdf.txt
f3710e42602909704049868cb00a4d7c
MD5
3
1794/21992
oai:scholarsbank.uoregon.edu:1794/21992
2019-03-22 12:53:17.384
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
Tk9URTogUExBQ0UgWU9VUiBPV04gTElDRU5TRSBIRVJFClRoaXMgc2FtcGxlIGxpY2Vuc2UgaXMgcHJvdmlkZWQgZm9yIGluZm9ybWF0aW9uYWwgcHVycG9zZXMgb25seS4KCk5PTi1FWENMVVNJVkUgRElTVFJJQlVUSU9OIExJQ0VOU0UKCkJ5IHNpZ25pbmcgYW5kIHN1Ym1pdHRpbmcgdGhpcyBsaWNlbnNlLCB5b3UgKHRoZSBhdXRob3Iocykgb3IgY29weXJpZ2h0Cm93bmVyKSBncmFudHMgdG8gdGhlIFVuaXZlcnNpdHkgb2YgT3JlZ29uIChVTykgdGhlIG5vbi1leGNsdXNpdmUgcmlnaHQgdG8KcmVwcm9kdWNlLCBjb252ZXJ0IChhcyBkZWZpbmVkIGJlbG93KSwgYW5kL29yIGRpc3RyaWJ1dGUgeW91ciBzdWJtaXNzaW9uCihpbmNsdWRpbmcgdGhlIGFic3RyYWN0KSB3b3JsZHdpZGUgaW4gcHJpbnQgYW5kIGVsZWN0cm9uaWMgZm9ybWF0IGFuZAppbiBhbnkgbWVkaXVtLCBpbmNsdWRpbmcgYnV0IG5vdCBsaW1pdGVkIHRvIGF1ZGlvIG9yIHZpZGVvLgoKWW91IGFncmVlIHRoYXQgVU8gbWF5LCB3aXRob3V0IGNoYW5naW5nIHRoZSBjb250ZW50LCBjb252ZXJ0IHRoZQpzdWJtaXNzaW9uIHRvIGFueSBtZWRpdW0gb3IgZm9ybWF0IGZvciB0aGUgcHVycG9zZSBvZiBwcmVzZXJ2YXRpb24uCgpZb3UgYWxzbyBhZ3JlZSB0aGF0IHRoZSBVTyBMaWJyYXJpZXMgbWF5IGtlZXAgbW9yZSB0aGFuIG9uZSBjb3B5IG9mCnRoaXMgc3VibWlzc2lvbiBmb3IgcHVycG9zZXMgb2Ygc2VjdXJpdHksIGJhY2stdXAgYW5kIHByZXNlcnZhdGlvbi4KVGhlIExpYnJhcmllcyB3aWxsIG1ha2UgYSBnb29kIGZhaXRoIGVmZm9ydCB0byBwcmVzZXJ2ZSBhbmQgZGlzdHJpYnV0ZQp0aGlzIHN1Ym1pc3Npb24uICBJbiB0aGUgZXZlbnQgdGhhdCB0aGUgTGlicmFyaWVzIGFyZSB1bmFibGUgdG8gY29udGludWUKdG8gbWFpbnRhaW4gdGhpcyBzdWJtaXNzaW9uIGFzIHBhcnQgb2YgdGhlIGluc3RpdHV0aW9uYWwgcmVwb3NpdG9yeSwKdGhlIExpYnJhcmllcyByZXNlcnZlIHRoZSByaWdodCB0byByZXR1cm4gdGhlIGNvbnRlbnQgdG8gdGhlIHN1Ym1pdHRpbmcKZGVwYXJ0bWVudHMvdW5pdHMvaW5kaXZpZHVhbHMuIElmIHRoZSBlbnRpdHkgaXMgbm8gbG9uZ2VyIGluIGV4aXN0ZW5jZSwKb3IgaWYgdGhlIGluZGl2aWR1YWwgaXMgdW50cmFjZWFibGUsIHRoZSBMaWJyYXJpZXMgd2lsbCBhcnJhbmdlIHRvIGhhdmUKdGhlIG1hdGVyaWFscyBhcHByYWlzZWQgYW5kIHBvc3NpYmx5IGFyY2hpdmVkIGFzIHBhcnQgb2YgdGhlIHVuaXZlcnNpdHkncwpkaWdpdGFsIGFyY2hpdmVzLgoKWW91IHJlcHJlc2VudCB0aGF0IHRoZSBzdWJtaXNzaW9uIGlzIHlvdXIgb3JpZ2luYWwgd29yaywgYW5kIHRoYXQgeW91CmhhdmUgdGhlIHJpZ2h0IHRvIGdyYW50IHRoZSByaWdodHMgY29udGFpbmVkIGluIHRoaXMgbGljZW5zZS4gWW91IGFsc28KcmVwcmVzZW50IHRoYXQgeW91ciBzdWJtaXNzaW9uIGRvZXMgbm90LCB0byB0aGUgYmVzdCBvZiB5b3VyIGtub3dsZWRnZSwKaW5mcmluZ2UgdXBvbiBhbnlvbmUncyBjb3B5cmlnaHQuCgpJZiB0aGUgc3VibWlzc2lvbiBjb250YWlucyBtYXRlcmlhbCBmb3Igd2hpY2ggeW91IGRvIG5vdCBob2xkIGNvcHlyaWdodCwKeW91IHJlcHJlc2VudCB0aGF0IHlvdSBoYXZlIG9idGFpbmVkIGFueSBuZWNlc3NhcnkgcGVybWlzc2lvbiBmcm9tIHRoZQpjb3B5cmlnaHQgb3duZXIgdG8gZ3JhbnQgVU8gdGhlIHJpZ2h0cyByZXF1aXJlZCBieSB0aGlzIGxpY2Vuc2UsIGFuZCAKdGhhdCBzdWNoIHRoaXJkLXBhcnR5IG93bmVkIG1hdGVyaWFsIGlzIGNsZWFybHkgaWRlbnRpZmllZCBhbmQKYWNrbm93bGVkZ2VkIHdpdGhpbiB0aGUgdGV4dCBvciBjb250ZW50IG9mIHRoZSBzdWJtaXNzaW9uLgoKSUYgVEhFIFNVQk1JU1NJT04gSVMgQkFTRUQgVVBPTiBXT1JLIFRIQVQgSEFTIEJFRU4gU1BPTlNPUkVEIE9SIFNVUFBPUlRFRApCWSBBTiBBR0VOQ1kgT1IgT1JHQU5JWkFUSU9OIE9USEVSIFRIQU4gVU8sIFlPVSBSRVBSRVNFTlQgVEhBVCBZT1UgSEFWRQpGVUxGSUxMRUQgQU5ZIFJJR0hUIE9GIFJFVklFVyBPUiBPVEhFUiBPQkxJR0FUSU9OUyBSRVFVSVJFRCBCWSBTVUNICkNPTlRSQUNUIE9SIEFHUkVFTUVOVC4KClVPIHdpbGwgY2xlYXJseSBpZGVudGlmeSB5b3VyIG5hbWUocykgYXMgdGhlIGF1dGhvcihzKSBvciBvd25lcihzKSBvZgp0aGUgc3VibWlzc2lvbiwgYW5kIHdpbGwgbm90IG1ha2UgYW55IGFsdGVyYXRpb24sIG90aGVyIHRoYW4gYXMgYWxsb3dlZApieSB0aGlzIGxpY2Vuc2UsIHRvIHlvdXIgc3VibWlzc2lvbi4K
oai:scholarsbank.uoregon.edu:1794/227692017-09-09T08:02:50Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Brunhaver, Kathryn
2017-09-08T23:33:25Z
2017-09-08T23:33:25Z
2017-08
http://hdl.handle.net/1794/22769
92 pages
Benjamin Britten's instrumental music has received relatively little attention in the music theory community compared to is operas and vocal music. This lecture document examines three of his instrumental works: the Suite for Cello, Op. 72, Second Suite for Cello, Op. 80, and Third Suite for Cello, Op. 87. An analysis of the First Suite will serve as the centerpiece of this document, while select movements from the other two Suites will reveal how Britten reinforces compositional methods established in the First Suite.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Benjamin Britten
Instrumental music
Structural Organization in Benjamin Britten's Three Suites for Solo Cello
Terminal Project
ORIGINAL
DMA_LectureDoc_KBrunhauer_2017.pdf
DMA_LectureDoc_KBrunhauer_2017.pdf
application/pdf
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http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/22769/1/DMA_LectureDoc_KBrunhauer_2017.pdf
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license.txt
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DMA_LectureDoc_KBrunhauer_2017.pdf.txt
DMA_LectureDoc_KBrunhauer_2017.pdf.txt
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MD5
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1794/22769
oai:scholarsbank.uoregon.edu:1794/22769
2017-09-09 01:02:50.226
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/274682022-07-29T07:25:49Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Cunningham, Kelly
2022-07-28T18:30:44Z
2022-07-28T18:30:44Z
2022-06
https://scholarsbank.uoregon.edu/xmlui/handle/1794/27468
64 pages
There has been significant research on bassoon music within certain cultures. There has also been significant research on contemporary bassoon techniques. The information we have on both subjects is not entirely uncommon; however, there is minimal scholarly contribution regarding contemporary bassoon music created in the countries of Ireland and Scotland. Documenting, analyzing, and performing music from composers in this area of the world is essential in preserving bassoon history. Additionally, it is valuable to have an understanding of the contemporary techniques these composers use for a more cultural and technical breadth of musical insight in the 21st century.
en
Creative Commons BY-NC-ND 4.0-US
Irish Culture
Scottish Culture
Bassoon
Music
CONTEMPORARY IRISH AND SCOTTISH BASSOON MUSIC: AN ASSESSMENT OF SELECTED WORKS FOR UNACCOMPANIED BASSOON AND BASSOON WITH ADDITIONAL EFFECTS
Thesis / Dissertation
ORIGINAL
cunningham_Lecture_Document.pdf
cunningham_Lecture_Document.pdf
MFA Thesis - 2022
application/pdf
856348
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27468/1/cunningham_Lecture_Document.pdf
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MD5
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license.txt
license.txt
text/plain
2271
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cunningham_Lecture_Document.pdf.txt
cunningham_Lecture_Document.pdf.txt
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1794/27468
oai:scholarsbank.uoregon.edu:1794/27468
2022-07-29 00:25:49.552
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/290652023-12-12T19:59:25Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Osses, Camila
2023-12-11T21:33:03Z
2023-12-11T21:33:03Z
2023
https://scholarsbank.uoregon.edu/xmlui/handle/1794/29065
150 pages
Enrique Soro and Carmela Mackenna were prolific Chilean composers in the first half of the twentieth century. They developed different music careers: Soro in Chile, and Mackenna in Germany. For political reasons, Soro's work was relegated as a composer "from the past" even though he was an active performer and composer until his death, while Mackenna's music was ignored due to gender biases and the fact that she developed her career outside Chile. In the present work, I will analyze Soro's Piano Sonata No. 2, a work that has not been published and that offers insights into his personality and compositional style. I will also comment on and analyze Carmela Mackenna's life and work, particularly her songs for voice and piano, which have not received the attention they deserve.
By addressing the Chilean canon, an aesthetic that originated in 1929 after the reformation of the National Music Conservatory in Chile, I will deconstruct the labels that both composers received during their lifetime and after their death.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Latin American music
Chilean music
Latin American piano
Chilean piano
Piano pedagogy
Performance
ENRIQUE SORO AND CARMELA MACKENNA: PROMINENT COMPOSERS OUTSIDE THE CHILEAN CANON
Terminal Project
ORIGINAL
Camila Osses - lecture document FINAL_.pdf
Camila Osses - lecture document FINAL_.pdf
application/pdf
10099247
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/29065/1/Camila%20Osses%20-%20lecture%20document%20FINAL_.pdf
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MD5
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LICENSE
license.txt
license.txt
text/plain
2271
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Camila Osses - lecture document FINAL_.pdf.txt
Camila Osses - lecture document FINAL_.pdf.txt
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MD5
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1794/29065
oai:scholarsbank.uoregon.edu:1794/29065
2023-12-12 11:59:25.956
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/266022021-08-31T07:23:10Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Wu, Rentana
2021-08-30T22:26:11Z
2021-08-30T22:26:11Z
2019-11
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26602
79 pages
Lisan Wang was greatly influenced by Chinese culture and other art forms. This
paper will discuss poetic imagery as a tool to fulfill the aesthetic expressions in Wang’s
music. In addition to musical analysis, this paper will also consider the pedagogical
aspects of Wang’s piano compositions in order to focus attention not only on performing
but also teaching his works.
This paper will first identify the poetic imagery in Wang’s music. A brief overview
of the development of modern Chinese piano music will be given, highlighting the
influence of Western composers such as Bela Bartok and Claude Debussy, and how these
influences affect Wang’s compositional style.
I will analyze Wang’s poetic imagery in his most representative piano works,
including the piano suites Impressions of Paintings by Higashiyama Kaii and The Other
Mountains.
Finally, I will categorize all Lisan Wang’s piano works into preparatory, elementary
to intermediate, advanced, and concert levels as a teaching reference.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Lisan Wang
piano pedagogy
Poetic Imagery in Lisan Wang's Piano Compositions
Terminal Project
ORIGINAL
rentana_wu_lecture_document_2019.pdf
rentana_wu_lecture_document_2019.pdf
application/pdf
13473047
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26602/1/rentana_wu_lecture_document_2019.pdf
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LICENSE
license.txt
license.txt
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rentana_wu_lecture_document_2019.pdf.txt
rentana_wu_lecture_document_2019.pdf.txt
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1794/26602
oai:scholarsbank.uoregon.edu:1794/26602
2021-08-31 00:23:10.029
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/278822022-12-02T10:11:41Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Sin, Anson Ka-lik
2022-12-02T01:43:41Z
2022-12-02T01:43:41Z
2022-12-01
https://scholarsbank.uoregon.edu/xmlui/handle/1794/27882
122 pages
Cui, Shi-Guang (b.1948) is one of the greatest living Chinese composers. Cui, who is now 74 years old, completed his revision of his Piano Concerto in July of 2020. In my document, I will include a complete biography of Cui from 1948 to 2022. I will also discuss the innovative musical characteristics of Cui’s recently published Piano Concerto (2020), as well as a performance guide to the concerto. Much of the information in this section of the document was collected from the composer through personal interviews. Although there are numerous documents about Mr. Cui’s popular piano compositions in Chinese, there is only one document in English. I hope to bring much more information about this interesting and significant Chinese composer to the English-speaking world.
This document will analyze his Piano Concerto, ICO.136 (ICO refers to “In Chronological Order”). Cui’s piano compositions demonstrate elements of Chinese style combined with Western tradition elements. He promotes the spiritual and national outlook of Chinese musical culture.
Supplementary information and materials will also be provided, including Cui’s opinions about the essence of the musical score. This section will also discuss specific aspects of the development of Peking Opera, the historical background of the Chu–Han Contention/ War (206– 202 B.C.).
en_US
University of Oregon
All Rights Reserved.
Piano Concerto Chu-Han, ICO. 136 by Cui, Shi-guang
Anson K. Sin
Peking Opera
A Performance Guide
A Stylistic Analysis
Anson Ka-lik Sin
Ka Lik Sin
Anson Sin
冼家力
University of Oregon
The School of Music and Dance
Doctor of Musical Arts
Claire Wachter
Jack Boss
Tim S. Pack
David Riley
Leslie Straka
Southern Oregon University
Hong Kong Baptist University
Peninsula College
Ambush from Ten Sides
Chu–Han Contention
楚漢相爭
Farewell My Concubine
霸王别姬
崔世光
Cui, Shi-guang
Shi-guang Cui Piano Concerto (2020): A Stylistic Analysis & A Performance Guide
Thesis / Dissertation
ORIGINAL
Sin_Doctor-Lecture-Document_2022.pdf
Sin_Doctor-Lecture-Document_2022.pdf
Shi-Guang Cui Piano Concerto (2020): A Stylistic Analysis & A Performance Guide
application/pdf
18040104
https://scholarsbank.uoregon.edu/xmlui/bitstream/1794/27882/1/Sin_Doctor-Lecture-Document_2022.pdf
2b8887fb220096150a5c46730eb29a02
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LICENSE
license.txt
license.txt
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TEXT
Sin_Doctor-Lecture-Document_2022.pdf.txt
Sin_Doctor-Lecture-Document_2022.pdf.txt
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c4253dde77b208a94b72b092050dd5ad
MD5
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1794/27882
oai:scholarsbank.uoregon.edu:1794/27882
2022-12-02 02:11:41.995
Scholars' Bank at the Knight Library
scholars@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/262822021-05-29T07:23:07Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Eckhoff, Karen
2021-05-28T23:09:08Z
2021-05-28T23:09:08Z
1985-06
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26282
22 pages
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Post·mortem heartbeats: a violoncello recital
Terminal Project
ORIGINAL
eckhoff_1985.pdf
eckhoff_1985.pdf
application/pdf
7910475
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26282/1/eckhoff_1985.pdf
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MD5
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license.txt
license.txt
text/plain
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eckhoff_1985.pdf.txt
eckhoff_1985.pdf.txt
Extracted text
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MD5
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1794/26282
oai:scholarsbank.uoregon.edu:1794/26282
2021-05-29 00:23:07.102
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/227662017-09-09T08:02:53Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
White, Colleen
2017-09-08T21:42:02Z
2017-09-08T21:42:02Z
2017-09
http://hdl.handle.net/1794/22766
70 pages
A successful and prolific composer throughout the twentieth century, Germaine Tailleferre remains relatively unknown despite her membership in Les Six and collaborations and friendships with some of the most well-known twentieth century artists. Comfortable in many genres, Tailleferre composed symphonies, concertos, operas, ballets, film music, and chamber music for many combinations for instruments including woodwinds. In addition, she wrote solo works for piano, harp, voice, clarinet, flute, and oboe. The purpose of this research is to provide historical, compositional and pedagogical context for eight of Tailleferre's solo and chamber works for clarinet. There is little scholarly research about these pieces, and no commercial recordings of the chamber works. Research was conducted by reading primary and secondary sources about Tailleferre, correspondence with the publisher of some of her works, score study, and playing the pieces.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Clarinet
Music pedagogy
Germaine Tailleferre
Les Six
20th century music
Music history
Selected Solo and Chamber Works for Clarinet by Germaine Tailleferre: Historical, Compositional and Pedagogical Perspectives
Terminal Project
ORIGINAL
DMA_LectureDoc_White_2017
DMA_LectureDoc_White_2017
application/pdf
1605170
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/22766/1/DMA_LectureDoc_White_2017
fd7f6fbfb927c9154d1c5318332044a3
MD5
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LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/22766/2/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
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TEXT
DMA_LectureDoc_White_2017.txt
DMA_LectureDoc_White_2017.txt
Extracted text
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101520
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/22766/3/DMA_LectureDoc_White_2017.txt
ec863d147f056027117a255be76afb04
MD5
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1794/22766
oai:scholarsbank.uoregon.edu:1794/22766
2017-09-09 01:02:53.797
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/265942021-08-24T07:23:51Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Andrade da Fonseca, Alessandro
2021-08-23T20:56:48Z
2021-08-23T20:56:48Z
2021-05
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26594
93 pages
What defines a music genre? How composers develop their style and how this can affect the way
performers (and listeners) will perceive their music? These questions came to my mind when
researching and exploring the music of Camargo Guarnieri, a Brazilian composer of the 20th
century.
In the early 20th century, H. Villa Lobos was the main name of Brazilian music, and that fame
remains up to our days. Camargo Guarnieri was not well known internationally (despite achieving
great things in his career) by the general public, as Villa Lobos. Now, in the early 21st century,
Villa Lobos is still the big name of Brazilian Music for those outside South America. Despite these
facts, the music of Camargo Guarnieri reveals great artistry, a technique in his compositional style,
and a unique feature as an exponent of Brazilian Nationalism. His piano music is incredibly rich
in texture and characteristics of good pianism, playing with timbre, colors, and many other details. To understand the music of Guarnieri we shall go deep into his style, what made him develop his
ideas as a composer, and how these elements will guide the performer in achieving a successful
performance of his music. The rich textures in his piano music require great attention to details by
the pianist. By understanding his compositional ideas, the performer can achieve the most from
his music. In this work selected piano pieces by Guarnieri will be analyzed, helping understand
their context and thus enabling an informed performance.
The music of Guarnieri embodies a substantial part of the development of formal Brazilian
Nationalism. This led to an element named later as Brasilidade, or in English translation,
Brazilianness. To understand this in context, it is inevitable to comprehend the development of
Brazilian Music History and its social context, to understand how its path developed through multiple elements that helped to shape the idea of Brazilian music, the lineage that evolved, and
how some traditions lead to the path that Guarnieri took.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Camargo Guarnieri
piano
Brazilian music
Brasilidade
Camargo Guarnieri: The Composer’s language and style and analysis of selected piano works
Terminal Project
ORIGINAL
Alessandro_Lecture_Document_2021.pdf
Alessandro_Lecture_Document_2021.pdf
application/pdf
27803782
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26594/1/Alessandro_Lecture_Document_2021.pdf
18e862bb727215d4b89f5b6e48102d84
MD5
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LICENSE
license.txt
license.txt
text/plain
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d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
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TEXT
Alessandro_Lecture_Document_2021.pdf.txt
Alessandro_Lecture_Document_2021.pdf.txt
Extracted text
text/plain
107484
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d16cf880434858877e7f92725ae84a8f
MD5
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1794/26594
oai:scholarsbank.uoregon.edu:1794/26594
2021-08-24 00:23:51.522
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/254192020-07-30T07:24:56Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Stolet, Jefferey
Wan, Fang
2020-07-29T22:23:37Z
2020-07-29T22:23:37Z
2020
https://scholarsbank.uoregon.edu/xmlui/handle/1794/25419
Digital Portfolio Dissertation files include: descriptive text document; README; zipped computer files; and 7 performance videos linked for streaming at this URL on University of Oregon Panopto service: https://uoregon.hosted.panopto.com/Panopto/Pages/Sessions/List.aspx?folderID=8d4f1b7d-ce87-4cb9-8e60-ac0601583dd6 . Archival copies of videos have been preserved by the UO Libraries.
This Digital Portfolio Dissertation focuses on seven performance videos of electroacoustic compositions for data-driven instruments. The text document included in this digital portfolio dissertation explains, analyzes, and discusses the design and implementation of data-driven instruments, the musical challenges and opportunities provided by data-driven instruments, the performance techniques employed,the sound synthesis techniques used, and the data-mapping strategies used for each of the seven compositions. Each of the seven compositions is based on sonic motives. The analysis of thecompositionsin this dissertation explain how the sonic motivesare introduced, modified, and developed throughout the compositions using data-driven instruments.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Music composition
Data-driven music
Interactive composition
Musical improvisation
Electroaucoustic composition
An Adventure of Growing Motives into Interactive Performances: A Digital Portfolio Dissertation of Seven Electroacoustic Compositions for Data-driven Instruments
Thesis / Dissertation
ORIGINAL
FangWan_DPD_Text_Document.pdf
FangWan_DPD_Text_Document.pdf
application/pdf
17619199
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25419/1/FangWan_DPD_Text_Document.pdf
c5570a49589b61075e4040c6b7fb9f31
MD5
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FangWanDigitalPortfolioDissertationREADME.rtf
FangWanDigitalPortfolioDissertationREADME.rtf
text/richtext
52208
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98a759fe0871219cf650cb3641564302
MD5
2
FangWan_Custom_Software_and_Affiliated_Files.zip
FangWan_Custom_Software_and_Affiliated_Files.zip
application/octet-stream
355268067
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25419/3/FangWan_Custom_Software_and_Affiliated_Files.zip
4cb07a476e606b8d8bf1e7caa55d4d3d
MD5
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LICENSE
license.txt
license.txt
text/plain
2271
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d0be00266aeb8a7a17b1561b7cbc2cc7
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TEXT
FangWan_DPD_Text_Document.pdf.txt
FangWan_DPD_Text_Document.pdf.txt
Extracted text
text/plain
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85ee76de61958aa0186f82ae7e33a58d
MD5
5
1794/25419
oai:scholarsbank.uoregon.edu:1794/25419
2020-07-30 00:24:56.512
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/269212021-12-07T08:24:29Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Peña, Milton Fernandez
2021-12-06T23:16:47Z
2021-12-06T23:16:47Z
2021-11-24
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26921
79 pages
The subsequent research is organized into four chapters. Chapter One traces the history of Beethoven's life at the time of composition (1821). This chapter explores Op.110 not just chronologically but from a technical and stylistic standpoint.
Chapter Two provides a harmonic and structural analysis of Op.110. In this chapter, I will discuss the innovative techniques associated with Beethoven's late style, such as the exploration of extreme registers, harmonic treatment, radical modulations to remote key areas, formal structure, and Beethoven's use of older compositional styles and structures such as fugues and fugato style. I will suggest a new way to describe the structure of the third movement, "piano music as an oratorio."
Although many scholars have discussed Beethoven's use of arioso and fugue, I believe it is not just the juxtaposition of these sections, but the way Beethoven unifies these sections that is so significant. We can almost consider the third movement as a stand–alone work, an oratorio: Introduction, recitativo, arioso, fugue (chorus), arioso, fugue (chorus), grand conclusion. Chapter Three will discuss the performance of legendary pianists and discuss their very different interpretations. I will also make suggestions for tackling the many technical and interpretative challenges in Op.110. Chapter Four will discuss the author's interpretation of Op.110, where he will provide details about choice of tempo, tone, touch forms, pedaling, and rubato.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Beethoven's piano sonata Op.110
piano pedagogy
A Performer’s Guide to Beethoven’s Sonata in Ab major, Op. 110
Terminal Project
ORIGINAL
MFernandez_LectureDocument.pdf
MFernandez_LectureDocument.pdf
application/pdf
6848526
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26921/1/MFernandez_LectureDocument.pdf
a3131a4c9990bf03a07e8b2ba78e4d1b
MD5
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LICENSE
license.txt
license.txt
text/plain
2271
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d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
MFernandez_LectureDocument.pdf.txt
MFernandez_LectureDocument.pdf.txt
Extracted text
text/plain
72592
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26921/3/MFernandez_LectureDocument.pdf.txt
8725bf69517fb76f8dd0aee0def890f1
MD5
3
1794/26921
oai:scholarsbank.uoregon.edu:1794/26921
2021-12-07 00:24:29.5
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/253452020-05-22T18:25:34Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Stolet, Jeffrey
Asman, Nathan Morris
2020-05-20T20:42:13Z
2020-05-20T20:42:13Z
2020-05
https://scholarsbank.uoregon.edu/xmlui/handle/1794/25345
Digital Portfolio Dissertation files include: descriptive text document; README; zipped computer files; and 7 performance videos linked for streaming at this URL on University of Oregon Panopto service: https://uoregon.hosted.panopto.com/Panopto/Pages/Sessions/List.aspx?folderID=6c4ea9b1-2f63-433e-8187-abc101739430. Archival copies of videos have been preserved by the UO Libraries.
Improvising in the Loop serves as both a compendium of and comprehensive guide to the
music I have written and performed as well as the instruments I have created and designed during
my tenure as a doctoral student at the University of Oregon’s School of Music and Dance. Loopbased
music has long played a fundamental and influential role in the genesis of the music that I
write and perform, as has the idea of musical improvisation. Every piece that I have included in
my Digital Portfolio Dissertation contains improvised loop-based music in some way. The first of
seven pieces that I will be discussing is called Étude No.1, for Curve. It is the piece I wrote for my
second custom-built interface, called Curve. The étude was written for Ableton Live and Max/
MSP. T(Re)es (Trees: Remixed) was written for the Monome. The software I used to write T(Re)es
was Ableton Live and Max/MSP. Trio 1-465 is next and is the first ensemble-based piece in my
repertoire. Trio was written for cello, turntables, and my own custom-designed interface utilizing
Contour Design’s RollerMouse Red Plus. Trio employs Ableton Live, Max/MSP, and the Ms.
Pinky software environments. Impromptu No. 1, for ShrutiBox+ was written for a custom-built
hybrid instrument/interface of my own design called Shrutibox+. Ableton Live and Max/MSP
served as the compositional and performative software environments for the impromptu. Multios is
a piece I wrote using only my iPad and iPhone, utilizing a variety of iOS apps for the sound design,
data mapping, composition, and ultimate performance of the piece. ArcMorph was written for my
Sensel Morph and Arc, and was realized and performed with Ableton Live and Max/MSP. The
final piece I will discuss is called Kaurios, which is also the name of the custom-built interface.
Composed and performed with Ableton Live and Max/MSP, Kaurios signifies the culmination of
my studies as a doctoral student at the University of Oregon.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Music composition
Data-driven music
Interactive composition
Loop-based music
musical improvisation
Improvising in the Loop: Seven Improvisatory, Loop-Based Pieces for Customized Data-Driven Instruments; A Digital Portfolio Dissertation
Thesis / Dissertation
ORIGINAL
NathanAsman_DPD_Text_Document.pdf
NathanAsman_DPD_Text_Document.pdf
application/pdf
86187048
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25345/5/NathanAsman_DPD_Text_Document.pdf
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ASMANDigitalPortfolioDissertationREADME.txt
ASMANDigitalPortfolioDissertationREADME.txt
text/plain
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NathanAsmanFilesForDPD.zip
NathanAsmanFilesForDPD.zip
application/octet-stream
1789719839
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/25345/3/NathanAsmanFilesForDPD.zip
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LICENSE
license.txt
license.txt
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TEXT
NathanAsman_DPD_Text_Document.pdf.txt
NathanAsman_DPD_Text_Document.pdf.txt
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1794/25345
oai:scholarsbank.uoregon.edu:1794/25345
2020-05-22 11:25:34.275
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/269202021-12-07T08:24:28Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Roldan, Marina Bengoa
2021-12-06T23:02:11Z
2021-12-06T23:02:11Z
2021-12-01
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26920
55 pages
This document will review several pieces by three important Spanish composers:
Padre Antonio Soler, Isaac Albéniz, and Enrique Granados. The review will include
background information on the composers and the Spanish stylistic elements incorporated
in each piece, and will conclude with pedagogical advice about the level of the piece and
suggestions for overcoming some of the technical challenges.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
piano pedagogy
Spanish composers
Antonio Francisco Javier José Soler Ramos
Enrique Granados
Isaac Albéniz
Spanish Piano Music: A pedagogical approach
Terminal Project
ORIGINAL
Master_Piano_Pedagogy_Marina_Bengoa.pdf
Master_Piano_Pedagogy_Marina_Bengoa.pdf
application/pdf
3454630
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26920/1/Master_Piano_Pedagogy_Marina_Bengoa.pdf
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LICENSE
license.txt
license.txt
text/plain
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TEXT
Master_Piano_Pedagogy_Marina_Bengoa.pdf.txt
Master_Piano_Pedagogy_Marina_Bengoa.pdf.txt
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1794/26920
oai:scholarsbank.uoregon.edu:1794/26920
2021-12-07 00:24:28.472
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/184802014-10-17T09:00:39Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Spencer, Clark Stephen
2014-10-16T21:19:51Z
2014-10-16T21:19:51Z
2014-06
http://hdl.handle.net/1794/18480
89 pages
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Paul Ben-Haim
Sonata in G
Viola Sonata
Solo Viola Sonata
Sonata for solo viola
Paul Ben-Haim’s Sonata in G (1951): Historical Context, Stylistic Analysis, and a New Edition for Solo Viola
Terminal Project
ORIGINAL
Lecture Document Final.pdf
Lecture Document Final.pdf
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Lecture Document Final.pdf.txt
Lecture Document Final.pdf.txt
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1794/18480
oai:scholarsbank.uoregon.edu:1794/18480
2014-10-17 02:00:39.369
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/219912016-12-15T11:12:20Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Chien, Yi-Yin
2016-12-12T23:21:18Z
2016-12-12T23:21:18Z
2016-11-20
http://hdl.handle.net/1794/21991
78 pages
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
A Comparison of the Piano and Guitar Versions of Isaac Albéniz’s Spanish Suite
Terminal Project
ORIGINAL
yi-yin_chien_lecture_doc.pdf
yi-yin_chien_lecture_doc.pdf
application/pdf
3850639
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21991/1/yi-yin_chien_lecture_doc.pdf
0181178250af2ed52c401786fada8119
MD5
1
LICENSE
license.txt
license.txt
text/plain
2280
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MD5
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TEXT
yi-yin_chien_lecture_doc.pdf.txt
yi-yin_chien_lecture_doc.pdf.txt
Extracted text
text/plain
95793
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/21991/3/yi-yin_chien_lecture_doc.pdf.txt
d0961c13130bf5be5066c5bdd330da99
MD5
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1794/21991
oai:scholarsbank.uoregon.edu:1794/21991
2016-12-15 03:12:20.221
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/184792014-10-17T09:00:37Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Gulua, Arsen
2014-10-16T21:19:15Z
2014-10-16T21:19:15Z
2014-06
http://hdl.handle.net/1794/18479
68 pages
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Elena Gnatovskaya
Piano Sonatas
Kharkov Conservatory of Music
Ukraine
Piano sonatas of Elena Gnatovskaya
Terminal Project
ORIGINAL
ArsenGuluaDocument.pdf
ArsenGuluaDocument.pdf
application/pdf
410743
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18479/1/ArsenGuluaDocument.pdf
a1d064323c8d344324adf1bcd8a08619
MD5
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LICENSE
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license.txt
text/plain
2180
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b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
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TEXT
ArsenGuluaDocument.pdf.txt
ArsenGuluaDocument.pdf.txt
Extracted text
text/plain
72371
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18479/3/ArsenGuluaDocument.pdf.txt
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MD5
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1794/18479
oai:scholarsbank.uoregon.edu:1794/18479
2014-10-17 02:00:37.685
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/201122019-04-26T19:26:13Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Wan, Fang
2016-09-14T21:06:37Z
2016-09-14T21:06:37Z
2016-06
http://hdl.handle.net/1794/20112
Project files include descriptive pdf and performance video.
Moving Bits is an interactive composition for Gametrak and Symbolic Sound’s Kyma.
The Gametrak, a three-dimensional position-tracking system, functions as the interface
for my data-driven instrument and it controls a variety of musical parameters such as
timbre, pitch, timeindex, and density of events. The data created in the Gametrak is first
sent to Max/MSP and then to the sound-producing algorithm residing in Kyma. Kyma
responds to the data by producing the synthesized sound. Sound sources of this piece
include several audio files that possess short, clean and harsh attacks. These sounds are
based on recordings of Chinese instruments such as the Erhu, Guqin and Yunluo. The
motives of this piece derive from various rhythm patterns. By controlling the change in
the parameters, I control the musical drama as it unfolds.
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Intermedia Music Technology
Future Music Oregon
Interactive composition
Gametrak
Kyma
Erhu
Guqin
Yunluo
Music technology
Moving Bits
Terminal Project
LICENSE
license.txt
license.txt
text/plain
2280
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/20112/4/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
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ORIGINAL
Fang_Wan_Terminal_Project_Contents.pdf
Fang_Wan_Terminal_Project_Contents.pdf
application/pdf
96570
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/20112/1/Fang_Wan_Terminal_Project_Contents.pdf
a1f14f2ad2193dd0caa92102675d4896
MD5
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Moving_Bits.mp4
Moving_Bits.mp4
application/octet-stream
781362586
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/20112/5/Moving_Bits.mp4
c9782d8ce0ac5bb39a15230a591b0a73
MD5
5
Fang_Wan_Moving_Bits_source_files.zip
Fang_Wan_Moving_Bits_source_files.zip
application/octet-stream
1045170409
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/20112/6/Fang_Wan_Moving_Bits_source_files.zip
025e7c64ba8047af06fba409cbdc4fb4
MD5
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TEXT
Fang_Wan_Terminal_Project_Contents.pdf.txt
Fang_Wan_Terminal_Project_Contents.pdf.txt
Extracted text
text/plain
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874cf5d74f062ebc19234cb8da0a928d
MD5
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1794/20112
oai:scholarsbank.uoregon.edu:1794/20112
2019-04-26 12:26:13.656
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/186292019-03-22T19:53:39Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Coelho, Gabriel Neves
2014-12-09T21:16:52Z
2014-12-09T21:16:52Z
2014-12-07
http://hdl.handle.net/1794/18629
150 pages
This study approaches the compilation of piano pieces known under the general title
Játékok (or Games), which was written by the Hungarian composer György Kurtág. Started
in 1973, the set reflects the political context of Hungary under Soviet domination, as well as
its posterior dissolution, also revealing the composer’s sensitivity and openness to create in
a moment of historical and aesthetic transition. In analyzing how the collection achieved a
synthesis between the radical experiments of the avant-garde and the canonic repertoire, it
focus on the cultural symbols he manipulates within his music, juxtaposing elements from
several layers of tradition.
The concept of musical games unfolds in different ways. They can be analyzed as
performative games, in which ‘playing’ is interpreted as the more obvious act of performing
the pieces, but also related to the idea of ‘playfulness’, therefore treating the piano almost as
a toy, exploring all possibilities of movement. Another even larger group is represented by
those pieces treated as compositional and/or cultural games. Here, the composer is ‘playing’
with tradition, alluding to other composers, artists and historical practices, and by
consequence also relocating the cultural meaning embedded in those borrowings.
This research concludes focusing on the private games, in which people, colleagues
and facts from the composer’s personal life stimulate his own composition. The last section
analyses the process of transmutation from a pedagogical series to the increasing exposure
of his private world and frequent references to loss, identifying certain recurrent patterns
occurring already in the first volumes.
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
György Kurtág
Musical games
Piano performance
Kurtág's Játékok: Playing Games with Tradition
Terminal Project
ORIGINAL
DMA_lecture_doc_Coelho.pdf
DMA_lecture_doc_Coelho.pdf
application/pdf
7394286
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18629/1/DMA_lecture_doc_Coelho.pdf
a85fc88759655ea11763a04b8aa87b42
MD5
1
LICENSE
license.txt
license.txt
text/plain
2180
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/18629/2/license.txt
b27fa9eb6bef3c9cd19ba7a041e50e76
MD5
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TEXT
DMA_lecture_doc_Coelho.pdf.txt
DMA_lecture_doc_Coelho.pdf.txt
Extracted text
text/plain
214981
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26601310f177b4ca53c33750b2416e64
MD5
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1794/18629
oai:scholarsbank.uoregon.edu:1794/18629
2019-03-22 12:53:39.458
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/245922019-06-11T07:25:08Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Wu, Yifan
2019-06-10T16:43:16Z
2019-06-10T16:43:16Z
2019-03
https://scholarsbank.uoregon.edu/xmlui/handle/1794/24592
"How Do You Feel? -- for custom 4.1 digital audio multichannel format" is a fixed media composition with video for Bose SoundWear Companion® speaker and quad audio multichannel intermedia listening environment. This project is an experimental intermedia composition, focusing on sounds' 3-dimensional spatialization design. The designation "4.1" refers to the 4 discrete, full bandwidth (20-20kHz) channels - Left (L), Right (R), & Left surround (Ls), Right surround (Rs) - and the ".1" refers to the wearable loudspeaker that can be worn around humans' neck (for this composition, I chose to use the wearable loudspeaker "SoundWear" manufactured by Bose, the transmission frequency band of operation is 2400-2483.5MHz). The piece begins from a lifelike scene and then unfolds into different abstract sections. The spatialization sound design is mainly completed in the Symbolic Sound Kyma sound synthesis environment. For the production of this composition, I chose to use Ableton Live for playback video and audio channels configuration with the speakers and SoundWear devices. When the primary sound object is moving in three-dimensional virtual space, Kyma reports and sends the object's X, Y, Z axis data to custom software created using Processing programming language through OSC (Open Sound Control) protocol. Visual representation of the sound object is generated in Processing and is controlled in real time using X, Y, Z data send from Kyma. The recordings of the sound objects include the sound of walking, open and close doors, paper rubbing, rocks clicking, raining, and thunder, etc. For this project, my goals are to study 3-dimensional spatialization sound design using Kyma system as well as to design the surround speaker configuration with the latest wearable loudspeakers (2018 version) with conventional quad multichannel speaker placement.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Music technology
Kyma
Sound design
3D sound design
Open Sound Control
Wearable speakers
How Do You Feel?-- for custom 4.1 digital audio multichannel listening environment
Terminal Project
ORIGINAL
1__Project_contents_Wu_2019.pdf
1__Project_contents_Wu_2019.pdf
Project Contents. 6 pages
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http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/1/1__Project_contents_Wu_2019.pdf
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2__README_Wu_2019.pdf
2__README_Wu_2019.pdf
README
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2__Composition_Structure_Wu_2019.pdf
2__Composition_Structure_Wu_2019.pdf
Composition Structure Description
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MD5
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3__Speaker_Placement.jpg
3__Speaker_Placement.jpg
Quadraphonic and SoundWear Speaker Placement
image/jpeg
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http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/7/3__Speaker_Placement.jpg
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MD5
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3__How_to_wear_SoundWear.jpg
3__How_to_wear_SoundWear.jpg
How to wear the SoundWear
image/jpeg
21331
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/5/3__How_to_wear_SoundWear.jpg
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MD5
5
4__Kyma_Spatial_Layout.png
4__Kyma_Spatial_Layout.png
Kyma Spatialization Layout
image/png
260879
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/6/4__Kyma_Spatial_Layout.png
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MD5
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4__Kyma_Speaker_Layout.png
4__Kyma_Speaker_Layout.png
Kyma Speaker Setting Layout
image/png
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http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/8/4__Kyma_Speaker_Layout.png
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MD5
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6__Kyma_Archive_Stereo.zip
6__Kyma_Archive_Stereo.zip
Kyma Timeline Archive for Stereo and SoundWear
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104625482
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/9/6__Kyma_Archive_Stereo.zip
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MD5
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7__Kyma_Archive_Quad.zip
7__Kyma_Archive_Quad.zip
Kyma Timeline Archive for Quad and SoundWear
application/octet-stream
104674361
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/10/7__Kyma_Archive_Quad.zip
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MD5
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8__Send_Receive.zip
8__Send_Receive.zip
Send Receive OSC To/From Kyma
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1140050
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/11/8__Send_Receive.zip
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MD5
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9_Ableton_Live.zip
9_Ableton_Live.zip
Ableton Live Timeline Archive
application/octet-stream
1335172910
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/12/9_Ableton_Live.zip
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MD5
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LICENSE
license.txt
license.txt
text/plain
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http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/4/license.txt
fd97841ec4c7352b12e3b5786757aed5
MD5
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TEXT
1__Project_contents_Wu_2019.pdf.txt
1__Project_contents_Wu_2019.pdf.txt
Extracted text
text/plain
6179
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/13/1__Project_contents_Wu_2019.pdf.txt
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MD5
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2__README_Wu_2019.pdf.txt
2__README_Wu_2019.pdf.txt
Extracted text
text/plain
5525
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/14/2__README_Wu_2019.pdf.txt
11d4252cc0eb044f6e684203ad82b30b
MD5
14
2__Composition_Structure_Wu_2019.pdf.txt
2__Composition_Structure_Wu_2019.pdf.txt
Extracted text
text/plain
4093
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/24592/15/2__Composition_Structure_Wu_2019.pdf.txt
6590b5c85ce06e34813d1377d60fd9f1
MD5
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1794/24592
oai:scholarsbank.uoregon.edu:1794/24592
2019-06-11 00:25:08.647
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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
oai:scholarsbank.uoregon.edu:1794/263302021-06-12T07:22:01Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
McCue, Ryan
2021-06-11T21:21:09Z
2021-06-11T21:21:09Z
2021
https://scholarsbank.uoregon.edu/xmlui/handle/1794/26330
49 pages
The hearing world already utilizes hand signals and gestures for common words, numbers, or actions. However, these gestures are instinctual and tend to vary person to person with their various interpretations of these gestures. In music, there can be many interpretations of the same conducting gesture. This can cause miscommunication between the director and the members of the ensemble and hinder the progress of preparing a piece of music. This paper explores methods of using American Sign Language (ASL) to clarify and streamline communication from conductor to performer in concert and rehearsal settings by taking common terms used by conductors and pairing them with ASL signs that either directly translate or visually represent the desired concept.
en
University of Oregon
Creative Commons BY-NC-ND 4.0-US
EXPANDING CONDUCTING GESTURES THROUGH THE USE OF AMERICAN SIGN LANGUAGE
Terminal Project
ORIGINAL
McCue_Research Paper Final.pdf
McCue_Research Paper Final.pdf
application/pdf
6694868
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26330/1/McCue_Research%20Paper%20Final.pdf
ca3185b9de0f2f3d89382e6556757c18
MD5
1
LICENSE
license.txt
license.txt
text/plain
2271
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26330/2/license.txt
d0be00266aeb8a7a17b1561b7cbc2cc7
MD5
2
TEXT
McCue_Research Paper Final.pdf.txt
McCue_Research Paper Final.pdf.txt
Extracted text
text/plain
48569
http://scholarsbank.uoregon.edu/xmlui/bitstream/1794/26330/3/McCue_Research%20Paper%20Final.pdf.txt
cdca71eb87c98d410832e9095a3db799
MD5
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1794/26330
oai:scholarsbank.uoregon.edu:1794/26330
2021-06-12 00:22:01.725
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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oai:scholarsbank.uoregon.edu:1794/184822015-01-27T23:34:30Zcom_1794_7553com_1794_7552com_1794_7550col_1794_12943
Ho, Grace
2014-10-16T21:20:29Z
2014-10-16T21:20:29Z
2014-06
http://hdl.handle.net/1794/18482
71 pages
en_US
University of Oregon
Creative Commons BY-NC-ND 4.0-US
Art
Music
Goya
Granados
Goyescas
Piano
Goya/Goyescas: The Transformation of Art into Music
Terminal Project
ORIGINAL
DMA_lecture_doc_Grace_Ho.pdf
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DMA_lecture_video_Grace_Ho.mp4
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LICENSE
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TEXT
DMA_lecture_doc_Grace_Ho.pdf.txt
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1794/18482
oai:scholarsbank.uoregon.edu:1794/18482
2015-01-27 15:34:30.041
Scholars' Bank at the Knight Library
akurzhal@uoregon.edu
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