Music and Dance Theses and Dissertations

Permanent URI for this collection

https://hdl.handle.net/1794/3955

Browse

Now showing 1 - 20 of 213

Open Access
A Comparative Analysis of Conductor Behavior and Time Use in High School and Collegiate Orchestra Rehearsals
(University of Oregon, 2019-01-11) Culver, Lauren; Strietelmeier, Andrew
The purpose of this study was to examine conductors’ behavior and use of rehearsal time in high school and collegiate orchestra rehearsals. In this study, eight conductors (high school, n = 4, college, n = 4) were video recorded leading two ninety-minute orchestral rehearsals. After the data were collected, the videos were analyzed to compare the conducting behaviors used in each rehearsal. The percentage of time and rate in which conductors engaged in twelve conducting behaviors were calculated. Results indicated that both collegiate and high school conductors spend the most time giving nonverbal directives and verbal directives and engaged in nonmusical behaviors. The results also indicated a pattern of individual variability among the high school conductors and consistency among the collegiate conductors.
Open Access
A Descriptive Analysis of Instructional Strategies Used by Suzuki and Non-Suzuki Studio Violin Teachers
(University of Oregon, 2019-01-11) Hollenbaugh, Kelsey; Silveira, Jason
This study was an investigation of the instructional strategies used by both Suzuki and non-Suzuki teachers when teaching private studio violin lessons. This study was conducted in two phases. In phase one, participants (N = 85) completed an online questionnaire detailing percentage of lesson time spent in a variety of teaching behaviors. In phase two, participants (N = 3) were observed teaching a studio violin lesson, after which the data were analyzed to determine the teaching behaviors used in the lesson. The data gleaned from both phases were analyzed using descriptive statistics. Results indicated that Suzuki and non-Suzuki teachers exhibited similar amounts of many teaching behaviors, but some differences in the areas of parental involvement, assigned listening to recordings at home, and use of reading music, rote teaching, and playing from memory. Implications and future directions for research are discussed.
Open Access
A Piece of Steak: A Chamber Opera
(University of Oregon, 2017-05-01) Sackmann, David; Kyr, Robert
A Piece of Steak is a chamber opera in four scenes based on the Jack London short story of the same name. The piece is composed for five operatic soloists, a chorus, a voice actor, and a Pierrot ensemble with percussion, and is 25-30 minutes in duration. The libretto that I have written for this piece follows an aging boxer and his wife as he prepares for an important match for the future of his family. The characters in A Piece of Steak deal with issues related to poverty, family, and the broader sports culture and the treatment of athletes.
Open Access
Added Lines and Missing Voices: A Reexamination of Machaut's Relationship to Auctoritas
(University of Oregon, 2018-09-06) Korzeniewski, Emily; Kruckenberg, Lori
The poet and composer Guillaume de Machaut is unique in the fourteenth century for his massive complete-works volumes. However, a potentially anachronistic view of the poet-composer’s relation to auctoritas has developed in modern deliberations on Machaut. In this thesis I challenge these current notions. Beginning with a review of select secondary literature in Chapter II, I focus on the ways scholarly consensus has foregrounded an ultimately authoritative author persona at the exclusion of other agents involved in the compilation of Machaut’s works. In Chapter III I approach the question of authority from the perspective of Machaut’s own writing through a close reading of select narrative passages and embedded letters in the Livre dou Voir Dit. The analyses of four examples of later-added contratenors to select works by Machaut in the posthumous MS E (1390) are the focus of Chapter IV.
Open Access
Aesthetics of Objectivism in Igor Stravinsky's Neoclassical Works
(University of Oregon, 2012) Lee, SunHwa; Lee, SunHwa; McLucas, Anne
This thesis examines Stravinsky’s aesthetics of objectivism, as described in his own book and displayed in three different genres from his neoclassical period: Symphonies of Wind Instruments (1920), Perséphone (1933), and Orpheus (1947). My research has significance, in that I combine aesthetics and musical analysis in examining Stravinsky’s objectivism. Drawing on Stravinsky’s book, Poetics of Music in the Form of Six Lessons, I define his objectivism as the structural organization of musical materials, the denial of expression of subjective emotion, the importance of the composer’s invention, and the concept of limitation. Stravinsky’s objectivism appears in various ways in the different genres. The instrumental piece Symphonies of Wind Instruments presents the lack of linear continuity and development. The melodrama Perséphone represents his objectivism through his rearrangement of French text, and the ballet Orpheus shows his restrained expression in reduced orchestration, quiet dynamics, and cool tone colors.
Open Access
Age of legends
(University of Oregon, 2011-12) Stewart, Seth
Age of Legends is an original orchestral composition in three movements, of approximately twenty minutes in duration. In the tradition of the literature-inspired symphonic poem, the piece is based on the celebrated fiction series The Wheel of Time , by acclaimed American author Robert Jordan (1948-2007). The title of the thesis refers to a particularly enchanting era described in the series, wherein the magical and miraculous are interwoven into everyday life. The piece's three movements portray a purely musical depiction of the breathtaking adventures that unfold throughout the fourteen-volume fantasy saga, evoking its richly imaginative scenes and thrilling, dramatic developments. Additionally, the music seeks to embody the intense emotional and psychological states experienced in the lives of The Wheel of Time 's fascinating literary characters, as they undergo defining moments of tremendous bravery, extreme peril, and exultant triumph.
Open Access
Alan Hovhaness and the Creation of the 'Modern Free Noh Play'
(University of Oregon, 2009-06) Kinnear, Tyler, 1985-
American composer Alan Hovhaness (1911-2000) published twelve operatic works during his career. Eight of these staged productions were written between the years 1959 and 1969. During these ten years Hovhaness immersed himself in the music and theatre of Japan. The composer traveled to Japan twice, once in 1960 and again in 1962, where he frequently attended Noh plays. As composer-in-residence at the University of Hawaii in 1961, Hovhaness took private lessons on and composed freely for the instruments of Gagaku, the ancient court music of Japan. My study investigates the degree to which Hovhaness was exposed to Gagaku and Noh, and what elements of these Japanese alts the composer manifests in his staged works between 1959 and 1969. I compare Hovhaness' treatment of Japanese elements to that ofother twentieth-century Western composers interested in East Asian music. Through this study we gain greater knowledge of Hovhaness' operatic style.
Open Access
The Amber of the Moment
(University of Oregon, 2011-06) Knippel, Mark Jacob, 1983-
The Amber of the Moment is a thirteen-minute composition for orchestra. Inspiration for this piece is drawn from two sources: the novel Slaughterhouse Five by Kurt Vonnegut Jr., and my desire to utilize techniques derived from various musical cultures, including Balinese gamelan and African drumming and marimba playing. Although not directly narrative, much of the imagery portrayed in Slaughterhouse Five informed the emotional landscape of the piece. As to the use of techniques from other cultures, my aim is not to merely imitate them, but to utilize them in a manner appropriate to the tradition of orchestral concert music.
Open Access
Amergin and Cessair
(University of Oregon, 2014-06-17) Eisenband, David; Crumb, David
Amergin and Cessair is a musical setting of the text "Amergin and Cessair: A Battle of Poetic Incantation" by Michael Meade and Erica Helm Meade. The music takes the form of a dramatic "duet," scored for double choir and chamber orchestra. It depicts an exchange of self-exalting verses proclaimed by the two demigods Amegin and Cessair. Cessair--an early inhabitant of Ireland--uses her verses to churn the sea and fend off ship-borne Amergin, who in turn calms the sea with his verses. Musically, the two characters are distinguished by their own unique melodic motives, harmonic sonorities, and instrumentations. The drama of the battle unfolds over the course of the fifteen-minute work, and ultimately Amergin is the victorious one. Overall, the work expresses the pride, determination, and intense emotionality of the two characters objectively, without taking the side of either one, and it is an allegory for cultural conflict.
Open Access
An American Belly Dancer
(University of Oregon, 2012) Polynone, Devon; Polynone, Devon; Chatfield, Steven
The purpose of this research was to investigate the creative process of six professional American Belly Dancers: Shannon Conklin, Elena Villa, Lila McDaniel, TC Skinner, Manny Garcia, and Cera Byer. I took a class with each dancer, witnessed each dancer creating movement, and witnessed each dancer perform. After each experience I held discussions with each dancer. I learned that, for some of the dancers, music is everything, but for others, Belly Dance can be performed to any sound. For some of the dancers, Belly Dance is highly codified, and for others it is experimental. For some of the dancers, Belly Dance is a solo endeavor, but for others, dancing with a troupe is essential. Following these findings, I created six movement explorations - one based on each professional Belly Dancer in my study. Supplemental video footage of these explorations can be viewed as a companion to this written document.
Open Access
An Inquiry Into Men's Experiences In Collegiate Dance
(University of Oregon, 2017-09-06) Henderson, Bryant; Craig, Jenifer
This qualitative research study was designed to gain a deeper, more profound understanding of the lived experiences of collegiate male dancers. Through three phases of research, this study uncovered societal and familial obstacles collegiate male dancers often endure during their dance journeys, and describes how males navigate and transcend them. Extensive interviewing offers detailed glimpses into the lives of 9 male students who participate in collegiate dance programs. The study reveals participants’ dance experiences prior to and during college; recognizes and questions common factors that influence collegiate male participation in dance; and identifies how male dancers feel supported and/or unsupported by their program. An experiential workshop series applied and explored existing pedagogical suggestions offered by other scholars. Subsequently, a rehearsal and performance experience physically investigated emergent themes. Recommendations are offered on how to better encourage, cultivate, and support collegiate male dance populations through enhanced pedagogies and program improvements.
Open Access
Analysis of Rhythm in Rap Music
(University of Oregon, 2016-10-27) Zavortink, Matthew; Rodgers, Stephen
Although the analysis of popular music has become widely accepted by theorists, rap and related genres are still relatively unexplored. The small body of existing literature suggests several promising analytic methods, such as the discernment and comparison of rhythmic layers within a song. This thesis reviews the current state of rap research and synthesizes a comprehensive theoretical model out of previously published sources and the author’s original ideas. This model is then used to investigate several case studies of varying complexity, revealing a number of previously undocumented musical devices and promising avenues for further research.
Open Access
An Analysis of the Chorales in Three Chopin Nocturnes: Op. 32, No.2; Op. 55, No.1; and the Nocturne in C# Minor (without opus number)
(University of Oregon, 2008-03) Heyer, David J., 1979-
Several of Chopin's nocturnes contain interesting chorales. This study discusses three such works-the Nocturnes in C# Minor (without opus number), A-flat Major (Op. 32, No.2), and F Minor (Op. 55, No.1). The chorales in the Nocturnes in C# Minor and A flat Major are introductory. They contribute to the work's coherence by being present in every section of their respective nocturne in multiple ways and on multiple levels of structure. The chorales in the Nocturne in F Minor also provide motivic coherence, but they appear in the middle and at the end. This study examines the function of the chorales in these three nocturnes in light of the theories of Heinrich Schenker.
Open Access
The Aquitanian Sacred Repertoire in Its Cultural Context: An Examination of Petri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude
(University of Oregon, 2008-09) Recek, Andrea Rose, 1980-
Medieval Aquitaine was a vibrant region in terms of its politics, religion, and culture, and these interrelated aspects of life created a fertile environment for musical production. A rich manuscript tradition has facilitated numerous studies of Aquitanian sacred music, but to date most previous research has focused on one particular facet of the repertoire, often in isolation from its cultural context. This study seeks to view Aquitanian musical culture through several intersecting sacred and secular concerns and to relate the various musical traditions to the region's broader societal forces. Saint-Martial in Limoges and Toulouse, two musical and cultural centers, illustrate the wider cultural context in Aquitaine, and a survey of select manuscripts shows the development of a musical tradition. An examination of three disparate pieces shows that the repertoire as a whole is a more unified part of Aquitanian culture than previously recognized.
Open Access
Arthur Saint-Leon’s The Little Humpbacked Horse in Context
(University of Oregon, 2011-06) Manela, Aaron Daniel
In this study I examine representations of antisemitism, fantasy, and cultural imperialism in the 1864 ballet The Little Humpbacked Horse, composed by Cesare Pugni and choreographed by Arthur Saint-Leon. As the creative team adapted the story from verse to ballet, they literally morphed the titular character into new fantastical forms. They also added Jewish, Muslim, and other oriental characters and ended the ballet with a parade of the Russian nations. Drawing on the works of Richard S. Wortman, Julie Kalman, and Roger Bartra, I place these transformations in the context of a larger Russian ambivalence around the shift from a rural and woodland economy to an urban one, the inclusion of Eastern provinces in the rapidly expanding nation, and the emancipation – and inclusion of – internal minorities. I then explain how the music, choreography, and focus of the ballet change as the relevance of these mid-nineteenth century concerns fades.
Open Access
Aural Abjections and Dancing Dystopias: Sonic Signifiers in Video Game Horror
(University of Oregon, 2017-09-06) Merriner, Ashley; Smith, Marian
For centuries, the horror genre has ensnared audiences across generations and genre lines: ballet, opera, literature, poetry, film, and, most recently, video games have all utilized the power of terror to shock, horrify, and, perhaps most disturbingly, attract. But what does fear sound like? This thesis will focus on that question as it explores both the twin worlds of Konami’s survival-horror title Silent Hill and the underwater-nightmare city of Rapture in 2KGames’ 2007 hit Bioshock. Offering a deeper understanding of the agency video game sound employs, this thesis will engage critical gender, race, and feminist theory, confront issues of social and cultural fears evoked through sound, and offer an in-depth analysis of each game’s soundscape in order to discuss the ways video game soundtracks can serve as vehicles for both signifying and unpacking complicated social and political topics that prevail in modern society.
Open Access
Background Structures and Narrative in Music by Women
(University of Oregon, 2017-09-06) Mau, Amelia; Boss, Jack
This thesis explores the use of modified Schenkerian analysis and how it relates to a feminine narrative in a piece of music. In music theory literature about music by women, Schenkerian analysis is a tool that is often ignored; some scholars claim that the goal-oriented nature of Schenkerian analysis prevents it from being an effective tool to analyze music that doesn’t adhere to traditional tonal models, including modern works by women composers. In this study, it was found that modifying the Urlinie and Bassbrechung to reflect salience rather than a traditional harmonic structure allowed for the tool to actually reveal a lot about the underlying narratives in the music. The case studies include Genesis II (Janika Vandervelde), Missa Gaia; Mass for the Earth (Libby Larsen), and “Music Box” (Cynthia Folio).
Open Access
"Bellvines" Chamber Suite
(University of Oregon, 2020-02-27) Smith, Timothy; Kyr, Robert
For this thesis, I have composed a concerto for percussion ensemble and chamber orchestra. The instrumentation of the chamber orchestra is flute, clarinet, soprano saxophone, trombone, tuba, Casiotone organ, two violins, viola, and bass. The concertino group is three players, each playing an array of percussion instruments, including chimes, vibraphones, xylophone, several tom-toms, unconventional “found sound” objects such as metal bowls, and many auxiliary hand percussion instruments such as tambourine. I have also arranged the concerto as a suite for chamber orchestra, which does not feature a group of soloists but integrates the percussion part into the orchestra. The suite was recorded on November 17, 2019 at the University of Oregon School of Music and Dance, and may be accessed through the following link: https://soundcloud.com/luke-smith-274188951/sets/bellvines-suite.
Open Access
Big Prelude for Orchestra
(University of Oregon, 2009-03) Strand, Kenneth Allan, 1974-
This thesis is a study in large-scale musical form and utilization of the Western symphony orchestra. It explores the problems of large-scale musical structure by employing symmetrical, yet radically contrasting sections held together by a framework of liberally interpreted classical forms (rondo and sonata in particular). Problems of orchestration have been resolved through consultation with experts, coursework and individual study, and the emulation of pre-existing masterworks.
Open Access
The Birthday of the Infanta: An Early Twentieth-Century Chicago Ballet Contextualized
(University of Oregon, 2012) Lanctot, Heather; Lanctot, Heather; Smith, Marian
The Birthday of the Infanta, a ballet that was created by John Alden Carpenter, Adolph Bolm, and Robert Edmond Jones, was performed at the Auditorium Theatre in Chicago on December 23, 1919 and the Lexington Theatre in New York on February 23, 1920. Despite the positive reviews from daily papers and music journals alike the ballet was only revived once and is not a part of a known ballet repertoire. Although musicologist Howard Pollack discusses The Birthday of the Infanta briefly in his biography of John Alden Carpenter my analysis serves, through its exploration of both primary and secondary sources, to create a more complete and thorough dialogue through the examination of the social, economic, political and artistic factors surrounding the ballet. This analysis also helps to create a better understanding of ballet’s place in America in the early twentieth century.