73 research outputs found

    Using Clare Fischer\u27s solo piano approach in Yesterdays to reinterpret Jazz standard repertoire

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    Clare Fischer‚Äôs solo piano version of the Jerome Kern composition Yesterdays from his 1975 recorded album ‚ÄėAlone Together‚Äô, is not extensively known. It proves, however, to be an inherently paramount source for the study of harmony, rhythm, texture and solo jazz piano style. This paper defines the techniques used in this performance. Through a comprehensive transcription analysis, key aspects of Fischer‚Äôs solo piano style are discovered. This research extracts the defining aspects of this specific performance‚Äź then directly applies the musical techniques to show how they may be used to reinterpret and jazz standard. The current Fischer literature focuses primarily on detailing harmonic aspects of his music. This study of Yesterdays also analyses these harmonic aspects at work including chord voicing tendencies, voice leading and reharmonisation. Further, broader concepts relating to a successful jazz solo piano performance are discussed ‚Äď including the use of varied meter, mood, texture and arrangement. Through using wider parameters in the analysis the study aims to provide a more inclusive overview of Fischer‚Äôs improvised solo piano style. Using the findings from the transcription analysis, a solo piano arrangement of Duke Ellington‚Äôs Sophisticated Lady is then generated. The primary purpose of the re-interpretation of ‚Äėjazz standard‚Äô repertoire is to show that Fischer‚Äôs devices can be absorbed yet also directly applied in a measured way

    The Music of Louis Andriessen: Dialectical Double-Dutch?

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    Symphony No. 1: On the Creation and Chromaticism and Harmony in Henry Purcell\u27s Sacred Music

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    The first part of this dissertation is a musical composition for orchestra entitled Symphony No. 1: On the Creation. Each movement depicts one of the first four days of Creation as it is recorded in Genesis 1 of the Bible. The music is programmatic throughout; melodies, textures, colorations, and even forms serve this purpose. The entities and creations involved in the story each appear with a specific motive, mode, and tonal area, similar to Wagner’s leitmotifs. The movements have various forms, which often derive from the literary form of the particular day’s creation account in Genesis. The second part of this dissertation is an exploration of chromaticism and harmony in Henry Purcell’s sacred music. Purcell composed during a stylistic period marked by a transition from modality to tonality. The Baroque period developed out of the style of the High Renaissance, which was typified by imitation, counterpoint, and strictly controlled dissonance. By its close, the tonal system, characterized generally by the necessary progression of dominant to tonic harmony, had reached ascendance. Purcell’s music often strikes listeners as highly imaginative and original; certain exceptional moments stand out because the sounds and techniques that Purcell uses break with standard Renaissance practice, and remain unusual in the context of subsequent stylistic periods. Chromaticism was a natural part of Purcell’s musical language, both at surface and background levels. He used many chromatic techniques, including chromatic motives, chromatic textures, and background chromatic lines to create more vivid expressions of textual ideas and themes, as well as to provide musical coherence across a work. Additionally, Purcell’s chromaticism creates many different unusual and striking harmonic effects, including false relation, unusual chord progression, modality, and harsh vertical dissonance. This document examines numerous remarkable moments that feature these and similar devices in several of Purcell’s sacred compositions

    Fux to Bach: Bridging the Gap

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    Towards a Fluid Audiovisual Counterpoint

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    The author critiques and expands his concept of "fluid audiovisual counterpoint" by investigating the relevance of the species counterpoint tradition in music to conceptualizing audiovisual relationships in abstract video music. He points out both gains and limitations of such an approach, considering in particular issues of temporal and perceptual hierarchy, atomism, and gesture. He also considers how this might relate to Adam Basanta's 2013 proposed three-axes model of audiovisual relationship typologies. Ultimately, he proposes elements of a "phenomenological theory of audiovisual counterpoint", with fluidity being a subcategory. As an example, he considers how this subcategory might be informed by the relationship between the gestures of Indian classical vocalists and the music they are singing. Ultimately, the argument is made that complete systematization of audiovisual counterpoint is not possible, or even desirable, and that informing the artistic intuition by expanding possibilities and sensitivities would be the primary goal of an audiovisual counterpoint pedagogy

    Extended Program Notes For Graduate Trumpet Recital: Giuseppe Torelli\u27s Sonata in D, G.1, Johann Nepomuk Hummel\u27s Trumpet Concerto in E-flat, Eugene Bozza\u27s Rustiques, and George Antheil\u27s Sonata for Trumpet

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    AN ABSTRACT OF THE RESEARCH PAPER OF JOSEPH WALCZYK, for the Master of Music degree in MUSIC presented on May 2019, at Southern Illinois University Carbondale. TITLE: EXTENDED PROGRAM NOTES FOR GRADUATE TRUMPET RECITAL: GIUSEPPE TORELLI’S SONATA IN D, G.1, JOHANN NEPOMUK HUMMEL’S TRUMPET CONCERTO IN E-FLAT, EUGENE BOZZA’S RUSTIQUES, AND GEORGE ANTHEIL’SSONATA FOR TRUMPET. MAJOR PROFESSOR: Dr. Robert Allison This document was submitted to the Graduate School of Southern Illinois University Carbondale as a partial requirement for the Master of Music degree. This document includes biographical, historical, and analytic information, as well as performance considerations for the works performed in the corresponding graduate recital. The works discussed are Giuseppe Torelli’s Sonata in D, G.1, George Antheil’s Sonata for Trumpet, Johann Nepomuk Hummel’sTrumpet Concerto in E-flat, and Eugene Bozza’s Rustiques

    The Legal Status and Role of REDD-Plus Safeguards

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    This chapter analyses the legal status and role of REDD-Plus safeguards. It first explains what ‘safeguards’ are and how they are used in international law, to then clarify why REDD-Plus safeguards were adopted, what they require, and their status in international law and the role they play within the overall legal landscape on REDD-Plus. The chapter furthermore assesses the relationship of REDD-Plus safeguards with States’ international obligations and their interpretation by international initiatives established beyond the scope of the UNFCCC, highlighting their specificities and dissimilarities
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