Les Théâtres.

Transcript of LES THÉÂTRES by Gabriel Fauré, appearing in LE FIGARO, 9 mai 1907, p. 4. (Strauss

The Art of French Melodie: A Manual for Recital Preparation

I document my journey through the research, development and execution of a recital, resulting in guidelines for how one would achieve a future recital. This recital is focused on French mélodie, a genre of art song classified by its intense lyricism and precision. Moving through three phases: thinking, doing and reflecting, I highlight the important processes required to transition seamlessly through each. While going through the project, each step is documented in a journal to maintain the integrity of the process. My end goal is to present a “How To” manual with information on planning, preparing and ultimately presenting a recital to the public

ISO Classical Pronunciation Guide 1992 & 1993

Pronunciation guides used by the Indianapolis Symphony Orchestra staff to insure accurate pronunciation of composer’s and performer’s names as well as those of certain compositions

Trends in Chamber Music Composed by European Composers Who Became Deaf in the Romantic Era

This study attempts to discover if there are trends among the composition style of composers from the Romantic Era who went deaf. To ascertain the true nature of deaf composition, 10 scores were analyzed –5 scores from composers who were hearing or were not deaf yet and 5 scores from composers who were completely deaf. The scores were examined rather than recordings of these pieces as modern string quartets, piano trios, violin and piano duet players would not be able to replicate the sound and style of music from the Romantic Era. In particular, this study found that deaf composers featured an increased number of fortes, fortissimos, sforzandos, and subito fortissimos, a higher number of crescendos and decrescendos, a smaller percentage of notes that had a frequency equal to or above G6, and a large number of repetitive passages that are doubled and/or tripled, which results in an unbalanced sound between the melody and the accompaniment. As these trends were observed within all of the deaf composers in the Romantic Era being studied, this study contends that these trends could be ubiquitous among deaf composers. In the future, an additional study should be conducted among different musical eras to conclude the nature of deaf composition.https://scholarscompass.vcu.edu/uresposters/1145/thumbnail.jp

A GRADUATE VOCAL PERFORMANCE RECITAL

The purpose of this thesis is to describe the repertory performed for a graduate voice recital. The graduate voice recital program includes five composers’ biographies (W.A Mozart, Gabriel Fauré, Roger Quilter, R.A Schumann, and J.S. Bach); these composers’ general styles, the background of their works, analyses of eleven works, and my personal understanding of the songs’ performance. These biographies will include how the artists created their works, as well as in-depth analyses of their music. The musical analyses will involve the basic music forms, the meaning of the text, and an examination of the musical descriptors

Graduate recital in violin

Hannah Howland performed a graduate recital on March 23, 2017 in Graham Chamber Hall. She was assisted by pianist Polina Khatsko. The program included Sonata No. 3 in C major, BWV 1005 by Johann Sebastian Bach, Sonata No. 3, Op. 27, “Ballade,” by Eugène Ysayë, and Sonata No. 1 in A major, Op. 13 by Gabriel Fauré. These three pieces were selected for this performance because they are seminal works of the violin repertoire that represent three distinct styles and require a wide variety of technical and expressive elements for performance

Program Notes and Translations

This project consists of program notes about sixteen pieces of music that I publically performed on April 10th, 2016. These notes are comprised of research done about each piece on the program, its composer, the history of the era in which the song or aria was composed, and an analysis of the text. The pieces ranged from Baroque operatic arias all the way to twenty-first century musical theater works. I have also included translations of all of the foreign language pieces

An Investigation of Selected Collegiate Voice Teachers\u27 Descriptions of Repertoire Selection Practices.

Repertoire is a critical component of the instructional process at all levels of music education, and more insight into music educators\u27 repertoire selection practices is a need, especially in the case of the collegiate voice studio. A particular void in this topic is the lack of pre-service instructional training including repertoire assignment strategies for prospective and novice voice teachers. The investigator studied these topics using two data collection phases: 1) collecting descriptive data from vocal recital programs in three universities from the southern United States; and, 2) conducting interviews with five experienced voice teachers recruited from the aforementioned institutions. The investigator conducted a pilot interview with a comparable voice teacher, and the investigator determined that the interview produced an adequate amount of data. The investigator calculated descriptive statistics for data collected in research phase 1, and results indicated the experienced voice teachers assign a core body of titles, composers, and languages. For research phase 2, the investigator coded interviews, directly from the raw data as much as possible, using open coding measures. The investigator analyzed the codes for themes. Several themes emerged amongst participants\u27 descriptions that will be applicable for prospective and novice voice teachers\u27 repertoire assignment practices