Three Flute Chamber Works by Alberto Ginastera: Intertwining Elements of Art and Folk Music

Alberto Ginastera’s output includes three chamber works containing the flute, all composed within the period of objective nationalism (1934-1947), a designation provided by the composer to encompass those works that present folk elements in an overt manner in a largely tonal framework. Impresiones de la Puna and Cantos del Tucumán, written in 1934 and 1938 respectively, contain salient folk elements and are thus representative pieces of this stylistic period. In addition to folk characteristics, these early works also contain pitch-class sets which serve to unify the pieces, thereby suggesting future elements of the composer’s style. The Duo for Flute and Oboe, composed in 1945, toward the end of the period of objective nationalism, in many respects presents features more in alignment with the subsequent period of subjective nationalism (1947-1958), a period characterized by the subtle presence of folk elements. The use of a twelve-tone series to generate much of the melodic and harmonic material in the Duo, the quartal harmonies, and the neo-classical style suggests a new compositional approach for Ginastera. Yet a closer examination reveals that the Duo shares many of the same set classes with the two prior pieces. In addition, folk elements continue to be present in a subtle manner in the melodic, harmonic, rhythmic, and formal aspects of the piece, often tightly intertwined with the art music elements, such that it is possible to view the same entity from both an art and a folk music perspective. The analyses of the three chamber works focus on salient art and folk music elements, and how these characteristics are integrated to create these pieces. The analyses thus provide a glimpse into Ginastera’s compositional development, as well as revealing facets of Ginastera’s later style that are present in these early works. Advisor: John R. Baile

Music Theory in Mexico from 1776 To 1866: A Study of Four Treatises by Native Authors

This investigation traces the history and development of music theory in Mexico from the date of the first Mexican treatise available (1776) to the early second half of the nineteenth century (1866). This period of ninety years represents an era of special importance in the development of music theory in Mexico. It was during this time that the old modal system was finally abandoned in favor of the new tonal system and that Mexican authors began to pen music treatises which could be favorably compared with the imported European treatises which were the only authoritative source of instruction for serious musicians in Mexico

Colombian Nationalism: Four Musical Perspectives for Violin and Piano

This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four compsers mentioned in this study, each representing a different stage in the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analysis of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada. While the violin is not a Colombian folkloric instrument, nationalsitic composers were able to use it to express the nationalistic feeling of their works, representing an often overlooked contribution to Colombian academic music and to the universal violin repertoire

Toward A Pedagogical Guide To Argentine Art Song

Argentine art song is a branch of the art song genre that is virtually unknown to Canadian academics and performers. Although there are numerous composers who have contributed songs to this genre, these composers and their contributions to the body of art song repertoire remain virtually unknown. The illusion of their non-existence is perpetuated by a cycle of factors. Publishers, not interested in publishing a product for which there is limited interest, print very little Argentine music. The lack of musical scores makes it difficult for performers to program and record this music. Thus, very few people are exposed to it, and most people continue to know very little about this rich body of repertoire that has much to offer performers and voice pedagogues. The goal of this study of Argentine art song is to introduce this repertoire to pedagogues and performers and inform them of some of the challenges and benefits of incorporating this music into the standard art song repertoire. Many of the songs need “cultural translation” for those unfamiliar with the gaucho and other aspects of Argentine music, history, and culture. The gaucho and his influence on Argentine art song, both musically and thematically, is examined so that meaningful and informed performances can be prepared. Also, the pedagogical value of the repertoire in the voice studio is also discussed so that pedagogues can make informed decisions regarding its best application in the voice studio. An added benefit is that these songs introduce a greater variety of material and expression to the voice studio and recital stage that will make them welcome additions to the standard art song repertoire

Pitch perception in musical chords for cochlear implant users

Many people with severe or profound hearing loss are able to benefit from electronic hearing provided by a cochlear implant (CI); however, perception of music is often reported to be unsatisfactory. Due to the sound processing restrictions and current spread, CI users do not always perceive accurate pitch information, which adversely affects their ability to perceive and enjoy music. This thesis examines the factors affecting pitch perception in musical contexts for CI recipients. A questionnaire study was carried out in order to pilot and validate a questionnaire about music listening experience and enjoyment for bot pre- and post-lingually deafened CI users. Results of this study were generally more positive that previous questionnaire studies, especially from pre-lingually deafened CI users, but the majority of respondents were keen for an improvement to their music listening experience. CI users took part in a pilot study of the Chord Discrimination Test, identifying the “odd one out” of three different chord stimuli in which the difference was one semitone. The individual notes of the chords were presented either simultaneously or sequentially and spanned one to three octaves. Results showed significantly higher discrimination scores for simultaneously presented chords, possibly due to auditory memory difficulties for the sequential task.In the main study phase, participants undertook the tests with stimuli comprising both pure tones and simulated piano tones, and chord differences ranging from one to three semitones. No significant difference between the two tone conditions was found, but performance was significantly better when the difference between the chords was three semitones. A change in the top note of the chord was easier to detect than a change in the middle note. Peak performance occurred in the C5 octave range, which also correlated with scores on a consonant recognition test, suggesting a relationship between speech and music perception in this frequency area. Children took part in an abridged version of the Chord Discrimination Test. Children with normal hearing were able to identify a one semitone difference between musical chords, while hearing impaired children performaed at chance. Some children were also able to accurately identify a half semitone difference. NH children’s results showed an effect whereby performance fell when the notes of the chord remained within the C major scale, suggesting a potential for the Chord Discrimination Test to be used in assessments of sensitivity to musical scales. The Chord Discrimination Test was shown to be a versatile and adaptable tool with many potential applications for use in settings such as musical training, and pitch perception assessments in both research and clinical settings

MUSIC REFLECTING THE HUMAN EXPERIENCE: AN ANALYSIS AND PERFORMANCE GUIDE OF KENJI BUNCH’S COOKBOOK FOR CLARINET AND PIANO, SHULAMIT RAN’S FOR AN ACTOR: MONOLOGUE FOR CLARINET (IN A), AND DAVID MASLANKA’S CONCERTO FOR CLARINET AND WIND ENSEMBLE

This paper provides a historical background and analysis on the works performed by the author for their Master’s Recital given on April 30th, 2022. The works included are as follows: Kenji Bunch’s Cookbook for Clarinet and Piano, Shulamit Ran’s For An Actor: Monologue for Clarinet (In A), and David Maslanka’s Concerto for Clarinet and Wind Ensemble. These works were chosen in an effort to understand the compositional inspirations and practices used to portray elements of each composer\u27s personal reflections, beliefs, and experiences as well as their interpretations of the “human experience” in general. In Cookbook, Kenji Bunch represents experiences and moods tied to cooking and family by incorporating diverse musical styles, the fragmentation of a motive, and special markings in the music. Shulamit Ran emulates the gamut of human emotion in Monologue through various extended techniques and markings, with the idea that the performer would “act out” the music similarly to an actor. David Maslanka’s thoughts on meditation and the juxtaposition of hope and despair felt throughout humanity influenced his treatment of key centers and harmony in his Concerto for Clarinet and Wind Ensemble. Upon analyzing and studying these works, it is easier to understand and quantify elements of the intangible in music: humanity, individualism, community, personal struggle, sacrifice, reflection, hope, and finding inner peace