Modern Conducting: An Exhibition of Traditional and Commercial Conducting

From the 20th century onward, there has been many notable musical and technological developments. These developments have led to the formation of new musical genres and commercial ensembles. The new genres and commercial ensembles have pertinent implications for modern conductors. In addition to traditional forms such as instrumental, choral, and mixed ensembles, modern conductors must be aware of the unique characteristics of the new commercial ensembles. These new ensembles include the film scoring stage, the jazz ensemble, and the worship ensemble. In addition to utilizing the fundamental concepts of traditional conducting, modern conductors must also attain a working knowledge of the unique nature of each commercial ensemble. This study investigates the fundamentals of conducting and highlights the distinctive techniques and skill sets that modern conductors must employ to effectively direct traditional and commercial ensembles. In particular, the ensemble characteristics, performance practices, accompanying technological necessities, and recommended conducting techniques are discussed in detail for the new commercial ensemble types

The Tārāb Saxophone - The development of a comprehensive culturally informed approach to the performance on the saxophone of music derived from Arabic maqāmāt.

This thesis details the synthesis of Arabic music performance practices with the idiolect of a non-Arab Australian saxophonist. The process is guided by principles inferred from tārāb, a phenomenon that encapsulates theoretical, technical and expressive information peculiar to the idiom. A retraining method based on conceptualisation, replication, activation and incorporation is applied. A robust theoretical, contextual, aesthetic and kinaesthetic conception is developed by accumulation of performance skills on the Arabic nāy (flute). Aural skills are redefined and systematically enhanced to accurately perceive and produce microtones intrinsic to Arabic maqāmāt (modes). The study demonstrates how this information is transferred by analogy to the saxophone, requiring a detailed investigation of the instrument in the development of a 24-tone chromatic technical approach, including a hierarchy of preferential fingerings. A range of saxophones are tested to ensure transferability of solutions, and limitations are defined and discussed. Contextual technical and kinaesthetic retraining relevant to performance of maqāmāt on saxophone is achieved through a process of development of drills, including idiomatic trills, melisma and ornaments, repertoire extracts and extensive transcription. This process enables a culturally informed and comprehensive performance approach to Arabic-maqām derived music, including traditional repertoire and contemporary intercultural performance practice. Skill sets derived from functional performance aspects of tārāb are used to enhance, direct and inform improvisation and composition practice, within and beyond the Arabic music context

Commentary on Microtonal Analysis of "Blue Notes" and the Blues Scale by Court B. Cutting

This commentary relates to the target paper by Cutting on the microtonal analysis of pitches in the vocal lines of fifteen blues recordings. After relating Cutting's study to Jeff Todd Titon's Early Downhome Blues, some of its merits and shortcomings are discussed. Finally, it is suggested to surpass the study of an abstract blues scale with research on blues modes, including characteristic ornamentations such as glides as well as typically employed patterns that specify certain blues songs or song types

ENGINEER, PERFORMER, PRODUCER: NEGOTIATIONS OF CONSTRUCTED ELEMENTS OF SOUND AND PERFORMANCE OF A JAZZ RECORDING.

This dissertation investigates the relationship between the engineer, the performer, and the producer in the creation of a jazz CD, first by laying a foundation for the need to study how a commercial recording is made, then by defining, in historical context, the development of the work of the engineer and the producer. Concepts for defining the performer are also discussed. The roles of engineer, performer, and producer are compared according to the author`s modus operandi, which is based on a thirty-year involvement in the recording industry in all of these positions. The literature review examines how physics, psychology, aesthetics, and music relate to recording processes and personnel and shows how art and science intersect and become inexorably linked during the creation of a jazz CD. An ethnographic analysis, from the time of the inception of the CD through the first two days of recording, follows the processes, procedures, and interactions between the engineer, the performers, and the producer. Problems and resolutions of session planning, studio logistics, musical goals, and personnel are discussed. Problems and resolutions during the edit sessions are also covered. With experimental data, the limits of performance acceptability of time differentials between entrances are tested. Altering improvisations through pitch and time manipulation and complete phrase alteration are considered. Because this CD was constructed, issues of perspective are at the forefront of the discussion in the mix portion of the recording process. Perspective, both left to right and front to back, sonic quality, and perceived acoustic--the room--are discussed. Finally, events create unexpected twists, and necessary changes are made to resolve these circumstances

The Life and Music of Brian Israel with an Emphasis on His Music for Saxophone

Brian Israel (1951-1986), American composer and pianist from New York City, left a wealth of music that has been largely ignored by the musical community. Included in his collection of nearly 200 works are six compositions that prominently feature the saxophone. Composed during the last six years of the composer’s life, Israel’s music for the saxophone represents a cross-section of his larger oeuvre, demonstrating stylistic elements present in nearly all of his music, including contrapuntal textures, the creative use of form, and humor. Furthermore, these saxophone works help illustrate Brian Israel as the epitome of the post-modern composer. The following works will be examined in this document: the Sonata for Alto Saxophone and Piano (1980), Trois Grotesques for C Soprano Saxophone and Piano (1985), the Concertino for Saxophone Ensemble (1982), Arioso and Canzona (1985) for saxophone ensemble, the Concerto for Baritone Saxophone and Concert Band (1982), and the Double Concerto for Sopranino and Bass Saxphones with Concert Band (1984)

Taking Jazz Singers Seriously: Gender, Race, and Vocal Improvisation

Senior Project submitted to The Division of Arts of Bard College

Redesigning a Performance Practice: Synergising Woodwind Improvisation with Bespoke Software Technology.

This research examines how the designing of a new performance practice based on the incorporation of custom digital signal processing software impacts on solo improvised woodwind performance. Through the development of bespoke software, I investigate how these new technologies can be integrated into solo woodwind performance practice. This research presents a new improvised music practice as well as a suite of new software tools and performance techniques. Through a workshop and performance-­‐based research process, a suite of software processors are developed which respond, and are complementary, to a personalised style of improvised performance. This electronic augmentation of the woodwind instrument (clarinet, bass clarinet, alto saxophone and xaphoon) is tested over the course of thirty solo improvised performances. These performances are documented as audio files and analysed using methods derived from electroacoustic music practice. This research represents an important development in the emerging field of improvised music performance engaging with new digital technologies. The research is practice-­‐led from the viewpoint of an experienced performer and tested in real-­‐world situations, resulting in a useful research outputs embedded in the peer community. Examining the history of live electronic performance practice, this research situates itself within the field of expert performers who use digital processing in free improvisation contexts. A critical understanding of the processes involved allows this researcher to design a new performance practice more effectively. While research necessarily draws on my own performance practice, the knowledge generated will have broad relevance in the field and much of this work is applicable to non-­‐woodwind instrumentalists and singers. The research outputs include freely distributable software created during this project

Space and Voice: Compositions for Contemporary Cello

This dissertation contains a diverse portfolio of ensemble and solo compositions for contemporary cello. Throughout the accompanying paper, the concepts space and voice are utilized as analytical lenses, as they are central to my compositional approach. The evolution of cello space in Western art music is contrasted with cello space in jazz, and the modes of sound production in the classical cello tradition are compared to the voice of the jazz cello. While examining jazz cello voice, the notion of idiomatic improvisation is considered and the paper turns to original research regarding the recordings of Harry Babasin, Oscar Pettiford, and Fred Katz, who introduced the cello as an improvising instrument to the jazz genre. The remainder of the written component focuses on my composition process and aesthetic considerations. Composition and improvisation are treated as distinct but interrelated points along a continuum of creative music practice. Within the composition process, improvisation is used to generate musical materials, and various methods of structuring pieces to incorporate improvisation are employed. Commentaries on the composition process, including the salient features pertaining to space and voice, are included for each score

Proceedings of the 2015 WA Chapter of MSA Symposium on Music Performance and Analysis

This publication, entitled Proceedings of the 2015 WA Chapter MSA Symposium on Music Performance and Analysis, is a double-blind peer-reviewed conference proceedings published by the Western Australian Chapter of the Musicological Society of Australia, in conjunction with the Western Australian Academy of Performing Arts, Edith Cowan University, edited by Jonathan Paget, Victoria Rogers, and Nicholas Bannan. The original symposium was held at the University of Western Australia, School of Music, on 12 December 2015. With the advent of performer-scholars within Australian Universities, the intersections between analytical knowledge and performance are constantly being re-evaluated and reinvented. This collection of papers presents several strands of analytical discourse, including: (1) the analysis of music recordings, particularly in terms of historical performance practices; (2) reinventions of the \u27page-to-stage\u27 paradigm, employing new analytical methods; (3) analytical knowledge applied to pedagogy, particularly concerning improvisation; and (4) so-called \u27practice-led\u27 research.https://ro.ecu.edu.au/ecubooks/1005/thumbnail.jp