Clustering of Musical Pieces through Complex Networks: an Assessment over Guitar Solos

Musical pieces can be modeled as complex networks. This fosters innovative ways to categorize music, paving the way towards novel applications in multimedia domains, such as music didactics, multimedia entertainment and digital music generation. Clustering these networks through their main metrics allows grouping similar musical tracks. To show the viability of the approach, we provide results on a dataset of guitar solos.Comment: to appear in IEEE Multimedia magazin

Musical accompaniments in the preparation of marimba concerti: a survey of selective interactive music software programs

The purpose of this study was to investigate the features of three interactive music software programs and their application in preparing marimba concerti. Specifically, the study evaluated Finale, NOTION, and SmartMusic for their viability in preparing Concerto No. 1 in D Minor for Marimba and Orchestra by Noah Taylor. A review of the literature relating to interactive music software programs revealed a lack of studies examining the use of these types of programs in the preparation of marimba concerti. All three software programs were installed on a 15-inch MacBook Pro computer that met system requirements for all three programs. Documentation indicated that all three interactive music software programs offered viable alternatives to preparing marimba concerti with piano reductions. Finale and NOTION provided comparable instrument sounds in terms of quantity and quality. Finale improved its instrument sound quality and quantity through its integrated Garritan Instruments sound library. NOTION offered improved sound quality and quantity through the purchase of Sound Expansion Kits. Finale’s Tempo Tap feature and NOTION’s NTempo function provided real-time tempo adjustment and the Audio Mixer mechanism for both programs allowed the user to isolate instruments. SmartMusic offered comparable instrument realizations through its SoftSynth device. The program, however, did not offer a tempo control feature that was compatible with marimba. Also, SmartMusic’s export options and Practice Loop feature allowed the user to effectively isolate instruments. Further research recommendations included empirical studies examining the benefits of interactive music software programs on the preparation of marimba concerti and applying earlier studies performed on the Vivace interactive music software program to current music software programs. Descriptive study recommendations included investigating the applications of interactive music software in the preparation of orchestral percussion excerpts and marimba concertos with wind ensemble, percussion ensemble, or chamber ensemble accompaniments

A BLENDED PIANO TEACHING MODEL FOR NON-PIANO MUSIC MAJOR STUDENTS IN HUNAN CITY UNIVERSITY

The purpose of this quantitative research is to improve the piano performance skills of the non-piano major sophomore music students in Hunan City University. Based on the Morrison, Ross and Kemp Model (MRK), the researcher selected Sight-Reading, Scales and Arpeggios, Etude and Piano Piece as components of training and assessment to construct the Blended Piano Teaching Model (BPTM). The purposive sampling technique had been employed to select samples and divided into two groups; one was the experimental group with 15 sophomores, and the other was the control group with 15 sophomores from 280 non-piano music majors in the School of Music, Hunan City University. The results revealed that the experimental group using the BPTM statistically significant improve in Sight-Reading, Scales and Arpeggios, Etude and Piano Piece components compared with the control group without applying the BPTM model. Therefore, it was concluded and confirmed that the BPTM was the effective teaching tools in piano teaching for non-piano major music students. As the result, the institutions should consider implementing BPTM as one of the piano teaching strategy.&nbsp

MICHAEL DAUGHERTY’S BELLS FOR STOKOWSKI: HISTORICAL CONTEXT & COMPARATIVE ANALYSIS FOR ORCHESTRA AND WIND BAND

Michael Daugherty’s Bells for Stokowski (2001/2003) is an original work for orchestra and wind band. This work has continued to be performed by ensembles around the world including live performances, and studio recordings. The purposes of this dissertation are to 1) provide historical context of the composer and inspiration for the work, through interviews with its composer, Michael Daugherty, and premiere conductor, Michael Haithcock; 2) provide relationships between the Liberty Bell (architecture), several composers Stokowski worked with and conducted (art), modern and historical compositional styles through pieces like Stravinsky’s Rite of Spring (pop culture), how an audience perceives the sound coming from the stage through the seating arrangement of the ensemble (society), as well as performance practices of the piece (society and art), which bring to life a multi-faceted and innovative piece in the twenty-first century as it relates to the original orchestra score and the wind band transcription. Chapter one discusses biographical and historical context important for the understanding of Daugherty’s music and Bells for Stokowski. Chapter two discusses the history of orchestration and instrumentation from Bach, as it compares to Stokowski and Daugherty. Chapter three discusses composer influences on Bells for Stokowski. Chapter four discusses programmatic elements and performance differences. Chapter five is the conclusion of the discussion of Bells for Stokowski. Included in the discussion in Part I are examples/items created to assist in describing connections to orchestration, influential composers, programmatic elements, and performance practices. An appendix of information provides further insight gained through the interviews conducted with Michael Daugherty and Michael Haithcock

MUED 345: Instrumental Music Methods

The course Instrumental Music Methods (MUED 345) is designed to provide a fundamental preparation for future music educators to teach instrumental music--both orchestral and band--to adolescents in schools. The description in the UNL Schedule of Classes describes this course as dealing with administrative approaches, rehearsal techniques, and modern comprehensive teaching styles for the secondary instrumental teacher. I chose this course for my peer-review because preparing future instrumental music teachers is one of my primary responsibilities as the instrumental music education specialist at UNL, and this course is the primary course to prepare students for this outcome. It is therefore vital that both the objectives of this course and the overall design of this course be thoroughly attended to. I had three main objectives for this course portfolio: (a) refine the course with significant attention to course objectives and the connection between objectives and course teaching/learning strategies or assignments, (b) documenting and analyzing student learning within this class, and (c) documenting the efficacy of my teaching and the impact of the course as a whole

John Mackey: the composer, his compositional style and a conductor\u27s analysis of Redline Tango and Turbine

The purpose of this monograph is to present the first formal analysis of John Mackey and his music. Through substantive firsthand interaction with the composer, this document details Mackey’s unique compositional development through computer-based learning and includes a conductor’s analysis of Redline Tango and Turbine. Mackey’s compositional style includes simplistic forms using melodies and harmonies that do not readily demonstrate the difficulties conductors and performers may find within his well-crafted compositions. Mackey’s work emphasizes the element of rhythm and his orchestration typically utilizes the conventional instrumentation for wind ensemble with prominence placed on percussion. Redline Tango has been awarded two significant band awards and has received international performances. Turbine is unique in comparison to Mackey’s earlier works, relying even less on melodic material and more on rhythmic complexity for its content, establishing it as Mackey’s most rhythmically complicated band work to date. A distinctive characteristic of Turbine is Mackey’s percussion scoring, which includes the use of non-traditional percussion instruments and may cause conductors to consider alternative score preparation and rehearsal techniques. Both Redline Tango and Turbine display balance in form between repetition and contrast, consistency and originality in style, a creative design that exhibits craftsmanship and unique rhythmic vitality. Although technically demanding, conductors and performers should find rehearsals and performances of both pieces to be enjoyable. To be assured, audiences continue to be captivated by Mackey’s distinctive compositional style, unique rhythmic creativity and imaginative percussion scoring

3D Composer: A Software for Micro-composition

The aim of this compositional research project is to find new paradigms of expression and representation of musical information, supported by technology. This may further our understanding of how artistic intention materialises during the production of a musical work. A further aim is to create a software device, which will allow the user to generate, analyse and manipulate abstract musical information within a multi-dimensional environment. The main intent of this software and composition portfolio is to examine the process involved during the development of a compositional tool to verify how transformations applied to the conceptualisation of musical abstraction will affect musical outcome, and demonstrate how this transformational process would be useful in a creative context. This thesis suggests a reflection upon various technological and conceptual aspects within a dynamic multimedia framework. The discussion situates the artistic work of a composer within the technological sphere, and investigates the role of technology and its influences during the creative process. Notions of space are relocated in the scope of a personal compositional direction in order to develop a new framework for musical creation. The author establishes theoretical ramifications and suggests a definition for micro-composition. The main aspect focuses on the ability to establish a direct conceptual link between visual elements and their correlated musical output, ultimately leading to the design of a software called 3D-Composer, a tool for the visualisation of musical information as a means to assist composers to create works within a new methodological and conceptual realm. Of particular importance is the ability to transform musical structures in three-dimensional space, based on the geometric properties of micro-composition. The compositions Six Electroacoustic Studies and Dada 2009 display the use of the software. The formalisation process was derived from a transposition of influences of the early twentieth century avant-garde period, to a contemporary digital studio environment utilising new media and computer technologies for musical expression

Spiritual conflict in Gustav Mahler's first and second symphonies

This study explores the presence of ‘spiritual conflict’ in Gustav Mahler’s First and Second Symphonies, and attempts to show that relevant issues of spiritual struggle are apparent throughout Mahler’s oeuvre. To do so, issues concerning Mahler’s spirituality, as they are apparent from both primary and secondary sources, are examined, with particular emphasis on reports by Bruno Walter concerning Mahler’s interest in mystical writings, and especially those by the seventeenth-century writer of epigrams, Angelus Silesius (b. 1624— d. 1677), whom Walter identifies as being Mahler’s favourite mystic In the second part of the study, the representation of ‘spiritual conflict’ through the secondary parameters of texture, dynamics and orchestration, in Mahler’s First and Second Symphonies, is examined, with the assistance of an originally devised method of visually representing, and viewing these secondary parameters on both a synchronic and diachronic level

Introduction: The Ingredients of a Masterpiece

I believe that the study of music can justifiably include the study of any aspect of musical behavior, including the study of the teaching of music as well as the study of the teaching about music. With this in mind, some time ago I had the idea that it would be an interesting departure for Current Musicology to examine the teaching of music survey courses, with particular attention paid to "masterpieces" courses-of the type that constitutes the music component of Columbia's undergraduate Core Curriculum. I wanted views from outside Columbia-indeed, from outside the research university setting-as well, so I solicited articles from scholar-administrators at a conservatory and at a liberal arts college. I am therefore pleased to present, in this special section of Current Musicology #65, the viewpoints of Peter Rojcewicz, from The Juilliard School in Manhattan, and of Sean Williams, from The Evergreen State College in Olympia, Washington. Annalisa Swig Poirel, an early music scholar here at Columbia, provides a look at the issue from within the research university itself; my own contribution makes mention of some of the unspoken, and too often unexamined, musical "givens" that contribute to the production, dissemination, and consumption of the Masterpieces of Western Music