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Hugh Hodgson School of Music

Overview
Works: 55 works in 55 publications in 1 language and 55 library holdings
Genres: Academic theses 
Publication Timeline
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Most widely held works about Hugh Hodgson School of Music
 
Most widely held works by Hugh Hodgson School of Music
Chinese piano concertos from 1936 to 2010 by Yan Kou( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

The Chinese piano concerto has only existed since 1936. For much of its existence its cultivation was sporadic, but in the last four decades the Chinese piano concerto has blossomed along with the research of the genre. This study provides a brief history of the Chinese piano concerto. It also presents an overview of existing scholarship on the subject, both in English and Chinese. Finally, this study illustrates the compositional problems faced by Chinese composers writing in a Western genre with analysis of three representative concertos. The three concertos are: (1) Jiang Wenye's Piano Concerto No. 1, Op. 16 (1936); (2) Yellow River Piano Concerto (1969), arranged by Yin Chengzong, Chu Wanghua, Sheng Lihong, Liu Zhuang, Xu Peixing, and Shi Shucheng from Yellow River Cantata composed by Xian Xinghai in 1939; and (3) Zhao Xiaosheng's Piano Concerto No. 1, "Aphrodite" (1985)
Wireless audio streaming technology and applications in music composition and performance by Cody Daniel Brookshire( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

SynkroTakt is a technology created by myself and two others that synchronizes tracks of audio being streamed to a multitude of web-enabled devices. I have used this technology as an integral part of several compositions that I have written during my doctoral studies. In these pieces, the audience is asked to get out their web-connected devices and connect to a server to receive and play back audio as part of a live performance. The audio coming from each audience member's device is composed in such a way that it musically interacts with other audience members' devices, as well as live music being performed on stage. This convergence of electronic media, live performers, sound spatialization, and audience interaction presents a little-explored area of research, as well as fertile new ground for composition in the 21st century. By asking the audience to take part in the performance, greater levels of engagement between them and the performance can be attained. Additionally, harnessing the power of each audience member's very own digital instrument (their smartphone with its own speaker) can easily change what a live music experience can be, with sound potentially coming from every corner and spot of a performance space. Thus, new music composed for this combination of media, live performers, and concepts stands to transcend being a novelty and experiment. Chapter 1 of my dissertation examines previous experiments, projects, and works that set a precedent for musical pieces of this sort. Chapter 2 details the technology of SynkroTakt, describing how it works and evaluating the advantages and disadvantages of its method of audio track distribution in comparison with the technology from the works of others. Chapter 3 overviews several of my own composition that utilize this audio-streaming technology, noting the pros and cons of each piece, as well as important compositional strategies learned from the creation and performance of each piece. This chapter reviews these pieces in chronological order, while also detailing the development of improvement of the technology. A conclusion reviews the progress made while also looking forward to other implementations of the technology along with possible feature additions
Narratives of Irony and Romance in Grieg's Cello Sonata in A Minor: A Performer's Analysis by Ana Cristina Barbosa Abrantes Sicilia( )

1 edition published in 2017 in English and held by 1 WorldCat member library worldwide

This dissertation explores the interaction between structure and meaning in the three movements of Edvard Grieg's Cello Sonata in A Minor, building a unique interpretation of this work solely based on analysis, rather than enculturation and imitation of those considered to model best practice. This study combines structural analysis with expressive analysis, making connections between analysis and interpretation, while also addressing performance issues. While I primarily use the narratological approach of Byron Alm©♭n and the semiotic approach of Robert Hatten, I also use Schenkerian analysis to enhance my narrative reading of each movement. Additionally, I explore the intertextuality between the cello sonata and other works by Grieg to support the narrative trajectory. In the case of the cello sonata, its second movement, for example, quotes the Homage March theme from his incidental music to Sigurd Jorsalfar (Sigurd the Crusader), a historical play written by the Noble prize winner Bj©ırnstjerne Bj©ırnson. This self-quotation in the cello sonata brings extra-musical meaning to this analysis, emphasizing the fact that representations of landscape in Grieg's music are not necessarily tied to visual stimuli, but rather tied to literary texts. Alm©♭n's narrative theory proposes a combination of approaches to musical narrative drawing from literary criticism, semiotics, historiography, musicology, and music theory. Therefore, an understanding of the historical context for Grieg's Cello Sonata combined with the structural analysis of this work fulfill the criteria for narrative. The performance suggestions at the end of each analysis reaffirms the value of narrative analysis by providing an interaction of the melodic and formal structure of the movement with musical interpretation, bringing meaning to the work's narrative voice in a practical manner
The voice and body language of female orchestral conductors: discussion, exploration, and tools for a better understanding. by Claudine Gamache( )

1 edition published in 2017 in English and held by 1 WorldCat member library worldwide

Despite considerable research on the relation of gender and leadership, particularly in political studies and business, there is still very little published on the topic in the classical music industry. Conventionally, femininity conjures representations of softness, weakness, even silence, yet these descriptions are not representative of a leader. There is, therefore, a contradiction between femininity and leadership. This document explores at certain issues related to conducting as a leadership position, particularly concerning the female voice and body. An historical analysis of gender representation and perception of the female voice and body helps situate the particular issues experienced by women, particularly in positions of leadership. The goal is to understand the unique difficult position women find themselves in when it comes to conducting. Voices and bodies are not typically gender neutral. They are perceived differently, by both the audience and the conductors themselves. Women have a very narrow margin of action when it comes to exercising leadership through their voice or body. Because women have different bodies than men, and because they are also perceived differently, to copy gestures that work for men might not help women gain confidence in their own capabilities. With this in mind, this document concludes by giving specific exercises and practices for women conductors to gain self-awareness in their own voice and body, so they can express and embody leadership with confidence
The Oboe Concertos of Frigyes Hidas: : a historical and stylistic examination and performance guide by William Harry Jones( )

1 edition published in 2019 in English and held by 1 WorldCat member library worldwide

Frigyes Hidas (1928-2007) made significant contributions in the field of compositions for wind instruments. His concertos for the oboe are great additions to the repertoire for this instrument. Yet, little has been written about them, and they are not widely studied or performed. This study provides background information on the composer, his approach to music, and his oboe concertos: the Concerto for Oboe and Orchestra (1951), the Concerto No. 2 for Oboe and Wind Ensemble (2000), and the Double Concerto for Oboe, Bassoon and Wind Ensemble (2001). It also provides performance notes and suggestions for these works
Pioneers of music education in Jackson County : 1788-1979 by Darce Todd Chandler( )

1 edition published in 2016 in English and held by 1 WorldCat member library worldwide

The pioneers of education in Jackson County, Georgia provided instruction in music long before it was incorporated into the Jackson County Public School System. Students who sought a formal arts education in Jackson County prior to 1979 were forced to seek out musical authority figures such as Charles T. Barber, Gladys Standridge, Hyman Brown, and Timothy Wheeler. A chapter in this study is dedicated to each of these outstanding musical pioneers, including a description of their musical background, teaching method, didactic sources, musical performances, and philosophy. Because of their efforts, the value of music education became strongly interwoven into the fabric of Jackson County. Primary sources for this study are comprised of unpublished materials such as notes from personal interviews, personal correspondences, a diary, and family photos. Secondary sources include interviews with family members, friends and colleagues, newspaper articles, and published books. A majority of the artifacts are owned by family members and friends of people covered in each chapter. This study explores the means by which the pioneers of music education in Jackson County shared their musical knowledge and experiences with others until music education was established in the public schools. It also places Jackson County, a southern school, in historical context compared to national trends and to other schools and systems throughout the United States when music was gradually being incorporated into the nation's public schools. The common agencies of music education, the singing school, the convention, brass bands, and rhythm bands remained the primary sources of music education until 1979 when Timothy Wheeler hired the first full-time band teacher at Jackson County High School
The influence of repertoire on the performance quality of fourth-grade recorder students by John Michael Cypert( )

1 edition published in 2017 in English and held by 1 WorldCat member library worldwide

The purpose of this study was to investigate (a) the relationship between the music repertoire used to teach the recorder to fourth grade students and the quality of their musical performance and (b) the relationship between the students' preference in music repertoire and the quality of their musical performance. Students (n = 192) from eight pre-existing intact fourth grade classes participated in this study. Students (n = 98) from four intact classes were taught to play the recorder using a folk song repertoire and students (n = 94) from the other four intact classes were taught to play the recorder using a popular music repertoire. The study followed a non-equivalent, posttest only design, a type of quasi-experimental research. After a seven-week period, students were audio- and video-recorded performing excerpts from their respective repertoires. Students' performances were evaluated by four adjudicators using the researcher-created 4th Grade Recorder Performance Assessment Rubric. Following this performance assessment, participants continued learning to play the recorder for two weeks but using the contrasting group's repertoires. At the conclusion of the recorder unit, participants completed a short survey asking them to specify their preference of repertoire when learning to play the recorder. A t-test and Wilcoxon signed-rank test concluded that the quality of the students' performances taught using the varying repertoires was significantly different. Performance qualities for students taught using folk music were better than those taught using popular music. Student surveys revealed that popular music was the most preferred music to use when learning to play the recorder. A two-way Analysis of Variance (ANOVA), however, revealed that musical preference was not a statistically significant factor affecting students' performance qualities. The researcher concluded that folk songs continue to be a valuable tool in teaching music to young children. Additionally, teachers should be encouraged to incorporate into their instruction the music that most students prefer
Understanding Vagner Cunha's violin concerto : an analysis and performance guide by Moises B Cunha( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

This dissertation takes an analytical and pedagogical approach to Vagner Cunha's Violin Concerto, and more generally, an overview of Vagner's musical peculiarities and influences. Particular attention has been given to how his interest in the arts and collaboration with film directors and visual artists has shaped his musical imagination. Orchestrated for strings, harpsichord, piano, timpani, vibraphone and flute, the Violin Concerto is approximately twenty-seven minutes in length and consists of three movements performed with no interruption: 1. Moloko-Plus; 2. Milonga-Synthemesc; 3 Drencrom. The titles of the movements are important for the understanding and interpretation of the piece, as it indicates the impetus that oriented the composer in his choices of sonorities and expressive intentions. Moloko-Plus, Synthemesc and Drencrom are names extracted from the novel A Clockwork Orange by Anthony Burgess (1962), referring to highball cocktail drinks with mixed hallucinogen substances. The author has analyzed and investigated the musical peculiarities of the Violin Concerto that are innate to Vagner Cunha's personality and artistic identity, providing useful information about structure, thematic material, and expressive content that will assist the understanding and interpretation of work. Lastly, a performance guide discusses how certain musical traits affect the performer's musical decisions. Special attention is given to technically demanding passages and actions that generate and project the work's sonorities and emotional content, offering preparatory exercises and suggesting practice techniques. This serves as a practical guide for violinists interested in learning and performing Vagner Cunha's Violin Concerto, as well as stimulating the study of the performance context of other current composers
Alberto ginastera's tres piezas, suite de danzas criollas, and piano sonata no. 3 : a performance guide by Minsil Choo( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

An Argentine composer of the twentieth century, Alberto Ginastera reflects Argentine culture and musical style in his music. Even though there are many sources concerning Ginastera's music, most discussions lack applicable information for performing his compositions. For this reason, this study provides a performance guide for less performed pieces in Ginastera's output, specifically Tres Piezas (Three Pieces), Op. 6, Suite de Danzas Criollas, Op. 15, and Piano Sonata No. 3, Op. 54. Musical styles from Argentine culture, the composer's biography and examples reflecting the musical characteristics from Ginastera's different compositional style periods of "objective nationalism," "subjective nationalism," and "neo-Expressionism" are provided. For all three compositions, Tres Piezas, Suite de Danzas Criollas, and Piano Sonata No. 3, an analysis of the musical form and the musical elements introducing Argentine dance rhythms of each piece are also included. Additionally, this guide provides performance suggestions concerning musical details, such as fingering and pedaling, as well as specific practice strategies and suggestions for challenging passages found in Tres Piezas, Suite de Danzas Criollas, and Piano Sonata No. 3
A performance guide based on Otakar ¿ ev♯⁻©Ưk's method "studies and analysis" for Jean Sibelius' violin concerto. by Serena Scibelli( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

The Violin Concerto Op. 47 by Jean Sibelius (1904/1905) is accepted in the standard repertoire as a major work of equal caliber to other well-known romantic virtuoso concertos such as those composed by Mendelssohn (1844), Tchaikovsky (1878), and Brahms (1879), and presents remarkable challenges to the performer. Violinist and influential teacher Otakar Ševčík wrote analytical studies specific to several works in the violin literature. These etudes are specifically created for difficult excerpts within each piece and help the violinist to simplify the practice process. Although violin players have many available options for technical methods to achieve superior technique on the instrument, no published collections equivalent to Ševčíka's nalytical studies exist for Sibelius' Violin Concerto. The primary focus of this dissertation is the creation of preparatory exercises specific to the three movements of Sibelius' Violin Concerto following the method employed by O. Ševčík, although the creation of an analytical study method for this concerto will not be its only scope. The purpose of this dissertation is to initiate thoughts and ideas regarding the creativity that musicians need to flourish when generating a personal practice method that maximizes practice efficiency and hones personal technical and musical potential. Through the use of these exercises the performer can improve their technique by applying the suggested practice methods to the repertoire, developing the ability to identify and overcome technical challenges ⁰́₃ a skill that will be valuable throughout their career
A selection of chamber and solo works for trumpet by Osvaldo Lacerda by Anderson Lagoin Romero( )

1 edition published in 2016 in English and held by 1 WorldCat member library worldwide

This dissertation begins with a biographical sketch of Lacerda covering his ties to Brazilian nationalism, including an historical background of the movement. My analysis will aid performers in interpreting his works and will focus on his Brazilian musical traits such as melodic shape, harmonies, rhythmic patterns, and the influence of both popular and folk music. Ultimately, this document will give trumpet players an awareness and understanding of the Brazilian chamber and solo literature for trumpet by Osvaldo Lacerda
Two musical settings of Ugolino : tragedy, irony, and the hermeneutics of Dante by David Alexander Heinsen( )

1 edition published in 2017 in English and held by 1 WorldCat member library worldwide

This thesis seeks to merge the discourses of music theory (semiotics and narrative) and Dantean literary hermeneutics through the analysis of two musical adaptations of the character Count Ugolino (Inferno, Canto XXXIII). The adaptations, composed by Gaetano Donizetti and Francesco Morlacchi, are first discussed within the frame of their sociocultural context and corresponding critical reception. An analysis of the Morlacchi setting aligns with a tragic reading, and thus fits squarely into the 19th-century Italian understanding of the character, while the Donizetti can only be read ironically, yielding an interpretation that explores Ugolino through the lens of religion and morality
A CD recording project for solo percussion by Nathaniel Scott Lee( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

Solo percussion repertoire is rapidly growing yet still relatively small in size, reflecting the youth of the tradition in contrast to other string and wind instruments which have functioned as solo instruments since long before the introduction of timpani and percussion to the orchestra. The percussive discography is also limited in size, and this project aims to address the issue by creating a CD recording of works by all living composers on a variety of percussion instruments: Falling Leaves for snare drum by Timothy Adams, Jr.; Metaphor for Vibraphone by Robert Pollock; In Other Words for multiple-percussion by Joseph Pereira; Rituals for solo timpani by Bruce Hamilton; and two marimba solos, Dances of Earth and Fire by Peter Klatzow and Fabian Theory by Nigel Westlake. This accompanying documents seeks to provide context for the recording through background information about the compositions and composers, information about existing recordings and academic literature, and provides discussion and analysis of the works as a resource for future performers
Rethinking Jeanne and the theme of the supernatural in Die Teufel von Loudun by Jinkyung Lee( )

1 edition published in 2017 in English and held by 1 WorldCat member library worldwide

Krzysztof Penderecki's (b. 1933) Die Teufel von Loudun is an adaptation of a play by John Whiting that tells a story of demonic possession and exorcism based on a historical event in Loudun. Previous scholars have neglected the supernatural element, despite the clear evidence that Penderecki changed texts and reordered the plot to make Jeanne's supernatural experiences more convincing and more significant to the plot. Through strange shifts in vocal range and timbre, evocative orchestration, and unusual uses of the chorus, Penderecki revealed the coexistence of two realms: one natural and one supernatural. At times, he blurred the border between the realms through ambiguous musical effects involving oddly mismatched timbres. Elsewhere he made structural links between scenes in order to reveal previously hidden supernatural elements. Penderecki's multiple evocations of the supernatural through music add an important dimension to the opera and make the character Jeanne central to understanding it
Text and scansion in Schoenberg's a survivor from Warsaw, Barber's Knoxville : summer of 1915, and Stampe's the tell-tale heart by Tyler James Stampe( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

The first part of this document presents a new composition, The Tell-Tale Heart for baritone voice and wind ensemble, using prose from the short story of the same name by Edgar Allan Poe. This composition, along with Arnold Schoenberg's A Survivor from Warsaw and Samuel Barber's Knoxville: Summer of 1915, is then analyzed with a scansion model derived from the research of Peter Groves that shows word and syllable stress. This research also compares these scansion models to the musical adaptation of the text settings. This allows for discussions about occurrences of mobile accents or other effects that arise when the musical adaptation and the scansion differ, which can contribute to considerations of musical interpretation
Performance editions and instructional materials to support the study of renaissance madrigals in middle school and high school concert bands by Brett Bawcum( )

1 edition published in 2017 in English and held by 1 WorldCat member library worldwide

The repertoire available for performance by middle school and high school bands is insufficient to facilitate study in these ensembles of Renaissance vocal music⁰́₄the most significant music of that era. This inhibits the study of historically diverse repertoire, which has been by identified by numerous entities as a goal of music education since the 1960s. This document seeks to improve the state of the repertoire by providing authentic performance editions for band of three Renaissance madrigals: Scaldava il sol, by Luca Marenzio; Weep, o Mine Eyes, by John Bennet; and Ecco mormorar l'onde, by Claudio Monteverdi. The performance parts include original madrigal texts and translations (where applicable) to aid study of the relationship between music and text that was characteristic of madrigals. Instructional materials are included to support classroom activities related to the text-to-music relationship. An experiment to study the effect of such materials on the activities of middle school and high school bands was undertaken. The results, while not significant in every measure, suggest that similar adaptations may improve the likelihood of Renaissance music study in band classrooms
Transformation in Richard Strauss's Horn Concerto No. 1 by Peter Harris Riggs( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

The following document constructs a narrative analysis of Richard Strauss's Horn Concerto No. 1 using the narratological approach of Byron Alm©♭n. It will provide an overview of Alm©♭n's strategy and its employment in this piece, and it will be supported by analyses of topic, rhythm, harmony, form, and melody. The purpose of this document is to deepen the understanding and appreciation of this work by discovering a musical narrative embedded in the musical structure. There will also be a proposed interpretation of the narrative as a biographical parallel to the composer's life at the time of composition
The correlation between orchestration and formal structures in contemporary works for large ensembles by Ben Paul Robichaux( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

As the Lights Go Out, a wind ensemble and quadraphonic electronics piece by Ben Robichaux, applies formal structures that correlate with orchestrational techniques particularly as it pertains to the role of electronics. Select purely acoustic models by John Corigliano and Joseph Schwantner suggest that large-scale forms are in fact paralleled by stark contrasts in orchestration. Carrying this method of analysis into further analyses of wind ensemble and electronics pieces by Steven Bryant and Christopher Stark yields valuable conclusions about the role of electronics in such mediums moving forward. The electronics used in the works of these composers often correlate to formal structures, while rarely exhibiting isolated characteristics. This informs a careful balance of aesthetic variety among the electronics and the ensemble in Robichaux's approach to composing As the Lights Go Out, focusing on equality of formal drive between the two forces, while keeping the role of the electronics in check at all times
A horn transcription of four of the Twelve Fantasias for Flute without Bass, TWV 40:5-8, by Georg Philipp Telemann by Lauren Ann Hunt( )

1 edition published in 2016 in English and held by 1 WorldCat member library worldwide

A transcription for unaccompanied horn of four of the Twelve Fantasias for Flute without Bass, TWV 40:5-8, by Georg Philipp Telemann, is needed due to the lack of unaccompanied horn repertoire prior to the twentieth century. This document includes the resulting transcriptions with accompanying material describing historical context, baroque period wind performance practice, and adaptation of these techniques to performance of baroque on the modern horn
The brazilian influences in copland's clarinet concerto by Pedro Henrique Alliprandini( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

Aaron Copland's Clarinet Concerto written in 1948 for the jazz clarinetist Benny Goodman is one of today's most important American pieces of the clarinet repertoire. During the composition process of the Clarinet Concerto Copland was traveling as a cultural ambassador in South America. The local music he experienced in Brazil inspired him to incorporate Brazilian folk music in the Clarinet Concerto. This research investigates the Brazilian influences in the Concerto based on Copland's musical experiences in the Brazilian state capitals of Rio de Janeiro, Sa̳o Paulo, Recife, and Salvador. It provides a performance practice guide of Brazilian music through a discussion of the popular musical styles frevo, samba, and choro, as well as concert works by the Brazilian composers Heitor Villa-Lobos and Camargo Guarnieri. Guided by Brazilian music performance traditions, this document offers an alternative performance perspective of the Clarinet Concerto that embraces its Brazilian influences, and contributes to the Pan-American character of Copland's musical style
 
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