Student Research, Creative Activity, and Performance - School of Music

Sing Solo Pirate: Songs in the Key of Arrr! A Literature Guide for the Singer and Vocal Pedagogue

Michael S. Tully — Tue, 07 May 2013 08:51:06 PDT

Pirates have always been mysterious figures. They came out of nowhere, attacked their victims, plundered their goods, and vanished. Reason tells us that pirates were no more than common criminals, but over the centuries, history has come to portray them as romantic and even heroic figures. This stereotype of piracy has long been a fascination of authors, poets, and composers, and it is evident in our cultural landscape.

This document examines an area of pirate literature that has been neglected, if ever discussed: the published pirate song for solo voice and piano accompaniment. Over the past two centuries many such pirate-themed compositions have been composed, published, sold, and circulated. Yet today, much like the elusive pirates themselves, most of this musical repertoire has become obscure. It, too, has nearly vanished, remaining seldom performed, mostly forgotten, and now buried at the bottom of the proverbial musical sea.

My breadth of study is that of existing “classical” scores: published sheet music for voice and piano, either currently in print or long out-of-print, still under copyright, or now in the public domain. Based on the actual source material—the scores I have found and obtained—I have created a reference piece. Through the unearthing and reexamination of these long forgotten and seldom-heard songs, I will illustrate how this repertoire can serve as a viable performing resource for the practicing and performing singer as well as a teaching asset for the vocal educator. It is my goal to illuminate for the reader the most salient features of each piece, be they musical, pedagogical, textual, historical, or any combination thereof. The result of this examination, therefore, is a comprehensive catalogue or literature guide providing valuable detailed information about the songs found within this overlooked repertoire.

Advisor: William Shomos

Symphony No. 1 for Double Wind Orchestra

Amanda McCullough — Mon, 29 Apr 2013 10:10:46 PDT

This piece represents the splitting of the mind as well as the irrational and often violent thoughts that compete against each other in order to blur the line between the real and the imaginary. The piece culminates in the third movement into a sort of psychotic break and ends in the disquieting limbo between life and death represented by the solo piano.

This symphony also explores the sonic possibilities of creating a stereo effect by splitting the wind ensemble into two separate ensembles. This includes the resolution of dissonances on one side by the opposite side, the continuation of melodic ideas moving freely from side to side, and each side playing within tonality, but combining together to create dissonant bitonality.

The middle ensemble, which includes piano, bass, contrabassoon, and all the percussion but the two timpani, acts as a sort of glue that holds the two separate wind ensembles together and ultimately creates the illusion of one large ensemble that is split into two, like a psyche being fractured. The piano further represents pain and self destruction by the large, brutal cluster chords that are played by hitting the keys with full force with both forearms over and over again throughout the Symphony.

Adviser: Eric Richards

THE CHORAL MUSIC OF JAMES E. FRITSCHEL WITH A CONDUCTOR'S SPECIAL FOCUS ON THE PREPARATION OF HIS POLYCHORAL COMPOSITIONS

Jennifer Vanderholm — Tue, 23 Apr 2013 09:11:04 PDT

Polychoral compositions have been present since the late Renaissance and early Baroque periods. Oftentimes, the polychoral compositions performed today are compositions written during these early musical periods. In the latter half of the twentieth century, James Erwin Fritschel (b. 1929) wrote polychoral compositions that match the level of difficulty and excitement of the early polychoral compositions of the late Renaissance and early Baroque periods. Fritschel’s compositions have been celebrated by leading choral programs throughout the world, yet there is a notable lack of academic analysis of his works. The purpose of this document is to serve as a resource for conductors regarding James Fritschel’s choral compositions and a guide for score study and rehearsal preparation of his polychoral compositions. Also included are modern digital versions of each polychoral composition and transcriptions of interviews with the composer.

Advisor: Peter A. Eklund

THE IDENTIFICATION OF FACTORS CONTRIBUTING TO FIRST-YEAR COLLEGE STUDENTS’ MINDSET OF SINGING ABILITY, AND THE RELATIONSHIP OF THAT MINDSET TO INTENT TO PARTICIPATE IN SINGING ACTIVITIES

Susan Cogdill — Tue, 23 Apr 2013 08:46:57 PDT

The purpose of this quantitative study was to identify what factors shape mindset of singing ability in first-year college music majors and non-music majors, and to examine the relationship of that mindset to intent to participate in singing activities. A researcher-designed survey was administered to first-year college music majors and non-music majors (N = 426). The survey questions explored possible relationships between mindset (beliefs in singing ability as a fixed trait or potential for growth) and (a) past musical experiences, (b) influence from others, (c) singing identity, and (d) intended participation (Dweck, 2000). As expected, music majors tended to endorse more of a growth mindset of singing ability than non-music majors. Neither gender nor music specialization (voice versus non-voice) were significant factors related to singing mindset orientation. Results indicated a significant relationship between students who participated in high school choir, or in other out-of-school singing activities at this age, to a higher endorsement of a growth mindset orientation. Other predictors were having family members or teachers that encouraged them to sing. When participants were asked what previous feedback they had received about their singing ability they reported a high frequency related to "good" or "not good" in both categories of positive and negative feedback. In addition, students with a growth mindset of singing ability were more likely to hold positive self-evaluations of their singing quality, and participate in future singing activities.

Advisors: Rhonda Fuelberth and Robert Woody

A Chant from the Great Plains: An Analysis and Rationale for a Critical Edition

Raul G. Barcenes — Mon, 22 Apr 2013 07:05:49 PDT

This document explores A Chant from the Great Plains by Carl Busch. As the winner of American bandmaster Edwin Franko Goldman’s composition contest in 1919, this work helped launch the tradition of commissioning upon which the repertoire of the modern concert band medium relies. Inexplicably, Busch’s piece fell into obscurity and has become so rare that the primary researcher on Carl Busch, Dr. Donald Lowe, was not able to view any of the music while compiling his research with the exception of citations and articles. This document provides a rationale for the revival of the work in both scholarship and performances. Its origins were explored, as well as its historical significance and compositional craft. This document also provides a suggested instrumentation for performance, as well as a formal analysis of the work. Recommendations were also made for the creation of a critical edition for the modern wind band.

A Chant from the Great Plains helped begin the trend of accomplished composers viewing the wind band as a musically viable medium in the twentieth century. The historical and professional importance of this work warrants further study and the potential creation of a new critical edition.

Adviser: Carolyn Barber

Violin Concerto #1

Matthew J. Holman — Tue, 16 Apr 2013 10:20:57 PDT

This piece is a violin concerto modeled after, but not explicitly quoting melodic material of, several pieces of music by composers Bear McCreary, and Martin O’Donnell. The first and third movements of my piece were each modeled after two of Bear McCreary’s pieces from the soundtrack to Battlestar Galactica Season 2 – Allegro, and Prelude to War, respectively. The second movement of my piece was modeled after Martin O’Donnell’s piece Ashes, from the soundtrack to Halo: Reach.

Although I model my piece on the formal structures and, occasionally, the chord progressions of McCreary’s and O’Donnell’s pieces, my piece is significantly different from theirs. This difference in overall sound is accomplished through my use of orchestration, original melodic lines, fuller harmonies, use of rhythm, and changes to the original piece’s key structure and metrical plan.

My concerto has a total duration of approximately 18 minutes, and was written for violin soloist and full orchestral accompaniment. Each of my piece’s three movements was written to be able to stand independently of the other two. This allows an orchestra to play only a single movement without sacrificing any of the broader understanding of the works’ construction, as would occur if all the movements were closely thematically linked to one another.

The overall character of the piece was written in a post-minimalist style, with distinct melodies supported by often repetitious rhythmic patterns. The harmonies used in the piece are primarily based on triadic and pandiatonic structures. However, extended chords were also employed. By composing a piece in this style, my goal was to create a work that will appeal to younger audiences, and which would therefore aid in attracting newer audiences to the concert hall.

Adviser: Tyler White

Voice Recitals at the UNL School of Music: Compilation study

Audrey M. Nicholson — Tue, 29 Jan 2013 06:40:58 PST

An informative compilation of Voice Recitals at the UNL School of Music categorized by Masters, DMA, and Faculty recitals from 1988-2012. Information includes: composer, work title, song title, performer, performance date, instrumentation, audio availability, and online program link.

"Download" button links to pdf version of file. Spreadsheet version (.xls) is attached below as "Related file." ".xlr" files are spreadsheets and can be opened from MS Excel.

The Choral Music of Allen Henry Koepke (1939-2012) with a Conductor's Special Focus on the Preparation of His Seminal Work, Missa Brevis

Keith J. Curington — Thu, 06 Dec 2012 12:25:56 PST

Although American choirs have been performing Allen Koepke’s compositions since 1973 and his music is witnessing greater and greater international appeal, especially in Asia, academic writings about the composer and his contribution to the choral art have been absent. This document examines Missa Brevis, the seminal work by Allen Koepke, and serves as a conductor’s guide for score study and rehearsal preparation. It will address practical problems unique to the work and will suggest solutions that will ensure excellence in its performance. A biography, a complete catalogue of the composer’s large number of choral works in print, a listing of works not published, a chapter that focuses on Allen Koepke’s compositional career, a transcript of interviews with the composer, and a score of Missa Brevis are included. The purpose of this document is to not only be a resource for conductors regarding Allen Koepke’s choral oeuvre, but also guide them as they seek to present successful and informed performances of Missa Brevis.

Adviser: Peter A. Eklund

MAKIKO KINOSHITA AND HER 9 PRELUDES FOR PIANO: THE AMALGAM OF AMERICAN JAZZ AND EUROPEAN TRADITION

Mai Nagatomo — Thu, 29 Nov 2012 06:30:38 PST

Makiko Kinoshita is one of the leading contemporary composers in Japan. Kinoshita’s 9 Preludes (2001) is remarkable twenty-first century piano literature that provides abundant use of various musical styles. The most important style that Kinoshita combined with traditional Western writing is jazz; especially the rhythmic and harmonic language of Jazz music. This document provides a detailed analysis of Kinoshita’s unique treatments of form, tonality, harmony, rhythm, and motivic materials. The central section of this study employs musical examples in order to examine how Kinoshita fuses diverse elements of musical styles with modern musical language to create her own idiom. Along with an analysis of the work, Kinoshita’s biography, and musical aesthetics will be discussed. In addition, a brief history of Western music in Japan is included.

Advisor: Paul E. Barnes

A SURVEY OF THE SACRED CHORAL-ORCHESTRAL WORKS OF SIR HENRY WALFORD DAVIES (1869-1941)

Martin C. Cook — Tue, 24 Apr 2012 07:24:57 PDT

In the closing years of the 19th Century, when Charles Villiers Stanford, Hubert Parry and Edward Elgar were at the height of their fame and influence in British musical society Henry Walford Davies emerged as one of the most promising talents of the day, receiving commissions from the provincial music festivals of Great Britain, which were a rite of passage for emerging composers.

Between 1904 and 1929 Davies produced eleven sacred choral-orchestral works for these festivals and one further work, which were received favorably in their day but are now almost forgotten. There are five large multi movement works: The Temple, Everyman, Lift up your Hearts, Noble Numbers, Song of Saint Francis and six short works: Five Sayings of Jesus, Fantasy, Heavens Gate, Men and Angels, High Heaven’s King, Christ in the Universe and Ode on Time. Davies also composed a substantial amount of chamber, orchestral, church, and children’s music. Renewed interest in his music has resulted in some recent recordings, notably Everyman, his most successful cantata.

This study provides a survey of these sacred choral-orchestral works: the background to them, their initial reception, their musical style and attributes. While some are similar in construction, the nature of each work is defined by a deep commitment to the text, which manifests itself through musical expression and innovation. Information is also provided about performing materials and options for performance.

The neglect of Walford Davies’ sacred choral-orchestral works is discussed in the final chapter. It may have been a change in musical taste or simply that the intensely religious and personal nature of the works were out of favor in the aftermath of war. What can be said for certain is that his work is full of originality and as Ralph Vaughan Williams wrote on one occasion “beauty of invention.”

Contains an analysis of the sacred choral-orchestral works: The Temple, Everyman, Lift Up Your Hearts, Noble Numbers, Song of St Francis, Five Sayings of Jesus, Fantasy, Heaven's Gate, Men and Angels, High Heaven's King, Christ in the Universe, and Ode on Time.

Advisor: Therees Tkach Hibbard

Germaine Tailleferre's Film Score To Les Grandes Personnes

Jenna E. Moghadam — Mon, 23 Apr 2012 14:25:55 PDT

French female composer, Germaine Tailleferre (1892-1983) is well-known for her small chamber music compositions, but less known for her film score compositions, and her elusive film scores have not been a topic of discussion in music scholarship at the time of this writing. The aim of this thesis is to analyze one of thirty-eight films for which Tailleferre composed a score, Les Grandes Personnes (1961), and the information will be presented in three chapters. Chapter 1 provides information on Tailleferre’s life and compositional career, her inclusion in and the aesthetic endeavors of Les Six, and a background on French culture to necessitate the discussion of French cinematic history and music. In Chapter 2, French cinematic history in the context of film music will be discussed, as well as some filmic background on Les Grandes Personnes. Finally, Chapter 3 contains a musical analysis of Tailleferre’s score to Les Grandes Personnes by means of score transcriptions and stills taken from the film. The overarching goal of this thesis project is to provide more insight into Tailleferre’s compositional style by exploring a medium other than her chamber works, a general outline of her film score composing aesthetic, and her non-conformity to the prevailing trends of French cinema around 1961.

Adviser: Anthony J. Bushard

The Impact of Vowels on Pitch Finding and Intonation in the Movable-Do Solmization System

Thomas Neuerburg — Mon, 23 Apr 2012 14:03:07 PDT

The modern movable-Do solmization system based on syllables devised by Guido d'Arezzo was modified and pieced together over centuries by various scholars and pedagogues, each with their own rationale. To date, considerations of the movable-Do system have not sufficiently examined the effects of the vowels contained within its solfège syllables. While vowels have been thoroughly analyzed among vocal pedagogues, that information has not been adequately transferred to the realm of aural theory. Individual vowels contain perceptual qualities and intonational tendencies, due to their physiological articulation and acoustic properties. This document relates vowel characteristics with the solfège syllables used in the movable-Do solmization system, and explores potential implications contained therein.

Adviser: Stanley Kleppinger

A Little Rumba Numba: Latin American Music in Musical Theatre

John David Cockerill — Mon, 23 Apr 2012 10:55:19 PDT

Despite the prevalent use of Latin American musical styles in American musical theatre, little research has been done on the subject. Quite often the fact that a musical number even has a Latin beat goes unrecognized. This paper examines the various genres of Latin American music that have had an impact in the United States and in musical shows both on and off Broadway. Exploring a large number of examples from musicals throughout the 20th century has caused trends and tendencies in the way Latin music has been used come to light. These include common thematic content and stereotypes and similarities in mood and atmosphere. This work increases our understanding of how to identify various Latin styles in shows and how to discern why the composer made such a choice.

Adviser: Peter M. Lefferts

Performing Editions of the Handel Cantatas HWV 81, 105, and 113 for Soprano, Obbligato Instruments, and Continuo, or Piano Reduction, with Accompanying Notes, Phonetic Pronunciations, and Translations

Elizabeth N. Deutmeyer — Thu, 19 Apr 2012 08:32:44 PDT

This document consists mainly of performing editions of the Handel cantatas Alpestre monte (HWV 81), Dietro l’orme fugaci (Armida abbandonata) (HWV 105), and Figlio d’alte speranze (HWV 113). For each of the three cantatas on which the document is focused, provided in this document are a full score with realized continuo and extracted parts; a piano reduction; an overview containing information on key, tempo, range, tessitura, timing, and musical characteristics and vocal skills required; IPA, idiomatic translations, and word-for-word translations for each; options for da capo ornamentation; indications for cadential delays in recitatives and traditionally expected appoggiature and trills. Additionally, the author has provided pertinent biographical information on Handel, background on the cantatas, and notes on performance practice.

Advisor: Kathleen S. Butler

Symphony in Three Marches

Nels D. Daily — Thu, 19 Apr 2012 08:02:26 PDT

This symphony is in three movements and lasts about 25 minutes. The form of the music for each movement has been influenced by the marches of Wolfgang Amadeus Mozart, Edward Elgar, John Philip Sousa, and Dimtri Shostakovich.

The first movement is in a march form related to the music of John Philip Sousa: 1st strain, 2nd strain, trio, dogfight, trio dogfight, trio. This form has been adapted to merge with sonata form. Broad fanfares play a central role in the formal outline. They introduce formal sections similar to Beethoven's slow introduction in the first movement of the "Pathetique" sonata acting as indicators of formal construction.

The second movement is a slower hymn or dirge, which is a form closely related to a march. In many cultures hymns or dirges are sung in a procession, or while walking or marching. This movement begins and ends with a sentimental hymn in the strings. In the middle section, the rest of the orchestra attempts to distract or undermine this hymn.

The third movement is in the form of a "screamer," or circus march. These marches are very fast, chromatic, and meant to create a great deal of excitement. This march form has been adapted to merge with the scherzo and trio form of symphonic repertoire. Formal repeats are used in this movement that are elemental to the formal aesthetic. Fanfares play a similar role in this movement as in the first movement.

Advisor: Tyler Goodrich White

Song of the Wind

Aaron B. Bittman — Wed, 18 Apr 2012 10:27:59 PDT

Song of the Wind is an original cantata for contralto soloist, chorus, and chamber orchestra. More similar to Carmina Burana than a cantata such as those written by J. S. Bach, musical influences were drawn from such diverse sources as Greek Orthodox chant, minimalism, and New Age popular music. The story of Song of the Wind is drawn from a number of different texts, mostly Eastern and Mid-Eastern in origin, but European texts are represented as well. These texts span a period of time between 3,000 years before the Common Era and the Renaissance, and also include newly written verse. This spiritual cantata follows the journey of Viatoris (Latin for “female traveler”) who quests for an answer to the eternal question, “What is the meaning of life?” The Wind acts as her spirit guide, speaking surprisingly little, and always in a whisper. Viatoris mainly converses with The Voices, which represent her immediate society and often act as a Greek chorus, commenting on the main action and offering further insight.

Cognitive Processes for Infering Tonic

Steven J. Kaup — Fri, 29 Jul 2011 14:27:15 PDT

Research concerning cognitive processes for tonic inference is diverse involving approaches from several different perspectives. Outwardly, the ability to infer tonic seems fundamentally simple; yet it cannot be attributed to any single cognitive process, but is multi-faceted, engaging complex elements of the brain. This study will examine past research concerning tonic inference in light of current findings. First I will survey the recent history of experimental research in cognitive functions for memory retention and expectation as they relate to the recognition and learning of musical schemas. Then I will discuss distributional theories associated with the tonal hierarchy of major and minor key profiles and compare them with functional aspects of the intervallic rivalry model and 4/5 opening rule in order to demonstrate how they are not mutually exclusive for the inference of a tonic pitch. This will be followed with suggestions for instructors of music theory and aural skills in light of findings concerning cognitive aspects for inferring tonic.

Advisor: Stanley V. Kleppinger

The Status of Students with Special Needs in the Instrumental Musical Ensemble and the Effect of Selected Educator and Institutional Variables on Rates of Inclusion

Edward C. Hoffman III — Fri, 15 Jul 2011 13:25:23 PDT

The purpose of this study was to describe the current status of students with special needs in the instrumental musical ensemble and to examine the effect of selected educator and institutional variables on rates of inclusion. An online survey was designed by the researcher and distributed electronically to 600 practicing K-12 instrumental music educators in the states of Idaho, Mississippi, Nebraska, Nevada, New Mexico, and Rhode Island. While 13.6% of the total school-aged population nationwide received special education services, demographic data provided by respondents revealed that students with special needs accounted for 6.8% of all students participating in bands, orchestras, and other instrumental musical ensembles. The relationship between the rate of inclusion and selected educator variables (gender, age, level of education, special education coursework, primary teaching area, and teaching experience) and institutional factors (geographic location, community setting, institution type, and student population) was examined using multiple regression with backward elimination. The institutional factor ‘student population’ was found to be a significant predictor of inclusion; as the overall school population increased, the rate of inclusion among students with special needs in instrumental music classes decreased. Respondents also indicated that instructional and administrative aspects of teaching (scheduling, funding, allotted planning time, etc.) played a limited role in their ability or inability to include students with special needs. In the observations and experiences of instrumental music educators, special education students were most accomplished in the areas of public performance, exhibiting acceptable behavior, and movement, while the ability to sight-read, perform and/or read rhythms, and memorization were more problematic. Although 42% or respondents had no college coursework in special education, 97% were currently teaching students with special needs and most were willing to provide students with a variety of accommodations.

Advisers: Brian Moore and Glenn Nierman

An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit: A Second Update

Clifford Towner — Fri, 08 Jul 2011 14:57:39 PDT

This study is an update to the 1978 thesis of Acton Eric Ostling, Jr. and the 1993 replication study by Jay Warren Gilbert. These two studies explore a process for evaluating specific compositions, from a selected list, against a set of ten criteria defining serious artistic merit. This study reevaluates those compositions that met the criteria in the previous studies, as well as those compositions that were within ten points of meeting the criteria in the previous studies. Additional compositions, especially those composed since 1993, are also included.

The study utilizes eight procedures for accomplishing its objective, including defining the ensemble, setting parameters for the types of compositions to be evaluated, formulating a method for creating an expansive list of included compositions, and selecting expert evaluators. In all, a list of 1,680 compositions, using 589 compositions from the previous studies as a foundational core, were evaluated in this study. The core included the 362 works from the Ostling and/or Gilbert studies that met the serious artistic merit criteria.

These 1,680 works were evaluated against the ten criteria defining serious artistic merit that were created in the original study by Ostling. A select panel of wind-band literature experts, using a modified five-point Likert scale, rated the list of compositions. From this data, 144 compositions were identified as meeting the criteria for serious artistic merit while being known to at least a majority of the evaluator panel. A further 161 compositions met the criteria but were only known to a small number of evaluators. An additional 188 compositions were also distinguished because they were known to at least a majority of the panel and were within ten points of the serious artistic merit delineation. Finally, comparisons are made between the three studies, and eighty-nine compositions are proposed as a beginning core foundation in the wind-band repertory on account of having met the serious artistic merit criteria in all three studies.

Adviser: Carolyn Barber

A Study of K-12 Music Educators' Attitudes Toward Technology-assisted Assessment Tools

Lance D. Nielsen — Fri, 01 Jul 2011 08:17:33 PDT

The purpose of this study was to examine K-12 music educators’ attitudes regarding the use of technology in the assessment of music learning. There is a considerable range of musical behaviors with different levels of complexity that can be assessed (Boyle & Radocy, 1987). A variety of software and web-based assessment tools are available for music educators. However, it is unclear how many teachers are taking advantage of incorporating these technological assessment tools into their instructional practice. This study provided current data about the demographics of teachers using technology to assess musical growth and the variables that might motivate a music teacher to use technology-assisted assessment tools. A researcher-designed survey was administered to a stratified, random sample of K-12 music educators. A sample of 2,211 music educators, provided by MENC: The National Association of Music Education, was surveyed. The survey questions determined the number of teachers using technology-assisted assessment tools and the types of assessment tools they use. The mean score from a series of belief statements suggested teachers' attitudes towards assessment practices and technology was positive. However, it was discovered that specific school and teacher factors had a generally small influence on their perceptions of technology-assisted assessment tools. It was evident that music teachers are utilizing technology for daily instruction more often than to assist with assessment strategies. The factors of time and resources are two important variables that affect teachers' decisions regarding the use of technology for assessment in music settings, and future studies are needed to investigate effective professional development opportunities in training teachers to incorporate technology-assisted assessment tools with music instruction.

Advisers: Brian Moore and Glenn Nierman