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Conversations with chaos
Title
Conversations with chaos.
Creator
Campbell, Adam Brent., Florida Atlantic University, Glazer, Stuart
Abstract/Description
The piece Conversations with Chaos by Adam Campbell is discussed from several different aspects. The work is analyzed in terms of non-musical sources, descriptive analysis, compositional techniques and formal and stylistic characteristics. Also included is a discussion on computer notation software, and musical influences of the composer.
Date Issued
2005
PURL
http://purl.flvc.org/fcla/dt/13228
Subject Headings
Harmony, Music theory, Composition (Music), Musical analysis, Wind ensembles
Format
Document (PDF)
"72", "Seascapes", and "Solo Violin": Three chamber works
Title
"72", "Seascapes", and "Solo Violin": Three chamber works.
Creator
Okubo, Masakuni., Florida Atlantic University, Glazer, Stuart
Abstract/Description
Three unaccompanied chamber pieces of Masakuni Okubo are discussed from several different aspects. They were composed for solo clarinet ( 72), two flutes (Seascapes), and solo violin. Each piece is analyzed in terms of its historical background, compositional techniques, and formal and stylistic characteristics.
Date Issued
2002
PURL
http://purl.flvc.org/fcla/dt/12908
Subject Headings
Composition (Music), Okubo, Masakuni--Criticism and interpretation, Musical analysis
Format
Document (PDF)
choral compositions of James M. Stayton: A formal and descriptive analysis and retrospective of style and influences
Title
The choral compositions of James M. Stayton: A formal and descriptive analysis and retrospective of style and influences.
Creator
Stayton, James M., Florida Atlantic University, Glazer, Stuart
Abstract/Description
The choral compositions of James M. Stayton, a neo-romantic impressionistic composer are showcased and the individual works are analyzed both descriptively and formally. Compositional influences and styles are discussed at length with inspiration coming from such composers as Brahms, Faure, Morten Lauridsen and Stuart Glazer. Texts range from Sacred scriptural and Mass Ordinary to poets such as Emily Dickinson, Sarah Teasdale, James Weldon Johnson and Christina Rosetti. The formal analyses...
Show moreThe choral compositions of James M. Stayton, a neo-romantic impressionistic composer are showcased and the individual works are analyzed both descriptively and formally. Compositional influences and styles are discussed at length with inspiration coming from such composers as Brahms, Faure, Morten Lauridsen and Stuart Glazer. Texts range from Sacred scriptural and Mass Ordinary to poets such as Emily Dickinson, Sarah Teasdale, James Weldon Johnson and Christina Rosetti. The formal analyses include an in depth breakdown of individual sections of each piece as well as musical examples. Each formal analysis also includes a charted breakdown of the entire piece by measure, section and key center. The descriptive analyses explain vocal, and instrumental usage as it pertains to effect and the text. Each descriptive analysis also discusses the particular inspirations by which each piece was structured.
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Date Issued
2005
PURL
http://purl.flvc.org/fau/fd/FADT13198
Subject Headings
Stayton, James M, Composition (Music), Music--United States--20th century, Music--Philosophy and aesthetics, Improvisation (Music)
Format
Document (PDF)
MAPLE: A knowledge-based system for computer-aided music composition
Title
MAPLE: A knowledge-based system for computer-aided music composition.
Creator
Shaouy, William Philip., Florida Atlantic University, Hewett, Rattikorn, College of Engineering and Computer Science, Department of Computer and Electrical Engineering and Computer Science
Abstract/Description
Computer-aided music composition is a highly structured process. This thesis presents MAPLE, a prototype knowledge-based system that assists music composition by analyzing primordial lines in Western music. Unlike other music analysis systems, MAPLE uses an internal connective musical structure that provides a foundation for analysis. Thus our approach has a building block capability allowing easy extensions for analyzing more complex musical structures. We present a type hierarchy and...
Show moreComputer-aided music composition is a highly structured process. This thesis presents MAPLE, a prototype knowledge-based system that assists music composition by analyzing primordial lines in Western music. Unlike other music analysis systems, MAPLE uses an internal connective musical structure that provides a foundation for analysis. Thus our approach has a building block capability allowing easy extensions for analyzing more complex musical structures. We present a type hierarchy and hierarchical dependency of different musical concepts for controlling complex musical analysis processes. We provide comparisons of various knowledge representation structures and their corresponding inference mechanisms used for music analysis and conclude with a projection of an appropriate form of knowledge representation for musical knowledge.
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Date Issued
1993
PURL
http://purl.flvc.org/fcla/dt/14986
Subject Headings
Music--Computer programs, Composition (Music)--Mechanical aids, Artificial intelligence--Musical applications, Musical analysis--Data processing
Format
Document (PDF)
More branches on the oldest tree
Title
More branches on the oldest tree: tradition and experimentation through improvisation in the music of post-Katrina New Orleans.
Creator
Bethea, David., Dorothy F. Schmidt College of Arts and Letters, Department of Visual Arts and Art History
Abstract/Description
On Monday August 29, 2005, Hurricane Katrina made landfall in Southeast Louisiana bringing with it destruction to much of the Gulf Coast. While New Orleans, one of America's most culturally and artistically significant cities, was spared a direct hit, the subsequent flood devastated much of the city, home to many musicians. The devastation and stress from the storm established a situation and a motivator for creative response, and this dissertation illustrates that the music these musicians...
Show moreOn Monday August 29, 2005, Hurricane Katrina made landfall in Southeast Louisiana bringing with it destruction to much of the Gulf Coast. While New Orleans, one of America's most culturally and artistically significant cities, was spared a direct hit, the subsequent flood devastated much of the city, home to many musicians. The devastation and stress from the storm established a situation and a motivator for creative response, and this dissertation illustrates that the music these musicians produce is a manifestation and continuation of New Orleans' cultural atmosphere. The city's historical allowance and celebration of freedom of expression permits New Orleans' current musicians to be innovative and responsive to the events surrounding the disaster. This project, designed as a qualitative research study, identifies four professional musicians who are established in the musical environment of New Orleans. To illustrate the depth of tradition and experimentation that their music evokes, the music of post- Katrina New Orleans is given historical contextualization and set in comparison to music that was inspired by a past catastrophe, the 1927 flood. Through the holistic exploration of the present circumstances of these four musicians, it becomes clear that New Orleans remains a place that is extremely open to change and that experimental music flourishes at the same time that traditional jazz lives on through new performers, who walk in the footsteps of legends. From interviews conducted with these four individuals, as well as other on-site observations, the emotional, physical, and financial effects of Hurricane Katrina are identified and recorded., Central to this study is the author's own knowledge of music and experience in musical dialogue - it is through the interaction of the author and the subjects that important events and characteristics, which could be documented, actually emerged.This project reveals the influence that the storm has had on the individual musician and it demonstrates that while all four musicians are caught up in the whirlwind of recovery in New Orleans, their music remains rooted in the fundamental characteristic that is associated historically with New Orleans' music, improvisation. By the same token, it also shows that while each person may have had to suffer the same conditions, the musical response from each musician was unique.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/2953204
Subject Headings
Improvisation (Music), Hurricane Katrina, 2005, Psychological aspects, Composition (Music), Psychological aspects, Arts and society, Social conditions
Format
Document (PDF)
Three chamber pieces
Title
Three chamber pieces.
Creator
Frederick, Rochelle M., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
Three original chamber pieces are discussed from numerous points of view. They were composed for string quartet (Escape and String quartet in Four Movements), and string quartet with flute (Forward Motion). Each piece is analyzed in terms of its historical background, compositional techniques, and formal and stylistic techniques. Each piece draws influences from different genres. Escape was influenced by minimalism and jazz and is based on the Locrian scale. Forward Motion is in a modified...
Show moreThree original chamber pieces are discussed from numerous points of view. They were composed for string quartet (Escape and String quartet in Four Movements), and string quartet with flute (Forward Motion). Each piece is analyzed in terms of its historical background, compositional techniques, and formal and stylistic techniques. Each piece draws influences from different genres. Escape was influenced by minimalism and jazz and is based on the Locrian scale. Forward Motion is in a modified classical form (Sonata) but draws influences from modern music and employs much dissonance. String quartet in Four Movements combines elements of expressionism, minimalism and jazz. Each piece is discussed in regards to its musical characteristics and historical influences including scales, harmony, rhythmic structure and form.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/1927861
Subject Headings
Criticism and interpretation, Criticism and interpretation, Criticism and interpretation, Avant-garde (Music), Criticism and interpretation, Composition (Music), Musical analysis
Format
Document (PDF)