DSQ Past and Upcoming Programs

Total Page：16

File Type：pdf, Size：1020Kb

Diderot String Quartet: Recent and Upcoming Programs Dissonance: Mozart and Jadin Wolfgang Amadeus Mozart: C major, KV 465 “Dissonance” Hyacinthe Jadin: Op. 2 No. 1 in Eb major Death and the Maiden: Schubert and Beecher Lembit Beecher: Small Inﬁnities (DSQ commission) Franz Schubert: D minor, D.810 “Death and the Maiden” Haydn and his Students I Joseph Haydn: Op. 33 No. 2 in Eb major “Joke” Anton Wranitzky: Op. 4 No. 2 in G major Ludwig van Beethoven: Op. 18 No. 1 in F major Haydn and his Students II Joseph Haydn: Op. 76 No. 6 in Eb major “Fantasia” Anton Ferdinand Titz: No. 1 in G major Ludwig van Beethoven: Op. 74 in Eb major “Harp” Quartet Correspondence I Joseph Haydn: Op. 33 No. 5 in G major “How do you do?” Wolfgang Amadeus Mozart: C major, KV 465 “Dissonance” Joseph Haydn: Op. 50 No. 2 in C major “Prussian” Quartet Correspondence II Joseph Haydn: Op. 20 No. 4 in D major Wolfgang Amadeus Mozart: G major, KV 387 “Spring” Joseph Haydn: Op. 76 No. 3 in C major “Emperor” Bach to the Future: the Legacy of the Fugue Johann Sebastian Bach: Art of the Fugue, BWV1080 (excerpts) Felix Mendelssohn: Fugue in Eb major, Op. 81 No. 4 Felix Mendelssohn: No. 2 Op. 13 in A minor (and/or Joseph Haydn: Op. 55 No. 2 F minor “Razor”) From the Canon’s Mouth: Mozart and Brahms Wolfgang Amadeus Mozart: D major, KV 575 Johannes Brahms: Op. 51 No. 1 in C minor An Offering to the King: Quartets written for Friedrich Wihelm II Joseph Haydn: Op. 50 No. 3 in Eb major Wolfgang Amadeus Mozart: Bb Major, KV589 Carl Friedrich Abel: Op. 15 No. 4 in G major Le Quatuor Français François-Joseph Gossec: Op. 15 No. 6 in A major Alexandre Boëly: Op. 27 in A minor Hyacinthe Jadin: Op. 2 No. 1 Eb major Updated 8.24.16 Diderot String Quartet: Recent and Upcoming Programs Collaborations: Schumann’s Piano Quintet with David Breitman Norbert Burgmüller: String Quartet No. 1 in D minor, Op. 4 Robert Schumann: Piano Quintet in Eb major, Op. 44 Five’s a Crowd: Viola Quintets with Sarah Darling Wolfgang Amadeus Mozart: String quintet in G minor, KV 516 Luigi Boccherini: String quintet in D major, Op. 62 No. 5 Felix Mendelssohn: String quintet in A major, Op. 18 A Midwinter’s Journey: Schubert’s Winterreise with Dashon Burton Franz Schubert: Winterreise D.911, arr. for bass and string quintet by Harold Birston Doug Balliett, double bass Updated 8.24.16.

Copy Link

Recommended publications

NEWS RELEASE for IMMEDIATE RELEASE January 4, 2017
NEWS RELEASE FOR IMMEDIATE RELEASE January 4, 2017 Presenting the first 2018 rendezvous at the Maison symphonique! From the moment the curtain rises on 2018, the Orchestre symphonique de Montréal will be kicking off its year of tribute to commemorate the 75th anniversary of the death of Sergei Rachmaninoff in grand style. For the occasion, under the direction of Kent Nagano, we will present the composer’s celebrated Second Piano Concerto, performed by Yevgeny Sudbin. The acclaimed pianist from St. Petersburg will also perform a recital showcasing Russian music. As well, Rachmaninoff’s moving Symphony no. 2, conducted by Conrad van Alphen, will give the public a chance to hear the young flutist Benjamin Morency, the OSM Manulife Competition’s Grand Prize winner. The year 2018 will also mark the first Montréal appearance by British pianist Paul Lewis and the return of Spanish conductor Juanjo Mena, in the concert BEETHOVEN AND TCHAIKOVSKY. Lastly, VIENNA AND PARIS, 1800, a concert of chamber music presented at Bourgie Hall, will conclude the program for January. SUDBIN PLAYS RACHMANINOFF’S SECOND CONCERTO TUESDAY 9 AND SATURDAY 13 JANUARY 2018, 8 PM Sergei Rachmaninoff’s ravishing Second Piano Concerto, whose second movement inspired Eric Carmen’s song All By Myself, will enrapture Maison symphonique audiences in this, our first musical rendezvous of 2018. Russian pianist Yevgeny Sudbin will perform the concerto’s beautiful melody. Acclaimed for his remarkable interpretations of the works of Sergei Rachmaninoff, Sudbin will be joined by Andrew Wan, violin, Brian Manker, cello and Philip Chiu, piano. This concert is presented by Air Canada.
[Show full text]
String Quartets Dedicated to Joseph Haydn K
WOLFGANG AMADEUS MOZART String Quartets dedicated to Joseph Haydn K. 421, 458 ‘Hunt’ & 464 CUARTETO CASALS FRANZ LISZT WOLFGANG AMADEUS MOZART (1756-1791) String Quartets dedicated to Joseph Haydn (vol. 2) String Quartet no. 15 in D minor K. 421 ré mineur / d-Moll 1 | I. Allegro moderato 10’47 2 | II. Andante 6’08 3 | III. Menuetto - Trio. Allegretto 3’41 4 | IV. Allegretto ma non troppo 8’26 String Quartet no. 17 in B flat major K. 458, ‘Hunt’ Si bémol majeur “La Chasse” / B-Dur „Jagdquartett“ 5 | I. Allegro vivace assai 8’13 6 | II. Menuetto - Trio. Moderato 4’07 7 | III. Adagio 6’53 8 | IV. Allegro assai 6’13 String Quartet no. 18 in A major K. 464 La majeur / A-Dur 9 | I. Allegro 6’51 10 | II. Menuetto - Trio 5’23 11 | III. Andante 10’41 12 | IV. Allegro non troppo 6’19 CUARTETO CASALS Abel Tomàs Realp, violin Vera Martínez Mehner, violin Jonathan Brown, viola Arnau Tomàs Realp, cello Mozart : Trois Quatuors dédiés à Haydn Les trois Quatuors à cordes K. 421, 458 et 464, ainsi que les Quatuors K. 387, 428 et 465 forment un cycle d’œuvres que Le Quatuor à cordes en si bémol majeur K. 458 fut achevé le 9 novembre 1784, selon l’indication du catalogue de Mozart fait publier à Vienne, en 1785. L’édition princeps est dédiée au “Signor Giuseppe Haydn, Maestro di Cappella ses œuvres que Mozart lui-même a rédigé. Bien qu’il soit chronologiquement le quatrième des “Quatuors dédiés à di S.[ua] A.[ltezza] il Principe d’Esterházy” ; c’est pourquoi ces six quatuors de Mozart sont également connus sous Haydn” (le troisième, le K.
[Show full text]
The DSQ Gazette
The DSQ Gazette Issue 2 The Official Publication of the Diderot String Quartet February 5, 2015 SPECIAL ISSUE: THE RAZOR Haydn’s Pursuit of the Perfect Shave The Razor: A Timeline Barter at the Barber’s: Manuscript for a Clean Shave ca. 18,000 BC first razor-like objects ESTERHAZA, 1789 – “I will give my made from bronze and obsidian best string quartet for a good razor!” It ca. 3,000 BC razors made from copper was on an especially hectic morning when 4th century BC Alexander the Great celebrity composer Franz Joseph Haydn instructs his soldiers to shave in order to yelled out these words, frustrated at how avoid beard-grabbing in combat long it was taking to shave. As luck may have it, publisher John Bland was visiting 1732 Haydn born from England, heard the plea – or was it 1764 Some of Haydn's symphonies and really an offer? – and hurried back to his very first string quartets published inn to procure some of the finest English in Paris razors Franz Joseph had ever expe- rienced. Haydn indeed kept his promise, 1766 Haydn appointed Kapellmeister at and thus an autograph copy of Opus 55/ Esterháza No. 2 came into the hands of the lucky 1776 Jadin and United States of America publisher. born (Haydn is 44) While none of our correspondents 1785 Jadin's first work published at the DSQ Gazette were able to verify 1786 Haydn's "Paris" symphonies first this potentially apocryphal tale, the performed in Paris, with wild nickname for the quartet has stuck: The six quartets, known today also as the first success Razor.
[Show full text]
9003643992122.Pdf
1 Britain's Glory Joseph Haydn (1732–1809) Original Canzonettas 6 Original Canzonettas (1794) Hob XXVIa: 25-30 Poems/Gedichte: Anne Hunter 1 The Mermaid’s Song in C major / C-Dur 3:47 2 Recollection in F major / F-Dur 6:20 3 A Pastoral Song in A major / A-Dur 3:44 4 Despair in E major / E-Dur 5:51 5 Pleasing Pain in G major / G-Dur 2:38 6 Fidelity in F minor / f-Moll 3:59 6 Original Canzonettas (1795) Hob XXVIa: 31-36 7 Sailor’s Song (Anne Hunter) in A major / A-Dur 2:40 8 The Wanderer (Anne Hunter) in G minor / g-Moll 4:41 9 Sympathy (after/nach Metastasio) in E major / E-Dur 3:31 bl She never Told Her Love (William Shakespeare) in A-fl at major / As-Dur 3:31 bm Piercing Eyes (anonymous/anonym) in G major / G-Dur 2:09 bn Content / Transport of Pleasure (anonymous/anonym) in A-fl at major / As-Dur 2:46 Lieder Hob XXVIa: 41, 42, 46 bo The Spirit’s Song (Anne Hunter) in F minor / f-Moll 6:22 bp O Tuneful Voice (Anne Hunter) in E-fl at major / Es-Dur 5:17 bq Antwort auf die Frage eines Mädchens (anonymous/anonym) in G major / G-Dur 4:02 Cornelia Horak soprano / Sopran Richard Fuller fortepiano / Hammerklavier 2 Joseph Haydns englische Kanzonetten Das Kunstlied, wie es bis heute als musikalische Gattung im Repertoire wesentlich seltener. Es ist sowohl musikalisch gültig ist und von Komponisten in aller Welt gepflogen als auch textlich interessant, sich mit einigen der selbst wird, entwickelte sich aus den verschiedensten Formen nach den intensiven Recherchen der letzten 200 Jahre nur des Volkslieds, der Arie und des Kirchenlieds etwa ab ungefähr mit etwa 70 zu beziffernden bekannten originalen der Mitte des 18.
[Show full text]
Téléchargez La Version
sm13-6_Cover_UPC.qxd 9/26/08 10:59 AM Page 1 0 2 00 6655338855 2024861 15 91 sm14-2_layout_W3_AD.qxd 9/25/08 7:57 PM Page 3 sm14-2_layout_W3_AD.qxd 9/25/08 10:18 PM Page 4 sm14-2_layout_W3_AD.qxd 9/25/08 10:18 PM Page 5 sm14-2_p06_Contents.qxd 9/26/08 12:03 PM Page 6 RÉDACTEURS FONDATEURS / FOUNDING EDITORS Wah Keung Chan – Philip Anson VOL. 14.2 – OCTOBRE 2008 OCTOBER CONTENTSOMMA / ÉDITEUR/PUBLISHER La Scène Musicale CONSEIL D’ADMINISTRATION / BOARD OF DIRECTORS Wah Keung Chan (prés.), Sandro Scola, Gilles Cloutier, Holly Higgins-Jonas PHOTO ALLISON CORDNER PHOTO RÉDACTEUR EN CHEF/EDITOR Wah Keung Chan RÉDACTRICE ADJOINTE / ASSISTANT EDITOR Nisa Malli RÉDACTEUR JAZZ / JAZZ EDITOR Marc Chénard RÉDACTEUR MUSIQUES DU MONDE / WORLD MUSIC EDITOR Bruno Deschênes COORDONNATEUR CD / CD COORDINATOR Laura Bates COLLABORATEURS / CONTRIBUTORS Lyette Ainey, Renée Banville, René Bricault, Louis- Pierre Bergeron, Simon Bertrand, Hélène Boucher, Andrew Buziak, Frédéric Cardin, Rebecca Anne Clark, Philippe Gervais, W.S. Habington, Félix-Antoine Hamel, Annie Landreville, Alexandre Lazaridès, Hannah Rahimi, Lucie Renaud, Paul E. Robinson, Julie Roy, Paul Serralheiro, Jean-Pierre Sévigny, Joseph K. So TRADUCTEURS / TRANSLATORS Alain Cavenne, Michèle Gaudreau, Laurent Royal RÉVISEURS / COPY EDITORS & PROOFREADERS Laura Bates, Marthe Beauregard, Alain CONTENTS SOMMAIRE Cavenne, Michèle Gaudreau, Nisa Malli, Annie Prothin, Jef Wyns / CALENDRIER RÉGIONAL / REGIONAL CALENDAR Eric Legault ASSISTANTS AU CALENDRIER / CALENDAR ASSISTANTS Dominic Spence, Andie Sigler, CHRISTOPHER JACKSON › P.8 Christian Szczepanik, Laura Bates DIRECTEUR ARTISTIQUE / ART DIRECTOR Bruno Dubois GRAPHISME / GRAPHICS Nellie Renaud, Román Varela SITE WEB / WEBSITE Normand Vandray, Michael Vincent CE MOIS-CI • THIS MONTH PHOTO DE COUVERTURE / COVER PHOTO Allison Cordner ADJOINTS ADMINISTRATIFS / ADMIN.
[Show full text]
A Theoretical and Stylistic Analysis of Paul Ben-Haim's Five Pieces for Piano, Op. 34 and Piano Sonata, Op. 49
University of South Carolina Scholar Commons Theses and Dissertations 2018 A Theoretical and Stylistic Analysis of Paul Ben- Haim’s Five Pieces for Piano, Op. 34 and Piano Sonata, Op. 49 Rachel Bletstein University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Pedagogy Commons Recommended Citation Bletstein, R.(2018). A Theoretical and Stylistic Analysis of Paul Ben-Haim’s Five Pieces for Piano, Op. 34 and Piano Sonata, Op. 49. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4583 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A Theoretical and Stylistic Analysis of Paul Ben-Haim’s Five Pieces for Piano, Op. 34 and Piano Sonata, Op. 49 by Rachel Bletstein Bachelor of Music University of Cincinnati, 2013 Master of Music Bowling Green State University, 2015 _________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Piano Pedagogy School of Music University of South Carolina 2018 Accepted by: Phillip Bush, Major Professor Scott Price, Chairman, Examining Committee Sara Ernst, Committee Member Julie Hubbert, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Rachel Bletstein, 2018 All Rights Reserved ii DEDICATION In loving memory of my mother Marcy, and in honor of my father Jack, who have been my biggest supporters in life. iii ACKNOWLEDGEMENTS I would like to thank the members of my committee, Dr.
[Show full text]
Tonality and Form in Selected French Piano Sonatas: 1900-1950
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
[Show full text]
Le Pianiste: Parisian Music Journalism and the Politics of the Piano, 1833–35
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Le Pianiste: Parisian Music Journalism and the Politics of the Piano, 1833–35 Shaena B. Weitz Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/760 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LE PIANISTE: PARISIAN MUSIC JOURNALISM AND THE POLITICS OF THE PIANO, 1833–35 By SHAENA B. WEITZ A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York Graduate Center 2016 ii © 2016 SHAENA B. WEITZ All Rights Reserved iii LE PIANISTE: PARISIAN MUSIC JOURNALISM AND THE POLITICS OF THE PIANO, 1833–35 By SHAENA B. WEITZ This manuscript has been read and accepted for the Graduate Faculty in Musicology to satisfy the dissertation requirement for the degree of Doctor of Philosophy Janette Tilley ___________________ ____________________________________ Date Chair of Examining Committee Norman Carey ___________________ ____________________________________ Date Executive Officer Anne Stone Richard Kramer Dana Gooley Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract LE PIANISTE: PARISIAN MUSIC JOURNALISM AND THE POLITICS OF THE PIANO, 1833–35 By Shaena B. Weitz Advisor: Anne Stone This dissertation examines the French music journal entitled Le Pianiste, published in Paris from 1833 to 1835.
[Show full text]
Newslet T Er
6767 7 6 s s 6 s CIETY . O s 7 Ss F 7 . O s Cs R I 6 S . 6 s E U s I 7 G M s 7 s H . SECM 6 T Y s s 6 R E 7 E U s s N T 7 T N NEWSLETTER E s H s - C s s 6 6 7 7 6 6 7 Georgetown University SECM Inaugural Conference 30 April-2 May 2004 Stephen C. Fisher Our Society’s first conference, “Music in 18th-Century Life: from the period up to 1830 but also the compilation of an online Cities, Courts, Churches,” took place on the lovely campus of database for the genre at www.steglein.com. Mary Sue Morrow Georgetown University on a fine spring weekend. It was evident reported on plans to create a collaborative history of the early sym- from the beginning that the entire event was going to be a success; phony by enlisting some twenty scholars to pool their expertise not only were the individual presentations of unusually high qual- under her and Bathia Churgin’s supervision. This volume would ity, but in a specialized meeting they provided a context for each fill a gap in A. Peter Brown’s The Symphonic Repertoire, which was other that one would not encounter elsewhere, and the concentra- left a torso by Brown’s untimely death last year (of five projected tion of expertise in the audience led to some stimulating formal volumes, two were published and a third exists in draft, leaving the and informal discussions.
[Show full text]
DSQ Past and Upcoming Programs-2.Pages
Diderot String Quartet: Recent and Upcoming Programs Bach to the Future: the Legacy of the Fugue Felix Mendelssohn: Fugue in Eb major, Op. 81 No. 4 Johann Sebastian Bach: Art of the Fugue, BWV1080 (excerpts) Felix Mendelssohn: String Quartet No. 2 Op. 13 in A minor Death and the Maiden: Schubert and Beecher Lembit Beecher: Small Infinities (DSQ commission) Franz Schubert: D minor, D.810 “Death and the Maiden” Dissonance: Mozart and Jadin Wolfgang Amadeus Mozart: C major, KV 465 “Dissonance” Hyacinthe Jadin: Op. 2 No. 1 in Eb major The Emperor’s New Harp Joseph Haydn: String Quartet in G Major, Op. 76/No. 3 "Emperor" Ludwig van Beethoven: String Quartet in E-flat Major, Op. 74 "Harp" From the Canon’s Mouth: Mozart and Brahms Wolfgang Amadeus Mozart: D major, KV 575 Johannes Brahms: Op. 51 No. 1 in C minor Haydn and his Students I Joseph Haydn: Op. 33 No. 2 in Eb major “Joke” Anton Wranitzky: Op. 4 No. 2 in G major Ludwig van Beethoven: Op. 18 No. 1 in F major Haydn and his Students II Joseph Haydn: Op. 76 No. 6 in Eb major “Fantasia” Anton Ferdinand Titz: No. 1 in G major Ludwig van Beethoven: Op. 74 in Eb major “Harp” Haydn in Plain Sight Joseph Haydn, String Quartet in D Major, Op. 20/No. 4 Joseph Haydn, String Quartet in E-flat Major, Op. 76/No. 6 An Offering to the King: Quartets written for Friedrich Wilhelm II Joseph Haydn: Op. 50 No. 3 in Eb major Wolfgang Amadeus Mozart: Bb Major, KV589 Carl Friedrich Abel: Op.
[Show full text]
Wolfgang Amadeus Mozart 1756-1791 the 6 String Quartets Dedicated to Haydn 1782-1785
Wolfgang Amadeus Mozart 1756-1791 The 6 String Quartets dedicated to Haydn 1782-1785 Quatuor Cambini-Paris on period instruments Julien Chauvin violin Karine Crocquenoy violin Pierre‑Éric Nimylowycz viola Atsushi Sakaï cello 1 Wolfgang Amadeus Mozart 1756-1791 The 6 String Quartets dedicated to Haydn 1782-1785 Les 6 Quatuors dédiés à Haydn CD1 String quartet no 14 in g major, “Spring” Quatuor no 14 en sol majeur, « le Printemps », K387 1782 1 Allegro vivace assai 12’00 2 Menuetto: Allegretto 7’29 3 Andante cantabile 7’27 4 Molto allegro 7’49 String quartet no 15 in d minor Quatuor no 15 en ré mineur, K421 1783 5 Allegro moderato 11’53 6 Andante 7’27 7 Menuetto: Allegretto 3’59 8 Allegretto ma non troppo – Più allegro 9’57 2 CD2 String quartet no 17 in b flat major, “Hunt” Quatuor no 17 en si bémol majeur, « La Chasse », K458 1783-1784 1 Allegro vivace assai 12’22 2 Menuetto: Moderato 3’54 3 Adagio 7’23 4 Allegro assai 9’30 String quartet no 16 in e flat major Quatuor no 16 en mi bémol majeur, K428 1783 5 Allegro ma non troppo 10’34 6 Andante con moto 12’45 7 Menuetto: Allegretto 05’32 8 Allegro vivace 5’43 3 CD3 String quartet no 18 in a major Quatuor no 18 en la majeur, K464 1785 1 Allegro 11’407 2 Menuetto 5’55 3 Andante 12’20 4 Allegro non troppo 8’29 String quartet no 19 in c major, “Dissonance” Quatuor no 19 en ut majeur, « Les Dissonances », K465 1785 5 Adagio – Allegro 15’22 6 Andante cantabile 7’37 7 Menuetto: Allegretto 4’47 8 Allegro molto 11’14 4 Sommaire — Contents Paris à la découverte des quatuors à cordes de Mozart — Jean Gribenski .
[Show full text]
The Life and Career of James Edwin Croft Alan W
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 The Life and Career of James Edwin Croft Alan W. Mills Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE LIFE AND CAREER OF JAMES EDWIN CROFT By ALAN W. MILLS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2010 © Copyright 2010 Alan W. Mills All Rights Reserved The members of the committee approve the dissertation of Alan W. Mills defended on 22 July 2010. ___________________________________ Patrick Dunnigan Professor Directing Dissertation ___________________________________ Alexander Jiménez Outside Committee Member ___________________________________ Richard Clary Committee Member ___________________________________ Kevin A. Fenton Committee Member ___________________________________ Clifford K. Madsen Committee Member Approved: ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above-named committee members. ii This project is dedicated to the memories of my father Frank Stewart Mills II, his parents Beatrice Mildred Dahl Mills & Albert William Mills, and my mother’s parents Berniece Martha Wilken Lowe & Lauren Harley Lowe. iii ACKNOWLEDGMENTS I would like to acknowledge several people whose support in various ways made this project possible: Thank you to the members of my committee: Alexander Jiménez for your unique perspective, Richard Clary for pointing the way, Kevin A. Fenton for your gentle and effective example, Clifford K. Madsen for always keeping things simple, and especially my committee chairman, Patrick Dunnigan, who never stopped believing in me and who suggested the topic of this project; little did I know how much it would impact my life.
[Show full text]