DOCSLIB.ORG

Technical and Performance Analysis of Scott Mcallister's Devil Sticks, Uncle Sam's Songbag Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Technical and Performance Analysis of Scott Mcallister's Devil Sticks, Uncle Sam's Songbag Vol The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 2018 Technical and Performance Analysis of Scott McAllister's Devil Sticks, Uncle Sam's Songbag Vol. I, Freebirds, and Funk James Gruetzner University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Commons Recommended Citation Gruetzner, James, "Technical and Performance Analysis of Scott McAllister's Devil Sticks, Uncle Sam's Songbag Vol. I, Freebirds, and Funk" (2018). Dissertations. 1561. https://aquila.usm.edu/dissertations/1561 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. Technical and Performance Analysis of Scott McAllister’s Devil Sticks, Uncle Sam’s Songbag Vol. I, Freebirds, and Funk by James M. Gruetzner A Dissertation Submitted to the Graduate School, the College of Arts and Letters and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Jacqueline McIlwain, Committee Chair Dr. Joseph Brumbeloe Dr. Edward Hafer Dr. Danilo Mezzadri Dr. Kimberly Woolly ____________________ ____________________ ____________________ Dr. Jacqueline McIlwain Dr. Richard Kravchak Dr. Karen S. Coats Committee Chair Department Chair Dean of the Graduate School August 2018 COPYRIGHT BY James M. Gruetzner 2018 Published by the Graduate School ABSTRACT Four of composer Scott McAllister’s works, Devil Sticks, Uncle Sam’s Songbag Vol. I, Freebirds, and Funk feature the clarinet within a variety of ensembles. The purpose of my dissertation is to analyze the music in three ways: the background and outside influences found within each work, what happens in the pieces in terms of clarinet interaction with the ensemble(s), and finally relate it to McAllister’s other works. Through an interview with the composer, insight was gained into the background and history of each work, including who commissioned and first performed each one, any themes running throughout each piece, and outside influences, musical or otherwise, which appear in the pieces. An analysis of each piece in terms of overall form and structure, musical gestures contained within, and interaction between the clarinet and other instruments helps to define the clarinetists’ role in each piece. The information gathered is then combined to relate the compositions to others by the same composer, revealing commonalities and providing insight into stylistic characteristics used by McAllister as a whole. This information is gathered in hopes of an end result of helping performers to dissect the music to find the influences, compositional techniques, and commonalities with other works by the same composer in order to further their understanding of not only the four pieces predominantly featured throughout the document, but extrapolate the findings into McAllister’s compositional tendencies as a whole. iii TABLE OF CONTENTS ABSTRACT ....................................................................................................................... iii LIST OF ILLUSTRATIONS .............................................................................................. v CHAPTER I – INTRODUCTION ...................................................................................... 1 CHAPTER II - BIOGRAPHY ............................................................................................ 1 CHAPTER III – DEVIL STICKS....................................................................................... 6 CHAPTER IV - UNCLE SAM’S SONGBAG VOL. 1 .................................................... 25 “Censored” .................................................................................................................... 26 “She Bares All” ............................................................................................................. 37 “Mrs. B.” ....................................................................................................................... 48 “Film at Eleven” ........................................................................................................... 57 “Don’t Come to My Window” ...................................................................................... 62 CHAPTER V – FREEBIRDS ........................................................................................... 75 CHAPTER VI – FUNK .................................................................................................... 99 CHAPTER VII – CONCLUSION .................................................................................. 120 APPENDIX A – Interview with Scott McAllister .......................................................... 122 APPENDIX B – IRB Approval Letter ............................................................................ 150 BIBLIOGRAPHY ........................................................................................................... 151 iv LIST OF ILLUSTRATIONS Figure 1. Devil Sticks, measures 1-4. ................................................................................. 7 Figure 2. Devil Sticks, measures 5-8. ................................................................................. 8 Figure 3. Devil Sticks, measures 9-12. ............................................................................... 8 Figure 4. Devil Sticks, measures 13-16. ............................................................................. 9 Figure 5. Devil Sticks, measures 25-28. ........................................................................... 10 Figure 6. Devil Sticks, measures 33-36. ........................................................................... 12 Figure 7. Devil Sticks, measures 41-49. ........................................................................... 13 Figure 8. Devil Sticks, measures 63-64. ........................................................................... 15 Figure 9. Devil Sticks, measures 77-80. ........................................................................... 16 Figure 10. Devil Sticks, measure 87. ................................................................................ 17 Figure 11. Devil Sticks, measures 95-100. ....................................................................... 19 Figure 12. Devil Sticks, measures 102-103. ..................................................................... 20 Figure 13. Devil Sticks, measure 154. .............................................................................. 21 Figure 14. Black Dog, measure 155. ................................................................................ 21 Figure 15. Bling Bling, measure 39. ................................................................................. 21 Figure 16. Devil Sticks, measures 163-167. ..................................................................... 22 Figure 17. Uncle Sam’s Songbag Vol. I, “Censored,” measure 3. ................................... 28 Figure 18. Uncle Sam’s Songbag Vol. I, “Censored,” measure 4. ................................... 29 Figure 19. Uncle Sam’s Songbag Vol. I, “Censored,” measure 5. ................................... 29 Figure 20. Uncle Sam’s Songbag Vol. I, “Censored,” measures 8-9. ............................... 30 Figure 21. Uncle Sam’s Songbag Vol. I, “Censored,” measure 17. ................................. 32 Figure 22. Uncle Sam’s Songbag Vol. I, “Censored,” measures 19-23. ........................... 33 v Figure 23. Uncle Sam’s Songbag Vol. I, “Censored,” measures 32-34. ........................... 34 Figure 24. Uncle Sam’s Songbag Vol. I, “Censored,” measures 43-44. ........................... 35 Figure 25. Uncle Sam’s Songbag Vol. I, “Censored,” measures 48-51. ........................... 35 Figure 26. Uncle Sam’s Songbag Vol. I, “Censored,” measures 55-56. ........................... 36 Figure 27. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 1-2. ....................... 38 Figure 28. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 2-3. ....................... 38 Figure 29. Uncle Sam’s Songbag Vol. I, “She Bares All,” pickup to measures 10-12. ... 39 Figure 30. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 10-12. ................... 39 Figure 31. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 28-30. ................... 40 Figure 32. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 51-54. ................... 41 Figure 33. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 55-58. ................... 42 Figure 34. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 68-70. ................... 43 Figure 35. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 87-90. ................... 44 Figure 36. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 106-108. ............... 44 Figure 37. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 114-117. ............... 45 Figure 38. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 118-121. ............... 45 Figure 39. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 122-125. ............... 46 Figure 40. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 128-131. ............... 46 Figure 41. Uncle Sam’s Songbag Vol. I, “She Bares All,” measures 132-135. ............... 46 Figure 42. Uncle Sam’s Songbag
Load more

Recommended publications
  • Innovative Approaches to Melodic Elaboration in Contemporary Tabuh Kreasibaru
    INNOVATIVE APPROACHES TO MELODIC ELABORATION IN CONTEMPORARY TABUH KREASIBARU by PETER MICHAEL STEELE B.A., Pitzer College, 2003 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA August 2007 © Peter Michael Steele, 2007 ABSTRACT The following thesis has two goals. The first is to present a comparison of recent theories of Balinese music, specifically with regard to techniques of melodic elaboration. By comparing the work of Wayan Rai, Made Bandem, Wayne Vitale, and Michael Tenzer, I will investigate how various scholars choose to conceptualize melodic elaboration in modern genres of Balinese gamelan. The second goal is to illustrate the varying degrees to which contemporary composers in the form known as Tabuh Kreasi are expanding this musical vocabulary. In particular I will examine their innovative approaches to melodic elaboration. Analysis of several examples will illustrate how some composers utilize and distort standard compositional techniques in an effort to challenge listeners' expectations while still adhering to indigenous concepts of balance and flow. The discussion is preceded by a critical reevaluation of the function and application of the western musicological terms polyphony and heterophony. ii TABLE OF CONTENTS Abstract ii Table of Contents : iii List of Tables .... '. iv List of Figures ' v Acknowledgements vi CHAPTER 1 Introduction and Methodology • • • • • :•-1 Background : 1 Analysis: Some Recent Thoughts 4 CHAPTER 2 Many or just Different?: A Lesson in Categorical Cacophony 11 Polyphony Now and Then 12 Heterophony... what is it, exactly? 17 CHAPTER 3 Historical and Theoretical Contexts 20 Introduction 20 Melodic Elaboration in History, Theory and Process ..' 22 Abstraction and Elaboration 32 Elaboration Types 36 Constructing Elaborations 44 Issues of "Feeling".
    [Show full text]
  • Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
    Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
    [Show full text]
  • A Survey of Four Original Works for Clarinet and Guitar and Their Effect
    A SURVEY OF FOUR ORIGINAL WORKS FOR CLARINET AND GUITAR AND THEIR EFFECT ON COMPOSITIONAL OUTPUT FOR THE REPERTOIRE Kellie Lignitz, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2013 APPROVED: Kimberly Cole Luevano, Major Professor Margaret Notley, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies John Murphy, Interim Director of Graduate Studies James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Lignitz, Kellie, A Survey of Four Original Works for Clarinet and Guitar and Their Effect on Compositional Output for the Repertoire. Doctor of Musical Arts (Performance), May 2013, 69 pp., 26 musical examples, references, 48 titles. In the last three decades there has been a surge in original compositions for clarinet and guitar resulting in the repertoire virtually doubling in size. However, documentation and research of original works in published sources remains limited and is quickly becoming outdated. This document reviews the current resources and reviews the newer published materials. Early chamber music works for guitar and clarinet typically required the guitar to supply harmonic support to the clarinet’s upper voice, which carried the themes. An examination of the earliest works, which date from the early nineteenth century, suggests, in other words, that the two parts were not treated equally, in contrast to modern-day chamber music, in which melodic elements are proportionally balanced between the two instruments. A critical survey and comparison of four significant works from the repertoire reveals a development toward motivic balance, a progression towards melodic equality that continued in subsequent compositions.
    [Show full text]
  • Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Is Eastern Insulindia a Distinct Musical Area? L’Est Insulindien Est-Il Une Aire Musicale Distincte ?
    Archipel Études interdisciplinaires sur le monde insulindien 90 | 2015 L’Est insulindien Is Eastern Insulindia a Distinct Musical Area? L’Est insulindien est-il une aire musicale distincte ? Philip Yampolsky Electronic version URL: http://journals.openedition.org/archipel/373 DOI: 10.4000/archipel.373 ISSN: 2104-3655 Publisher Association Archipel Printed version Date of publication: 15 October 2015 Number of pages: 153-187 ISBN: 978-2-910513-73-3 ISSN: 0044-8613 Electronic reference Philip Yampolsky , « Is Eastern Insulindia a Distinct Musical Area? », Archipel [Online], 90 | 2015, Online since 01 May 2017, connection on 14 November 2019. URL : http://journals.openedition.org/archipel/ 373 ; DOI : 10.4000/archipel.373 Association Archipel PHILIP YAMPOLSKY 1 Is Eastern Insulindia a Distinct Musical Area? 1In this paper I attempt to distinguish the music of “eastern Insulindia” from that of other parts of Insulindia.2 Essentially this is an inquiry into certain musical features that are found in eastern Insulindia, together with a survey of where else in Insulindia they are or are not found. It is thus a distribution study, in line with others that have looked at the distribution of musical elements in Indonesia (Kunst 1939), the Philippines (Maceda 1998), Oceania (McLean 1979, 1994, 2014), and the region peripheral to the South China Sea (Revel 2013). With the exception of McLean, these studies have focused exclusively on material culture, namely musical instruments, tracing their geographical distribution and the vernacular terms associated with them. The aim has been to reveal cultural continuities and discontinuities and propose hypotheses about prehistoric settlement and culture contact in Insulindia and Oceania.
    [Show full text]
  • Connecting Orff Schulwerk and Balinese Gamelanаа
    Connecting Orff Schulwerk and Balinese Gamelan CAIS Workshop p​resented by Elisabeth Crabtree, March 9, 2015 e​[email protected] ​or e​[email protected] What is Gamelan? Gamelan refers to a set of Balinese instruments that form up a percussion orchestra (metallophones, bamboo xylophones, gongs, drums, other percussion, and the bamboo flute). It also refers to the style of Balinese music that is played upon the instruments. There are over 30 different types of Gamelan, with various tunings. Gamelan groups perform music to accompany dancers, masked dancers (t​openg)​, and puppet shows (w​ ayang)​. There are also “sitting pieces” that are just for listening. The music can be both secular and sacred. Why Teach Gamelan? ➢ Translates easily to Orff Instruments, recorder, and small percussion ➢ Uses cycles and ostinatos, music like the elemental style of Orff ➢ Offers opportunities for differentiated instruction ➢ Teaches cultural awareness and diversity ➢ Has direct applications to many 5​th ​grade California State Standards ➢ It has influenced many composers such as Debussy, Satie, Lou Harrison & others ➢ It’s fun and enjoyable! Students love it and remember it many years later Warm Up Hocket Game­ 1­2­3 (Clap­Stomp­Snap) ● With a partner, trade off counting to three. Groups of three are no good for this game. ● Add a clap every time someone says “one.” Next add a stomp for “two” and finally a snap for “three.” Celebrate if you make a mistake, and start again. ● Variation: take out the words and only do body percussion ● Celebrate whenever you make a mistake and try again, increasing the speed ● Point out the pattern: The person who starts says “1­3­2” and the second person says “2­1­3.” ● Final practice phase, two large groups performing the body percussion piece in hocket Hocket Game: Speaking a Rhyme Tell a nursery rhyme with a partner; alternate each person saying a stanza or phrase.
    [Show full text]
  • “Classical” Minimalism
    from Richard Taruskin, “Oxford History of Western Music Volume V: Music in the Late Twentieth Century; Chapter 8: A Harmonious Avant-Garde?”. Retrieved 4/29/2011 from oxfordwesternmusic.com. “CLASSICAL” MINIMALISM For many listeners, the most characteristic and style-defining aspect of In C is the constant audible eighth-note pulse that underlies and coordinates all of the looping, and that seems, because it provides a constant pedal of Cs, to be fundamentally bound up with the work's concept. Like much modernist practice since at least Stravinsky, it puts the rhythmic spotlight on the “subtactile” level, accommodating and facilitating the free metamorphosis of the felt beat —for example, from quarters to dotted quarters at the twenty-second module of In C—and allows their multiple presence to be felt as levels within a complex texture. It may be surprising, therefore, to learn that the constant C-pulse was an afterthought, adopted in rehearsal for what seemed at the time a purely utilitarian purpose (simply to keep the group together in lieu of a conductor), and that it was not even Riley's idea. It was Reich's. Steve Reich came from a background very different from Young's and Riley's. Where they had a rural, working-class upbringing on the West Coast, Reich was born into a wealthy, professional- class family in cosmopolitan New York. Like most children of his economic class, Reich had traditional piano lessons and plenty of exposure to what in later years he mildly derided as the “bourgeois classics.” He had an elite education culminating in a Cornell baccalaureate with a major in philosophy.
    [Show full text]
  • Cross-Cultural Hybridity in Music Composition: Southeast Asia in Three Works from America Written 1998, Unpublished Christopher Adler
    Cross-cultural hybridity in music composition: Southeast Asia in three works from America written 1998, unpublished Christopher Adler The act of composing is an engagement with hybridity. Every composer must mediate between the diverse influences, intentions, theories, and emotions impinging upon the compositional moment. For some composers these mediations may be relegated to the subconscious, for some they may be considerations of fine distinctions that come into play only at the level of detail. The compositions discussed in this article, Spiral, by Chinary Ung, Banyuari, by Michael Tenzer, and Aneh Tapi Nyata, by Evan Ziporyn, inhabit different hybrid realms between multiple categories of music, including: Euro-American contemporary concert music, popular musics, Balinese gamelan, Khmer classical music, and beyond, and as a result illustrate very different approaches to musical hybridization. The hybridity of these works is foregrounded by the composers’ decisions to compose between prior musical categories. The intentional, self-conscious cross-cultural hybrid has a long history within the Euro-American classical tradition, with such composers as Olivier Messiaen, John Cage, Colin McPhee and Lou Harrison, to name a few from this century. The intentional cross- cultural hybrid takes on an increasing significance in Euro-American contemporary music in this postmodern era of rapidly globalizing artistic, culture and commodity flows, where many composers are exposed to musicians, artists, recordings and ethnomusicological documentation of musics from the most distant corners of the world. While hybridity may be fundamental to musics everywhere, this exposure to global diversity is often dependent upon conditions of power and privilege which favor musicians of the urban centers of 2 the West and around the world.
    [Show full text]
  • (Lyrcd 7179) Gamelan Music of Bali Gamelan Angklung And
    (LYRCD 7179) GAMELAN MUSIC OF BALI GAMELAN ANGKLUNG AND GAMELAN GONG KEBYAR RECORDINGS AND REVISED NOTES BY RUBY ORNSTEIN © 2011 Ruby Ornstein TRACKS 1. Topeng Tua – perforMed by GaMelan Angklung, Mas – 3:14 2. Kebyar Teruna – perforMed by Gunung Sari, Peliatan – 13:49 3. 3. Tabuhan Joged – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 7:37 4. Segara Madu – perforMed by GaMelan Angklung, Sayan – 3:12 5. Lagu No. 2 – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 6:27 6. GaMbang Suling – perforMed by GaMelan Gong Kebyar, Kedis Kaja – 8:58 7. Hujan Mas – perforMed by Gunung Sari, Peliatan – 6:35 NOTES Bali, one of the several thousand islands forMing the Republic of Indonesia, has long been faMous for its gaMelan Music. A tiny Hindu Minority in a predoMinantly MosleM land, the Balinese enjoy a way of life filled with an incredible nuMber of teMple celebrations and life‐cycle cereMonies, all of which require Music. In earlier tiMes when the Balinese rajas still Maintained splendid palaces, they supported large nuMbers of Musicians and dancers for gaMelan that belonged to their courts. Nowadays, with Most palaces reduced to a Mere shadow of their forMer Magnificence, their orchestras have been pawned or sold, and Musical activity is chiefly at the village level. GaMelan instruMents are owned by a village, a banjar (a sub‐section of a village), or by Musicians theMselves. In any case, the players forM a club to regulate their activities. And, if Money and leisure tiMe are less abundant than forMerly, and fewer gamelan clubs are active now than before 1940, there are still nearly 20 different kinds of gaMelan in Bali.
    [Show full text]
  • American Heritage Center
    UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew.
    [Show full text]
  • The Influence of the Javanese Gamelan on Selected Piano Works
    'The influence oi the Javane~e gamelan on ~elected piano work~ · · of elaude-llchilleUniversity of Cape Town Debu~~ catherine bird 1982 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town The influence of the Javanese gam.elan on selected piano works of Claude-Achille Debussy University of Cape Towncatherine bird 1982 - This dissertation is submitted in partial fulfilment of the requirements for the degree of Master of Music at the University of Cape Town ACKNOWLEDGEMENTS I am grateful to the following people, whose assistance facilitated the writing of this dissertation : Mr. Michael Tuffin my supervisor, who gave unstintingly of his time, knowledge and advice. M. Jean-Michel Nectoux of the Bibliotheque Nationale in Paris, who provided me with much valuable research material. Dr. Christoph Stroux who provided me with valuable reference material. The Librarians of the University of Cape Town Music Library as well as those of the University of Cape Town Inter-Library Loans Department, who, with infinite patience, Universitytraced of Capethe sources Town l needed. Mrs. Iona Bird my typist and my mother. Mr. Ronald Hicks my support. TABLE OF CONTENTS PAGE INTRODUCTION 1 SECTION 1 THE CULTURAL MILIEU CHAPTER
    [Show full text]
  • Hybridity in Flute Music of Four Contemporary Composers
    HYBRIDITY IN FLUTE MUSIC OF FOUR CONTEMPORARY COMPOSERS Yeji Kim A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS December 2012 Committee: Marilyn Shrude, Advisor Robert W. Midden Graduate Faculty Representative Mary Natvig John Sampen © 2012 Yeji Kim All Rights Reserved iii ABSTRACT Marilyn Shrude, Advisor Hybridity is a concept that is widely discussed in the field of cultural studies. The term can be applied to anything that exhibits a fusion or mixture of elements and fades the demarcation between the elements. In music it is evident in the fusion of such disparate elements as old and new styles; electronic and acoustic media; Western and non-Western music; audio and visual components; classical and popular music; and the use of quotation. These elements are often combined in works that contribute to a hybrid musical vocabulary with a distinctive style, so that the points of departure are often blurred. Many recently composed works for flute demonstrate hybridity. The purpose of this document is to explore the concept of hybridity as evidenced in the flute works of four contemporary American composers and flutists: Cynthia Folio (b. 1954), Anne La Berge (b. 1955), Janice Misurell-Mitchell (b. 1946), and Maggi Payne (b. 1945). The study examines what brought about their hybrid approach to composition, as well as the relationship between their roles as both creator and presenter of works that demonstrate hybridity. Extensive email interviews, consultation of available sources, and analyses of compositions are the essential research tools.
    [Show full text]