DOCSLIB.ORG

Ways Into Modernism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ways Into Modernism KSKS55 Ways into modernism Jonathan James by Jonathan James is a freelance music educator who lectures around the UK and leads workshops for professional WHY EARLY MODERNISM? orchestras. He was head of performing The seismic shifts in the art world at the turn of the last century (around 1890 to 1920) provoked some of the arts and director most exciting breakthroughs in the history of music. To look at the works of Debussy, Stravinsky, Schoenberg of music at a FE college for six years and other iconoclasts is to look at the fundamental questions of what music is, at how we engage with it, and and has since what its purpose is, both artistically and socially. delivered a variety of teacher training events and courses. This resource is designed around how to ask those questions in a way that encourages exploration both during term-time and the holiday period. It should also open up the following, more specific areas of study, expanding terminology and contextual awareness for both 20th-century set works and unseen excerpts: Board Areas Components Edexcel Composition 2.1 Composing brief related to area of study, ‘New Directions’ Edexcel Appraising 3.1 ‘Fusions’: Debussy Estampes 1&2 3.1 ‘New Directions’: Cage, Saariaho, Stravinsky AQA Appraising 3.1.8 (A2) Art music since 1910: Shostakovich, Messiaen, Reich, MacMillan OCR Historical studies 3.3 and 3.6 Historical and Analytical studies in Music The aim is to give ideas on how to deliver an overview of the developments at the turn of the century, accompanying each main learning point with practical exercises, and culminating in a three-hour sample session plan. This is a not an extended factsheet on modernism, nor a study of new set works, but rather a series of ideas on how to access modern music in a way that connects with the A level learner. ‘What is needed above all is an WHAT IS MODERNISM? scepticism towards all inherited Most textbook definitions start by putting modernism in opposition to aesthetic movements that either preceded concepts.’ it or that ran contemporaneously, such as late Romanticism, bourgeois realism or naturalism, the decadence Nietzsche, The Will to Power, 1901. of ‘la belle époque’ or the corseted thinking of Victorianism. Modernism is characterised here as a bracing smack in the face of convention, a dramatic reaction against anything that sought to bind an art form to the rulebook of the past. As a movement that is more about posing questions than arriving at answers, a good way of starting the process of definition in the classroom is through deductive reasoning. By playing two late Romantic works and one early Expressionist one, you can immediately start getting away from obvious definitions of style and pilot the learning instead into less charted territory: that intersection between expressive Romanticism and Romantic Expressionism. 1 Music Teacher July 2016 OPENING DISCUSSION IDEA Without revealing anything about the pieces or their composers, play the class the following: All of the excerpts Mahler Symphony No. 7, third movement refered to this Sibelius Symphony No. 7, opening section resource are available on this Schoenberg Verklärte Nacht, second section Spotify playlist. Ask them to note their thoughts on the following as they listen: How easily can you follow the thread of the music? Is the music dominated by form or by gesture? How is dissonance treated? How complex is the texture, and how would you describe the organistion of ideas? The aim is to explore how elements of form, harmony and vertical organisation are already being ‘loosened’ in these works, to the extent that some of the musical material already is starting to feel ‘modern’, straining at the edges of tonality and resisting neat categorisation. Mahler wrote that he didn’t expect his symphonies to be appreciated in his time, but had faith that they would suit later generations (Beethoven said the same about his late string quartets). The spirit of the ‘modern’ is always present whatever the era, in the sense of being both ‘of the moment’ (from the Latin ‘modo’, ‘current’) and innovative, forward-looking. So, although early modernism is often seen as a reaction against the past, the seeds of it were very much present in music of the time – and certain strands of its development have grown organically from previous thinking, rather than being defiant rejections or statements of opposition. The final ‘reveal’ in this opening discussion is to point to the dates of composition for the three pieces above. The most radical of the three, by Schoenberg, was composed at the cusp of the new century in 1899 (a fact students might just remember from their GCSE studies), while the others were written a decade or two later (Mahler’s Symphony No. 7 in 1909, and Sibelius’s Symphony No. 7 in 1924). Music Teacher July 2016 2 SETTING THE SCENE: THE ARTISTIC CONTEXT FOR EARLY MODERNISM Ask your students to compare the following three paintings of snow and reflect on where they feel most connected to the subject: The first is a realistic representation, placing the viewer as an external observer, where form and balance can be discerned. There is a foreground and background, a sweep to line of long grass leading the eye to the distance. Here we’ve telescoped in. Although it’s clear the picture is still about snow, it has been atomised into dancing flakes, falling close to the viewer and evoking memories of what it’s like to be caught in a snowstorm. Rather than giving a statement, it leaves us with an impression. 3 Music Teacher July 2016 Finally, the level of abstraction is at its furthest, giving an internal perception of snow, perhaps from the perspective of a dream or nightmare. It’s snow as it leaves an imprint on our psyche. This is a good way of talking about how the gaze of the viewer shifts from looking outside to looking deep within, with the final ‘modernist’ work bringing the gaze onto our awareness of perception itself. Rather than distancing the snow from the viewer, it offers a far more intimate connection with it. THE SHIFTING GAZE OF MUSIC As you show these three images, play Debussy’s ‘The Snow is Dancing’ from his Children’s Corner suite. At first, the gentle fall of snow is obvious in the staccato descending scales, the equivalent of a Romantic landscape. Then the listener is pulled in to the mind of the little girl observing the snow at night, and into her fear as she makes out ghoulish shapes in the flurries of white (1:10 on the Spotify recording, a repeated-note motif that then falls, given out first by the right hand and answered by the left). It’s an effective strategy to take as your starting point the fact that modernist art offers a way into the psyche, into the identity of both the artist and the listener, who thereby becomes more complicit in the work in the process. It requires more of our imagination, more intellectual and emotional investment. It is not surprising, then, that for such a subjective area – the journey into the subconscious – there was such a diverse set of responses as the century turned. In fact, has there ever been such an impressive cluster of ‘-isms’ in the history of the arts? From primitivism and fauvism through to symbolism, absurdism, futurism and dadaism, all mapping their own way through the world of instinct and dream, each guided by their own set of questions. ‘HAPPY BIRTHDAY’ AS A MUSICAL PAINTING To make these movements more relevant to the learner, you could ask them to either improvise or compose a quick response to each artistic strand. What does a fauvist image sound like compared to a surrealist one? Can they imagine reducing music to the same bold shapes and blunt gestures of an early Picasso piece of cubism? Could they play ‘Happy Birthday’ in all those different styles? Searching for a ‘correspondence of the senses’ Cross-disciplinary thinking is very much a feature of this time, where poets, musicians and painters intermingled When working and discussed their artistic ideas. A famous example is the meeting of the ‘Tuesday-ers’ (‘Les Mardistes’) in on their AS/A2 Paris, where Debussy, Verlaine, Rilke and other thinkers were brought together by symbolist poet Stéphane composition, how Mallarmé every week to share their inspiration. Would Debussy’s so-called ‘Impressionist’ musical ideas have much do students draw on the taken the same dramatic shape without the linguistic freedom of the symbolist poets or the abstract Nocturnes inspiration of other of Whistler? art forms and ideas? Music Teacher July 2016 4 This deliberate cross-fertilisation was also motivated by the central precept of the writer Baudelaire as he tried, in his poetry, to achieve a ‘correspondence of the senses’. Ideas of music and sound belonged equally to his choice of images as did visual ones, or those inspired by touch and smell. Listening to early modernist works there is a similar invitation to free the senses, to listen with the inner eye, and to imagine what it feels like to the touch. CREATIVE WRITING EXERCISE Compare the opening of Mendelssohn’s Hebrides Overture to the opening of Debussy’s La mer. Ask students to write a free-flowing response to both excerpts, not worrying about syntax but rather focusing on images and sensations in a stream of consciousness. Refer to Baudelaire’s ‘correspondence of the senses’ and encourage them to think of smell and touch as well as the more obvious aural and visual images. Which piece invites the more interesting language, and why? Self-awareness and growing uncertainty A good image to characterise the developments so far would be Adam and Eve: Self-awareness, or rather the licence to express that self-awareness, is a core aspect of modernist thinking.
Load more

Recommended publications
  • Teaching Guide: Area of Study 7
    Teaching guide: Area of study 7 – Art music since 1910 This resource is a teaching guide for Area of Study 7 (Art music since 1910) for our A-level Music specification (7272). Teachers and students will find explanations and examples of all the musical elements required for the Listening section of the examination, as well as examples for listening and composing activities and suggestions for further listening to aid responses to the essay questions. Glossary The list below includes terms found in the specification, arranged into musical elements, together with some examples. Melody Modes of limited transposition Messiaen’s melodic and harmonic language is based upon the seven modes of limited transposition. These scales divide the octave into different arrangements of semitones, tones and minor or major thirds which are unlike tonal scales, medieval modes (such as Dorian or Phrygian) or serial tone rows all of which can be transposed twelve times. They are distinctive in that they: • have varying numbers of pitches (Mode 1 contains six, Mode 2 has eight and Mode 7 has ten) • divide the octave in half (the augmented 4th being the point of symmetry - except in Mode 3) • can be transposed a limited number of times (Mode 1 has two, Mode 2 has three) Example: Quartet for the End of Time (movement 2) letter G to H (violin and ‘cello) Mode 3 Whole tone scale A scale where the notes are all one tone apart. Only two such scales exist: Shostakovich uses part of this scale in String Quartet No.8 (fig. 4 in the 1st mvt.) and Messiaen in the 6th movement of Quartet for the End of Time.
    [Show full text]
  • Glossary for Music the Glossary for Music Includes Terms Commonly Found in Music Education and for Performance Techniques
    Glossary for Music The glossary for Music includes terms commonly found in music education and for performance techniques. The intent of the glossary is to promote consistent terminology when creating curriculum and assessment documents as well as communicating with stakeholders. Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction. Analog tools: category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers. Analyze: examine in detail the structure and context of the music. Arrangement: setting or adaptation of an existing musical composition Arranger: person who creates alternative settings or adaptations of existing music. Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones). Artistic literacy: knowledge and understanding required to participate authentically in the arts Atonality: music in which no tonic or key center is apparent. Artistic Processes: Organizational principles of the 2014 National Core Standards for the Arts: Creating, Performing, Responding, and Connecting. Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no sound is present. Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed. Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of scored student work (aka, anchor set).
    [Show full text]
  • Letter from the Education and Public Engagement Department
    Letter from the Education and Public Engagement Department A team of artists, art historians, educators, interns, librarians, and visitor relations staff comprise the award-winning Education and Public Engagement Department at The San Diego Museum of Art. We work with staff from within the Museum as well as with colleagues from cultural and educational institutions throughout the world to provide programs that enhance the exhibitions presented. Through lectures, tours, workshops, music, film, events for educators, and art-making programs for visitors of all ages, we invite you to inspire your creativity and to learn about art and its connection to your life. We hope you find yourself appreciating the wide array of art culture that is presented within the Museum and its encyclopedic collection. Whether you are new to art, or a long-time member who visits the Museum frequently, we invite you to bring your family, grandchildren, and friends, and to participate at The San Diego Museum of Art. We look forward to meeting you and hearing about any ideas you may have about the Museum and our programming efforts. We hope to see you often! The Education and Public Engagement Department The San Diego Museum of Art SDMArt.org Young visitors are participating in a Museum camp program. THE SAN DIEGO MUSEUM OF ART Learning through the Museum The San Diego Museum of Art first opened its doors on February 28, 1926, as the Fine Arts Gallery of San Diego, and since that time has been building an internationally renowned permanent collection that includes European, North American, Modern Mexican, Asian, Islamic and contemporary art.
    [Show full text]
  • Department of Art, Music, and Theatre
    Department of Art, Music, and Theatre Professors: Michelle Graveline, Rev. Donat Lamothe, A.A. (emeritus); Associate Professors: Carrie Nixon, Toby Norris (Chair); Assistant Professors: Scott Glushien; Visiting Assistant Professors: Peter Clemente, Lynn Simmons; Instructors, Lecturers: Jonathan Bezdegian, Elissa Chase, Bruce Hopkins, Susan Hong-Sammons, Jon Krasner, Gary Orlinsky, Michele Italiano Perla, Joseph Ray, Peter Sulski, Margaret Tartaglia, Tyler Vance. MISSION STATEMENT The department aims to give students an understanding of the importance of rigorous practical and intellectual formation in stimulating creative thought and achieving creative expression. We also strive to help students appreciate Art, Music and Theatre as significant dimensions of the human experience. Studying the history of the arts brings home the central role that they have played in the development of human thought, both within and outside the Judeo-Christian tradition. Practicing the arts encourages students to incorporate creative expression into their wider intellectual and personal development. In forming the human being more completely, the department fulfills a fundamental goal of Catholic education. MAJORS IN THE DEPARTMENT MAJOR IN MUSIC (11) The major in Music covers the areas of Music Theory, Music History, and Performance with the opportunity for development of individual performance skills. Studies develop musicianship, competency in the principles and procedures that lead to an intellectual grasp of the art, and the ability to perform. The major in Music consists of 11 courses: MUS 122 History of Music I MUS 124 History of Music II MUS 201 Music Theory I MUS 301 Music Theory II MUS 330 Conducting MUS 193 Chorale or MUS 195 Band or MUS 196 Jazz Ensemble or MUS 197 String Camerata (six semesters at 1 credit per semester, equivalent to two 3-credit classes) Four additional courses from among program offerings (not to include MUS 101 Fundamentals of Music).
    [Show full text]
  • What Classical Music Is (Not the Final Text, but a Riff on What
    Rebirth: The Future of Classical Music Greg Sandow Chapter 4 – What Classical Music Is (not the final text, but a riff on what this chapter will say) In this chapter, I’ll try to define classical music. But why? Don’t we know what it is? Yes and no. We’re not going to confuse classical music with other kinds of music, with rock, let’s say, or jazz. But can we say how we make these distinctions? You’d think we could. And yet when we look at definitions of classical music—either formal ones, in dictionaries, or informal ones, that we’d deduce by looking around at the classical music world—we run into trouble. As we’ll see, these definitions imply that classical music is mostly old music (and, beyond that, old music only of a certain kind). And they’re full of unstated assumptions about classical music’s value. These assumptions, working in the background of our thoughts, make it hard to understand what classical music really is. We have to fight off ideas about how much better it might be than other kinds of music, ideas which—to people not involved with classical music, the very people we need to recruit for our future audience—can make classical music seem intimidating, pompous, unconvincing. And so here’s a paradox. When we expose these assumptions, when we develop a factual, value-free definition of classical music, only then can we find classical music’s real value, and convincingly set out reasons why it should survive. [2] Let’s start with common-sense definition of classical music, the one we all use, without much thought, when we say we know what classical music is when we hear it.
    [Show full text]
  • The Decline of Improvisation in Western Art Music
    The Decline of Improvisation in Western Art Music: An Interpretation of Change Author(s): Robin Moore Source: International Review of the Aesthetics and Sociology of Music, Vol. 23, No. 1, (Jun., 1992), pp. 61-84 Published by: Croatian Musicological Society Stable URL: http://www.jstor.org/stable/836956 Accessed: 23/07/2008 16:04 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=croat. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org R. MOORE,THE DECLINEOF IMPROVISATION...,IRASM 23 (1992)1, 61-84 61 THE DECLINEOF IMPROVISATIONIN WESTERNART MUSIC: AN INTERPRETATIONOF CHANGE ROBINMOORE UDC: 781.65 OriginalScientific Paper University of Texas, Izvorniznanstveni rad AUSTIN, Texas, USA Received:March 28, 1992 Primljeno:28.
    [Show full text]
  • Introduction to Art Music MUS 140.001 Summer 1 2014
    Introduction to Art Music MUS 140.001 Summer 1 2014 INSTRUCTOR: Dr. Scott LaGraff OFFICE: Music 280 E-MAIL: [email protected] OFFICE HOURS: By appt. PHONE: 468-4206 TIME: MTWR 12:30-2:25 SFA School of Music LOCATION: Music 153 Wright Music Building COURSE DESCRIPTION: For non-music majors or minors only, focusing on listening, understanding, and appreciating music literature of the Western and American musical heritage. REQUIRED TEXT: Kamien, Roger. Music: An Appreciation. Eighth Brief Edition (with CONNECT digital content). Boston: McGraw-Hill, 2015. (available at Barnes & Noble in Student Center) NOTE: This text includes a code for digital materials required for the course. Additional CDs need not be purchased. I will post links to any additional required music. GRADING: SCALE: Exams 40% 100 – 90 (A) 89 – 80 (B) LearnSmart/Quizzes 40% 79 – 70 (C) 69 – 60 (D) Concert Report 10% 59 – 0 (F) ATTENDANCE: The official University policy is that students are expected to attend all of their scheduled University classes. Students will, however, be excused from classes for university events and other causes at the discretion of the instructor, provided that they supply appropriate documentation. Each student will be allowed ONE unexcused absence; final grades will be reduced by two points for each subsequent unexcused absence. However, three points will be added to the final grade for perfect attendance! Students who are not present when attendance is taken will be marked absent. Exams missed during unexcused absences will not be made up. Exams missed during excused absences will be made up at the instructor’s supervision.
    [Show full text]
  • Western Art Music
    Western Australian Certificate of Education ATAR course examination, 2016 Question/Answer booklet MUSIC: Please place your student identification label in this box WESTERN ART MUSIC Student number: In figures In words Time allowed for this paper Reading time before commencing work: ten minutes Working time : two and a half hours Materials required/recommended for this paper To be provided by the supervisor Number of additional This Question/Answer booklet answer booklets used (if applicable): Score booklet Personal listening device (PLD) PLD number Headphones To be provided by the candidate Standard items: pens (blue/black preferred), pencils (including coloured), sharpener, correction fluid/tape, eraser, ruler, highlighters Special items: nil Important note to candidates No other items may be taken into the examination room. It is your responsibility to ensure that you do not have any unauthorised material. If you have any unauthorised material with you, hand it to the supervisor before reading any further. Copyright © School Curriculum and Standards Authority 2016 Ref: 16-062 WESTERN ART MUSIC 2 Structure of the examination The Music ATAR course examination consists of a written component and a practical (performance and/or composition portfolio) component. Structure of this paper Suggested Number of Number of Percentage working Marks Section questions questions to of written time available available be answered examination (minutes) Section One 6 6 50 57 36 Aural and analysis Section Two Cultural and historical analysis Part A: Analysis 1 1 20 11 Part B: Short response 55 (i) Compulsory area of study 1 1 26 11 (ii) Non-compulsory area of study 1 1 16 12 Section Three 3 3 45 51 30 Theory and composition Total 100 Instructions to candidates 1.
    [Show full text]
  • Modern Art Music Terms
    Modern Art Music Terms Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Atonality: In modern music, the absence (intentional avoidance) of a tonal center. Avant Garde: (French for "at the forefront") Modern music that is on the cutting edge of innovation.. Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Form: The musical design or shape of a movement or complete work. Expressionism: A style in modern painting and music that projects the inner fear or turmoil of the artist, using abrasive colors/sounds and distortions (begun in music by Schoenberg, Webern and Berg). Impressionism: A term borrowed from 19th-century French art (Claude Monet) to loosely describe early 20th- century French music that focuses on blurred atmosphere and suggestion. Debussy "Nuages" from Trois Nocturnes (1899) Indeterminacy: (also called "Chance Music") A generic term applied to any situation where the performer is given freedom from a composer's notational prescription (when some aspect of the piece is left to chance or the choices of the performer). Metric Modulation: A technique used by Elliott Carter and others to precisely change tempo by using a note value in the original tempo as a metrical time-pivot into the new tempo. Carter String Quartet No. 5 (1995) Minimalism: An avant garde compositional approach that reiterates and slowly transforms small musical motives to create expansive and mesmerizing works. Glass Glassworks (1982); other minimalist composers are Steve Reich and John Adams. Neo-Classicism: Modern music that uses Classic gestures or forms (such as Theme and Variation Form, Rondo Form, Sonata Form, etc.) but still has modern harmonies and instrumentation.
    [Show full text]
  • Why Concert Music Is Wonderful: Three Ways to Approach Western Art Music Conrad Winslow Rollins College, [email protected]
    Rollins Undergraduate Research Journal Volume 2 Article 12 Issue 1 RURJ Spring 2010 4-1-2007 Why Concert Music is Wonderful: Three Ways to Approach Western Art Music Conrad Winslow Rollins College, [email protected] Follow this and additional works at: http://scholarship.rollins.edu/rurj Recommended Citation Winslow, Conrad (2010) "Why Concert Music is Wonderful: Three Ways to Approach Western Art Music," Rollins Undergraduate Research Journal: Vol. 2: Iss. 1, Article 12. Available at: http://scholarship.rollins.edu/rurj/vol2/iss1/12 This Article is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Rollins Undergraduate Research Journal by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. Winslow: Why Concert Music is Wonderful Why Concert Music is Wonderful: Three Ways to Approach Western Art Music Conrad Winslow A Senior Honors Project Submitted in Partial Fulfillment of Requirements of the Honors Degree Program May, 2007 Faculty Sponsor: Dr. Daniel Crozier Rollins College Winter Park, Florida Published by Rollins Scholarship Online, 2010 1 Rollins Undergraduate Research Journal, Vol. 2 [2010], Iss. 1, Art. 12 To Pop-pop Andrews Copyright © 2007 by Conrad Winslow All rights reserved http://scholarship.rollins.edu/rurj/vol2/iss1/12 2 Winslow: Why Concert Music is Wonderful Table of Contents Introduction........................................................................4 Kinetic Listening................................................................
    [Show full text]
  • Download File
    Noise, Sound and Objecthood: The Politics of Representation in the Musical Avant-Garde Alexander Hall Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Alexander Hall All Rights Reserved ABSTRACT Noise, Sound and Objecthood: The Politics of Representation in the Musical Avant-Garde Alexander Hall This essay offers both a historical analysis of twentieth century avant-garde practices relating to representation in music, and a prescriptive model for contemporary methods of composition. I address the taxonomy problem in classical music, clarifying the ontological divide identified by German musicologist Michael Rebhahn Contemporary Classical music and New Music. I demonstrate how neoliberalism has developed a Global Style (Foster 2012) of "Light Modernity,” evident in both contemporary architecture and music alike. The central problem facing composition today is the fetishization of materials, ultimately derived from music's refusal to allow the question of representation to be addressed. I argue that composers have largely sought to define noise as sound-in-itself, eliminating the possibilities of representation in the process. Proposing instead that composers should strive to tackle representation head-on in the 21st century, I show how Jacques Rancière provides a model in which noise and sound—representation and abstraction—function in a conjoined, yet non-homogenized aesthetic regime. Governed by what he calls the "pensiveness of the image,” it allows for a renewed art form that rejects repetition and neoliberalism, re-connecting to the spirit of the avant-garde without slavishly echoing either its outmoded aesthetics or dogmatic philosophies.
    [Show full text]
  • New Perspectives on Classical Music Through the Work of Mark Oâ
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2005 Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck Louanne Marie Iannaccone University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Commons Recommended Citation Iannaccone, Louanne Marie, "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck. " Master's Thesis, University of Tennessee, 2005. https://trace.tennessee.edu/utk_gradthes/2014 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Louanne Marie Iannaccone entitled "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Dr. Leslie C. Gay, Jr., Major Professor We have read this thesis and recommend its acceptance: Dr. Wesley Baldwin, Dr. Rachel Golden Carlson Accepted for the Council: Carolyn R.
    [Show full text]