Music Theses and Dissertations

Permanent URI for this collectionhttp://hdl.handle.net/1903/2796

Browse

Now showing 1 - 20 of 683

TONES IN BLACK: A HISTORY OF AFRICAN AMERICAN BASS/BARITONES IN CLASSICAL MUSIC: IN THE ECHOES OF ANCESTORS, A PIONEER’S VOICE
(2024) McIlwain-Lightfoot, VaShawn Savoy; Short, Kevin C.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
This dissertation project has three major foci: a) to trace the history of classically trained African American Bass/Baritone vocalists through performance, recordings, and narrative; b) to recognize the historical performances of African American Bass/Baritone vocal pioneers and the significant contributions they made to the accessibility of opportunities for other African Americans within these voice types; and c) to discuss how Bass/Baritone community performances can promote social connectedness and DEI in opera. In addressing these foci, the paper will emphasize how the performances of Bass/Baritone vocal artists, past and present, have a) made African Americans, in general, more acceptable to White audiences and b) changed the perceptions of White Americans about who African Americans are and what they are capable of. Methodology involved securing physical/digital historical data from newspapers, journals, and books; collecting photos, programs, and articles from the private library of a former University of Maryland professor; conducted oral history interviews of students and progeny of the first African American Baritone to sing with a major opera company in the U.S. (Todd Duncan); delivered community performances domestically and internationally as a current example of the legacy of African American classical vocal artists, specifically Bass/Baritones. This project’s accounting of historical performances can serve to recognize unknown or forgotten contemporaries and predecessors.
Creative Placemaking in the Recital Setting
(2024) Hornpetrie, Wesley; Kutz, Eric A; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
This dissertation outlines my three dissertation recitals and recording project, which explored themes of community building and creative placemaking when developing commissions and programs for a classically trained cellist. contains elements that explore the notion that the music we hear is only a fraction of our takeaway when we attend a show. The venue, the collaborators, how it is rehearsed, the score notation, who can participate, and the audience expectations can all have an effect on our experience attending and performing recitals. Curation and programming that aims to inherently strengthen connections between performers and audience, audience and audience, and performers and performers is an exciting path forward for cellists. This examination of hierarchical factors with the existing classical music concert format is a step forward towards more community-oriented recital presentations.
We All Belong: A Descriptive Analysis of Gender and Sexuality Discourse in Music Education Professional Development
(2024) Caithaml, Justin Michael; Prichard, Stephanie; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purpose of this study was to understand the state of gender and sexuality discourse presented in the programming of music education professional development in the United States. Research questions that guided this study included the state of gender and sexuality discourse in the field of music education at state and national PD conferences, and how sessions at these PD conferences might vary in frequency or content by year, state, region, or discipline.In this study I employed a descriptive, qualitative design encompassing content and discourse analysis of music education professional development conference programs from the 2018-19 school year through the 2022-23 school year (Fairclough and Fairclough, 2012; Sunderland and Litosseliti, 2002). This design was also informed by the tenets of feminist critical discourse analysis (Lazar, 2005). Findings indicate that the state of gender and sexuality discourse is incredibly varied by context. Various topics—including supporting LGBTQIA+ students, gender/sexuality topics in the music classroom, and the roles of women in music—were addressed at PD conferences across the five-year period, but how topics were addressed seemed to be dependent upon the context of the conference in which they were presented. Topics such as inclusive strategies for LGBTQIA+ students, revisiting gender norms in choral settings, and empowering women conductors were some of the topics that were most common. In addition, the total number of sessions were an incredibly small portion of total sessions offered regardless of the relative size of the organization sponsoring the conference. This study has important implications for PD policy makers: a) how state and national organizations can interact more efficiently, and b) how state organizations can increase access to PD outside of one yearly conference. There are also four implications for music teachers: a) the role of teachers as leaders in presenting and authoring sessions, b) the importance of consistent language choices across contexts, c) a commitment to student safety over personal views, and d) varied impact of state legislation on PD content. Findings also suggest two implications for music teacher education: a) cultivating a critical disposition and b) empowering future leaders. Future research on topics related to this study can focus on three main areas: a) continued, periodic content analysis of conference programs, b) further examining PD presenters’ perspectives, and c) understanding teacher perceptions of LGBTQIA+ inclusive pedagogy and gender expansive classroom practices.
A REVISIONIST HISTORY OF INDEPENDENT CLASSICAL PERCUSSION SOLOISTS OF THE TWENTIETH CENTURY
(2024) Rocheteau, Robert Alexandre; Votta, Michael; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
This dissertation examines the marimbists, multi-percussionists, and solo-percussionists who were independent classical soloists in the twentieth century. Traditionally, scholarship has seen the histories of these percussion soloists as separate from one another. By proposing new frameworks and contexts, this revisionist history shows how marimbists, multi-percussionists, and solo-percussionists form a continuum. These frameworks mark pivotal shifts in history and include percussion practices, eras of percussion soloists, and generations. The “percussion practices” framework shows how composers have used percussion in classical music. The “eras of percussion soloists” framework shows what percussionists did and what percussion instruments they performed on. The “generations” framework shows how each particular solo art form evolved.
LISTENING TO REVOLUTION: A SURVEY OF CULTURAL AND MUSICAL REVOLUTIONS THROUGH THE STUDY OF SELECTED VIOLIN REPERTOIRE
(2024) Konkle, Emily Grace; Stern, James; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The written portion of this performance dissertation examines cultural and musical revolutions in relation to the study of selected violin repertoire. The document is divided into two chapters, each of which contain program notes highlighting a specific element relating to revolutions. Chapter one of the document will explore revolutionary composers who charted new compositional pathways by employing novel creative techniques in their writing. Chapter two will survey how cultural and social revolutions—both past and present—have affected the evolution of music throughout history by means of their direct impact on the arts. This document will consider how the selected repertoire reflects revolution and will ultimately provide a tangible way for artists and audience members to connect with repertoire across all genres, from Biber’s Passacaglia to Corigliano’s STOMP.
SHAPES IN COLLECTIVE SPACE: COMMISSIONING AND RECORDING PROJECT EXPANDING THE VIOLA DUO
(2024) Spaulding, Lauren; Kutz, Eric; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purpose of this dissertation is to outline a recording project for Tallā Rouge that aims to illuminate the viola duo as a concertizing ensemble through the arranging, commissioning, and recording of new works. In line with the previous work of Tallā Rouge, this dissertation provides program notes to an album titled “Shapes in Collective Space.” This album is comprised of works by living female, BIPOC, LGBTQ+, American folk, and West-Asian composers—all of whom resonate with the philosophies of Tallā Rouge. The commissioned works incorporate elements of ancient West-Asian instruments, gospel, Americana folk sounds, pop culture, and jazz elements, and are designed to enrich and expand the available viola duo repertoire by showcasing the instrument's versatility, color pallet, and ability to embody diverse musical styles and influences. The recordings of these arrangements and commissions will later act as a companion to the release of the commissioned and arranged scores by some of the most intriguing composers of today, further encouraging the genre’s growth while expanding the lexicon of viola duo repertoire. It is my hope that the work of this dissertation will continue to encourage unique ensembles to seek out the creation of compositions by diverse and boundary-pushing living composers.
Into the Archives: The Founding and Evolution of the College Band Directors National Association as Shown by its Archives at the University Maryland
(2024) Higley, Christine Lopez; Votta, Jr., Michael; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
In 1941, William D. Revelli, the Director of Bands at the University of Michigan, sent a letter to college band directors throughout the United States encouraging them to attend the first meeting of the University and College Band Conductors Conference (UCBCC) at the Congress Hotel in Chicago on December 22-23, 1941. This letter included the topics that would be discussed at this meeting including Policies and Philosophies of the Marching Band, Band Budgets, Financing the Commencement Band, and more. After this initial meeting, the plan was to meet again the following year, but because of complications due to World War II, the organization did not meet again until 1946. In 1947, it was moved that the UCBCC change its name to the College Band Directors National Association (CBDNA). All this information is found in the documents of the National Conference Proceedings of The Performing Arts Special Collections archives at the University of Maryland, which is home to many historical documents. This dissertation is an exploration of the contents of the CBDNA National Conference Proceedings from its foundation in 1941 to 2011. These contents include administrative records, correspondence and information bulletins, membership listings, financial records, committee reports, surveys, questionnaires, publications, articles, conference programs and proceedings, photographs, and oral histories. This document explores the history of the CBDNA and its development according to what is included in these archives. This is not a comprehensive history of the CBDNA, but a compilation and description of the documents stored in the Special Collections at the University of Maryland. The dissertation is organized into decades and discusses the priorities of National Conference Proceedings throughout each decade.
DOMINICAN GAGÁ FROM OUTSIDE AND WITHIN: DISCOURSES ABOUT GAGÁ, RACIAL DISCRIMINATION, AND COMMUNITY ORGANIZING IN THE DOMINICAN REPUBLIC
(2024) Hernandez-Sang, Victor; Rios, Fernando; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
This dissertation examines the discourses that surround Gagá, an African-derived ritual tradition that entails processional music and dance performances to honor deities of Vodou, which is primarily practiced by Haitians and Dominicans of Haitian origin in the Dominican Republic. This study explores the characterization of Gagá from the perspective of outsiders (the media and public figures) and the viewpoint of insiders (the partakers of the tradition). In the analysis, I identify correlates between the characterization of Gagá in the media over time and major political and economic developments in the Dominican Republic. Additionally, I explore the work that community members of Gagá conduct to combat racism and harmful stereotypes about their music and religion. Based on fieldwork, archival research, and compilation of online media, this work provides a nuanced view of the perspective of gagaseros (practitioners of Gagá) regarding their tradition, self-identification, and racial discrimination.
PLACE, IDENTITY, AND SELF: PSYCHOGEOGRAPHY THROUGH THE LENS OF MUSICIANSHIP
(2024) Sakamoto, Kumiko; Salness, David; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
This dissertation examines the intersection of place, identity and musical expression. The purpose of this dissertation is to outline a three-concert performance project that examines the concept of psychogeography through the lens of musicianship. Each concert program centers on a specific area of psychogeography in relation to my life: my heritage, where I have lived, and the influence of place on one particular piece of music.This dissertation seeks to achieve two main objectives. The first is to demonstrate the influence of psychogeography on self, and therefore artistic expression. The second is to draw from my own heritage, musical lineage, and experience to create three thoughtfully curated concert programs that testify to the power of self-discovery and expression. Each performance encompasses an overarching thematic focus that ties each program and piece together. Researching the effects of psychogeography in relation to music and presenting these ideas through three performances has resulted in a deeper understanding of the connection between place and musical expression.
TRAILBLAZERS, INNOVATORS, AND FUTURISTS: 350 YEARS OF THE SOLO VIOLIN
(2024) Whitley, Christopher; Salness, David; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The purpose of this dissertation is to outline a three-concert performance project, entitled Trailblazers, Innovators, and Futurists, by Christopher Whitley that examines the rich and varied repertoire of the solo violin from the seventeenth century to the present. Each concert program centers on a specific theme or topic related to the history of the solo violin repertoire. This dissertation seeks to accomplish three main objectives. The first is to demonstrate specific thematic, compositional, and artistic through lines that have their foundations in the Baroque period and continue to exist in contemporary works for violin. The second is to present three highly curated and immersive concert experiences that include multimedia, dramatic lighting, and a variety of performance practices. The third objective is to draw historical connections concerning the role of technology in the development of violin repertory, along with the role of the composer-performer in violin literature. Finally, this project will offer a contemporary approach to the programming and performance of Western art music that reflects on the potential impact of technological integration and creative plurality within the field. Each performance features four works for solo violin, two of which include an element of technology (playback track, live processing, accompanying visuals, etc.). Each performance is dedicated to a single, overarching thematic focus that links each work and includes a demonstrated historical example of a “trailblazer,” “innovator,” and “futurist.” Finally, each program features one of my own original compositions created for each concert.
MAKING A ROADMAP: THE ART OF COORDINATION IN MUSIC-THEATER REPERTOIRE
(2024) Harika, Jessica Anne; Kier, Craig; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The technological advances of the 21st century have ushered in completely new ways of experiencing art and stylized performance must adapt to meet modern audience demands in order to stay relevant. Music-theater, a general term used to define the singing-based performing arts (e.g. opera, art song, operetta, and musical theater) are text-driven, meaning that composers first look to the poetry, libretto, or lyrics to inform musical settings. However, teaching artists continue to prioritize vocal technique in isolation for the first several years of training, and ultimately expect students to independently integrate singing with other skill sets required for music-theater performance (e.g. acting, movement, and stagecraft). There is a neurological connection between how our bodies learn and subsequently move onstage, and how the audience interprets stage action. This knowledge must be integrated into the training of young singers. Teaching students the art of coordination that moves away from siloed learning ensures that emerging artists are prepared to work successfully post-graduation. Given this reality, I propose a new technique: one that encompasses skills that serve the vocal, physical, and emotional demands of music-theater performers in addition to vocal production. A preliminary tool for coordination is detailed, along with a paradigm for organizing analysis, exemplified by performances in the role of Third Lady (Mozart’s Die Zauberflöte), the roles of Estelle Ogelthorpe and Thelma Yablonski (Musto’s Later the Same Evening), and Dominick Argento’s From the Diary of Virginia Woolf.
NATIONALISM IN PIANO MUSIC FROM POLAND, HUNGARY, SPAIN, AND BOHEMIAN CULTURES FROM THE 19TH CENTURY TO THE EARLY 20TH CENTURY
(2023) Zhang, Hanni; Gowen, Bradford BG; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
From the 19th century to the early 20th century, the spirit of nationalism in music emerged as a response to the growing sense of identity and pride in the newly formed nations of Europe. Composers began to incorporate folk melodies, rhythms, and other traditional cultural elements into works as a way of expressing their national identities and distinguishing themselves from the dominant German and Italian musical traditions.Nationalist composers often drew on themes from their country's history, literature, and mythology and sought to create a distinct national style that reflected their country's unique character. As a result, such efforts contributed to strengthening their country’s sense of nationalism and patriotism. Frédéric Chopin, Maria Szymanowska, and Karol Szymanowski employed traditional Polish folk melodies and rhythms in their compositions. Three Hungarian composers, Franz Liszt, Béla Bartok, and Ernst von Dohnányi, often incorporated Hungarian folk music from their country into their works. In Spain, Joaquín Turina and Enrique Granados were known for using flamenco rhythms and other traditional Spanish elements, while the compositions of Bedřich Smetana and Antonín Dvořák were heavily predicated on traditional Bohemian folk music. This dissertation contains two hours of piano solo recordings and explores how each of these composers was influenced by folk music and how they integrated it into their unique style in celebration of national history and identity. Jeff Gruber from Blue House Production Studio in Silver Spring, Maryland, conducted the two-hour piano solo recording project. The recordings will be made available in the Digital Repository at the University of Maryland (DRUM).
Examining the Performance Practice and Techniques of the Viola in the String Duo Repertoire
(2024) Lee, Chi; Kutz, Eric; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
This document examines the string duo repertoire with viola from the beginning of the genre in the 18th century to the present day. The study begins by documenting over 3,000 string duos with information regarding the composers, time periods, publishers, and instrumentation. A table including the information of all known string duos with viola is included with as many details as possible to present a complete representation of the repertoire that exists. The information gathered from this data will then be analyzed to find general trends in the compositions from the Baroque, Classical, Romantic, and Modern periods. Upon examining different pieces in more detail, the performance practice and techniques required from the viola will be explored to better understand how composers used the viola in string duos throughout history.
THE CATALOG OF AMERICAN WIND SYMPHONY ORCHESTRA COMMISSIONS UNDER ROBERT AUSTIN BOUDREAU FROM 1957 TO 2019
(2024) Jopek, Bradley Stephen; Votta, Michael; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
The American Wind Symphony Orchestra (AWSO) commissioned over 400 works from 1957 to 2019 under the direction of Robert Austin Boudreau with the C. F. Peters Corporation publishing about 200 works. In 2022, Boudreau donated the AWSO works to the University of Maryland Bands and were cataloged by the author of this dissertation with the assistance of Jeffrey Renshaw’s book The American Wind Symphony Commissioning Project: A Descriptive Catalog of Published Editions, 1957-1991 which catalogs 159 works. Discoveries were made to include 255 AWSO works not included in Renshaw’s book.This dissertation is divided into three parts. The first (Chapters 1 and 2) focuses on the history of AWSO, its commissioning project and general programming practices, funding and operations, and the key individuals who created and developed the ensemble over its 62-year history. The second part (Chapter 3) catalogs 255 AWSO works listing the instrumentation, important musical characteristics, program notes, and research resources. It is also intended to act as a supplement to Renshaw’s book for wind band and orchestra conductors searching for wind repertoire. The third part (Chapters 4-6) examines the potential limitations and marketability of the AWSO works as well as future research.
Echoes of Celestial Arias - The Bassoon's Harmonious Journey Through Adaptation
(2024) Ren, Qun; Grimmer, Joseph JG; Frisof, Sarah SF; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
This performance dissertation examines the potential of musical expression and technical skills on bassoon through a series of arrangements for the instrument. Each program features original works in addition to vocal and other instrumental works that were transcribed for bassoon. The works performed and discussed in this document include: Steven Dibner’s arrangement of Fantasia di Bravura on motives of Donizetti’s La Figlia del Reggimento; William Winstead’s First Operatic Anthology and arrangement of Carmen Fantasy; Antonio Torriani’s Divertimento on various themes from Lucie de Lammermoor; John Steinmetz’s Suite from an Imaginary Opera; J.S. Bach’s Sonata for Viola de gamba, BWV 1029 and his Oboe Concerto BWV 1053r; Maurice Allard’s Variation on a theme by Paganini (Capriccio 24); Fritz Kreisler’s Liebesleid and Liebesfreud; Johannes Brahms’ Sonata for Piano and Violoncello in E minor, op. 38; C.P.E. Bach’s Cello Sonata in A minor, H. 432; and G.F. Handel’s Trio Sonata in G minor, HWV 393.
A Collaborative Pianist's Survey of Twentieth-Century Virtuoso Viola And Piano Duos
(2023) Sun, Yihan; Sloan, Rita; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
While my colleagues in collaborative piano graduate studies were focusing on learning violin and cello repertoire, I found an affinity for the burnished, dark sound of the viola. I became interested in how the instrument evolved from mainly a background middle voice throughout the eighteenth century, to being worthy of solo star status in the later part of the nineteenth into the twentieth century. In this dissertation, I plan on exploring twentieth-century virtuoso viola and piano literature written between 1907 and 1979. The repertoire includes both sonatas and suites by composers Dmitri Shostakovich, York Bowen, Rebecca Clarke, George Rochberg, Paul Hindemith, and Ernest Bloch. Analyzing how these composers navigate and expand the tonal and coloristic possibilities of the instrument will provide valuable insights for the interpretation of their works. From the collaborative pianist’s perspective, I aim to address key issues of balance and color when playing with lower-voice string instruments. Additionally, I will discuss the challenges involved in preparing and performing each individual piece and propose solutions to these challenges. This DMA collaborative piano performance dissertation project included one lecture recital, two collaborative recitals, and extended program notes. All three recitals were performed in the Gildenhorn Recital Hall at the University of Maryland, College Park, Maryland. All three recitals were performed in 2023: the first on February 11th, with violist William Satterfield, and the second and third with violist Yu-Hsuan Chen on March 7th and May 11th respectively. The live audio recordings of these three recitals can be found in the Digital Repository of the University of Maryland (DRUM).
AVIAN MOTIFS IN ARMENIAN MUSIC: AN EXPLORATION OF INTERGENERATIONAL MEMORY, TRAUMA, AND IDENTITY IN THE ARMENIAN DIASPORA
(2024) Yaralian, Lilia Medea; Lie, Siv B.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
This thesis explores the theme of birds in Armenian music as it relates to identity, trauma, and commemoration. Based on one year of participant observation and interviews with Armenian Americans, I discuss the relationship between music and genocide commemoration among members of the diaspora in Washington, D.C. and, to a lesser extent, in Los Angeles. I analyze my interlocutors’ interpretations of Komitas Vardapet to learn why he is so meaningful for individuals in the diaspora. I then dedicate much of this thesis to analyzing individual interpretations of Komitas’ song “Krunk” (“The Crane”). I trace the indexical associations the song has accumulated over time to its present-day associations with diasporic identity, the 1915 Armenian genocide, and the 2020 Nagorno-Karabakh War. Lastly, this thesis explores genocide commemoration events among the Washington, D.C. area community and music’s role in memorializing trauma and shaping collective identity. I investigate whether these two communities have shared interpretations of songs commonly heard in commemorations or if being in different environments with varying levels of exposure to Armenian language and cultural practices impacts the ways in which community members value these songs.
MUSICAL NARRATIVES OF RESISTANCE: ARMENIAN REVOLUTIONARY SONGS IN THE ARMENIAN YOUTH FEDERATION OF WASHINGTON, D.C.
(2024) Yaralian, Alexandra Anoush; Lie, Siv B.; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
This thesis explores the role of Armenian revolutionary songs among Armenian youth in the diaspora, focusing on interpretations of these songs by members of the Armenian Youth Federation Washington, D.C. “Ani” Chapter. I demonstrate how these songs have been transformed over the years on the frontlines of the 2020 Nagorno-Karabakh War by volunteersoldier and musician Arthur Khachents, through rock renditions by the Adana Project, and during protests led by Armenian youth in D.C. to commemorate the 108th anniversary of the Armenian genocide. I specifically focus on “Gini Lits” (“Pour the Wine”) and “Zartir Lao” (“Awake My Son”) and how contemporary renditions are adapted to current circumstances of war and political upheaval in Armenia and Artsakh.
TEACHER PRACTICES AROUND REPERTOIRE LEARNING AND SELECTION IN THE ELEMENTARY GENERAL MUSIC CLASSROOM
(2024) Nixon, Elizabeth Rivera; Elpus, Kenneth; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
In music education, it is sometimes said that “the repertoire is the curriculum.” This research seeks to study the ways that elementary general music teachers select repertoire for use in their classrooms, and how the repertoire that they choose in turn influences what students are taught. By interviewing four elementary general music teachers about their practices around repertoire selection, with a focus on one specific lesson, I attempted in this research to answer the following questions:What resources (textbooks, digital resources, etc.) do teachers report utilizing when seeking repertoire for use in their classrooms? When selecting repertoire for their classrooms, what musical and extra-musical factors do elementary general music teachers consider? How do teachers describe the influence of repertoire selection on the concepts taught in elementary general music classrooms? After conducting these interviews and analyzing the data collected, I have determined that the teachers in this study report drawing repertoire from a variety of different resources, including digital resources, print books, and their colleagues. From these resources, they select repertoire based on a variety of overlapping selection criteria, including content-based, aesthetic, functional, and repertoire that provides opportunities for learning about different cultures. The repertoire selected has impacts on the remainder of the lesson, whether through pedagogical or structural impacts. Finally, this paper discusses the impacts of teacher pedagogical approaches on repertoire selection, and the ways in which repertoire is transmitted between colleagues within the world of elementary general music education.
Four X Three: Unconventional Contemporary Chamber Music Trios Featuring Solo Trumpet
(2024) Rye, Dylan; Gekker, Paul C; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
Although the trumpet has been largely absent from the instrumental color palette used by composers of chamber music, the late twentieth and early twenty-first centuries have spawned new conceptions of the trumpet in the context of the chamber music trio. Recent chamber music features extremely diverse instrumental combinations, producing novel compositional effects and technical demands on performers. A study of developing ideas about the trumpet in the chamber music environment tracks the trumpets’ growing acceptance in the chamber music sphere and its recent liberation from the confines of the brass family. Analysis of two twentieth century chamber trios with solo trumpet shows that advancements in trumpet design and technique have made the instrument suitable in many instrumental contexts, and that modern composers have used it to great effect in “neo-tonal” music. Examination of two twenty-first century chamber trios with unorthodox orchestration tracks contemporary composers' evolving use of the trumpet.

Browse

Recent Submissions