Music Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/2796
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Item THE CORNO D'AMORE - A BAROQUE TRANSCRIPTION PROJECT(2019) Drew, Justin Thomas; Miller, Gregory E; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Throughout my musical career, I have always enjoyed Baroque music, especially in a church setting. I have had some opportunities to experience this first hand on the horn, but realized that the Baroque repertoire available to a horn player is incredibly limited. Furthermore, there became a realization that French horn music students do not interact enough with Baroque music. While undergraduate Music Education and Performance majors seek a complete education and experience in performing all genres of music, horn players are often left with a void of music and techniques from the Baroque Period. It is also not common for students to own period instruments, nor is it common for university studios to own these instruments. The baroque horn also follows Baroque tuning A=415, which is far lower than the modern traditional tuning, which is A=440. Therefore, I have created four Baroque transcriptions for Horn and Organ to add to the horn repertoire. Two transcriptions were taken from Oboe concertos and two from Oboe D’amore concertos. All of these works were originally accompanied with small string ensemble and continuo. I chose Oboe and Oboe D’amore because the melodies were accessible for the modern day horn player, where flute, violin, viola, and cello features brushed up against virtuosity. These melodies also embody four different types of baroque style and melodic mastery. The project includes a professional recording, the sheet music of the transcriptions, and a CD cover with liner notes. The CD was recorded at Chevy Chase Presbyterian Church on November 10, 12, 17, and 25, 2019. The horn used was a Lukas Horn #4 with an Osmun Chicago cup and Geyer rim. The organ is a Rieger Tracker Organ designed by Josef von Glatter-Gotz in 1973-4, performed on by Julie Vidrick Evans. My engineer and producer was Neil Brown, through the recording company Arts Laureate. The arrangements were created using the music writing software, Sibelius. The cover photo is credited to Kyung Jung at Yellowhale Photography.Item SELECTED WORKS OF COMPOSERS ASSOCIATED WITH HOWARD UNIVERSITY(2018) Royal, Guericke Christopher; Gekker, Paul C; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Throughout its over 100 year history, Howard University has produced and attracted many talented composers of many musical genres. Limiting this project to any one genre or focus would have lessened the overall impact of the music they created and the inspiration that has been a lauded part of the institution. The project will demonstrate the various harmonic, melodic, rhythmic and emotional contributions of the selected composers through interpretation of their music on the trumpet. Composers have been connected to the university in three general ways: as students, alumni and faculty; as commissioned artists; and through the performance of their works by notable performers associated with Howard. The pieces selected for this project exemplify a wide range of musical expressions and compositional techniques, and hopefully have been presented in a way that allows the emotional impact of each piece to resonate in a unique fashion. The selected works tended to fall into the categories of A. Trumpet and Brass Works B. Spirituals/ Meditational/ Religious Works C. Popular and Jazz Pieces D. Organ or other Instrumental Works E. Works of Historical Reference or Significance In some cases, certain pieces may be categorized across multiple categories (e.g. an organ piece based on religious material). As this was also a recording project, great care was taken during the recording process to capture as much emotional content as possible through stereo microphone techniques and the use of high quality equipment. The group of works examined and set for the CD is but one example of Howard University’s musical legacy. Additional collections of selected works of composers associated with Howard University could, and should, be created by others to further reinterpret more of this underperformed, yet highly valuable music.