Browsing by Subject "Marimba"
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Item Concerto for percussion and wind ensemble(2013-12) Ozley, Christopher; Pinkston, RussellThis thesis is a musical composition featuring solo percussion with wind ensemble. It is in three movements with a cadenza linking the second and third movements. The performance time of this work is approximately 12’ 30”. The work will receive its world premiere in the spring of 2014 by Adam Groh and the Graceland University Symphonic Band.Item The fox trot in a nation of cosmopolitans : music and race in early twentieth-century Guatemala(2013-08) Amado Pineda, Andres Roberto; Moore, Robin D., 1964-; O'Meara, Caroline; Candelaria, Lorenzo; Burnett, Virginia G; Keeler, WardIn this dissertation I explore musical importations in early twentieth-century Guatemala, particularly the fox trot, and their relationship to notions of cosmopolitanism, race, and national identity. Although Guatemalans may boast that the son is their national music—a genre often associated with local indigenous traditions—examination of the national marimba repertoire reveals that its most predominant styles derive from foreign music and dances that circulated transnationally in the late-nineteenth and early-twentieth centuries. Such a realization raises questions about the role of indigeneity in national discourse. I argue that Ladinos (non-indigenous or mixed Guatemalans) imported the fox trot and other musical forms to construct a national identity predicated on racialized notions of modernity and cosmopolitanism. The fox trot, a dance derived from African-American ragtime traditions, enjoyed worldwide popularity for nearly two decades due in part to its ability to mediate constructs of whiteness and blackness that fit presentist ideas of modernity: blackness represented a primitive alterity while whiteness evoked a modern and civilized society. Analyses of racial discourse among Ladinos and its implications for the national instrument (chapter 2), the stylistic features of Guatemalan national repertoire (chapter 3), and the subjects that locally-composed fox trots reference through titles, cover art, and musical styles (chapters 4 and 5) demonstrate that many elements of the fox trot, along with their connotations of modernity and race, resonated with the cosmopolitan sensibilities of Ladinos. Their preference for international as opposed to local forms suggest a fundamental ambivalence towards indigeneity and its centrality to national culture.Item Rasgueado for flute, clarinet in Bb, violin, cello, percussion and piano(2011-12) Barkoskie, Alvez Theodore; Sharlat, Yevgeniy; Welcher, Dan"Rasgueado” is an expansion of a chorale from an earlier work I composed for brass quintet. It is based on a seven measure progression that appears in many several different variations throughout the work. Traditionally, this form is known as a passacaglia, which has origins in Spain and Italy. In Spain, the pasacalle, is a rasgueado, or strummed interlude between dances or the verses of a song. I choose to name this piece “Rasgueado” since parts of the piece are loosely based on the idea of the passacaglia and since the piece opens and closes with the strumming of the cello.