Browsing by Subject "New music"
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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 Doctoral thesis recital (composition)(2010-04-16) Schmitz, Christopher; Not availableSonata for piano / C. Schmitz -- Three lyric poems dates / C. Schmitz -- Arctic Circle / C. Schmitz -- Rhapsody for two violas and piano / C. Schmitz -- Out in front / C. Schmitz -- Austin-tatious / C. SchmitzItem EMF(2012-05) Stoffregen, Robert Max; Pinkston, Russell; Pennycook, BruceEMF Duration: c.a. 15 minutes Robert Max Stoffregen, M. Music The University of Texas at Austin, 2012 Supervisor: Russell Pinkston Co- Supervisor: Bruce Pennycook This piano trio is an extension of my work in the area of chamber music composition, and constitutes the single largest work of mine in this area. Chamber music is the most significant area of my work as a composer, and this composition represents an attempt to expand the scope of my chamber works from single movement, contiguous pieces, to a multiple movement concert length work. The titles of each of the movements of EMF are abstracted from song lyrics by indie-rock singer/songwriters Bill Callahan, John Vanderslice, and hip-hop producer/vocalist Eligh. Each movement borrows musical material from its respective song and develops significantly the given musical “seed” according to various compositional techniques. It was my hope from the beginning that this type of referencing and borrowing might lend the music freshness, and at the very least, form a connection between my work as a composer and my musical tastes and experiences as an objective listener. There are no programmatic intentions behind EMF.Item Grafted hymnologies(2008-05) Suter, Anthony J. Jr.; Welcher, DanThe work grafted hymnologies, a piece for chamber orchestra, explores connections between twentieth century formalist compositional techniques and formalist techniques of pretonal music. This document, which accompanies the score for the piece, provides an analysis of the work that explains the various techniques and their application to the music. This piece is composed in five large sections. The work pairs compositional techniques associated with pre-tonal music from those of twentieth century modernist music. For example, the second section employs the Medieval idea of tropes-- each time the melody is repeated, new melodic material is added, in the style of the elaborations to the Gregorian repertory that were common as early as the tenth century. This is paired with a single pitch class drone that evolves by timbral modulation, a technique influenced in part by Schoenberg and carried out exactingly by Elliot Carter. Each section contains a similar pairings, which are explained in detail herein. That these kinds of pairings could co-exist in a single piece seems natural; certainly, the intricate formalism that appeared in some Western concert music before 1600 exhibits a certain degree of aesthetic concurrence with the formalist music of the early to mid- twentieth century. Artistically, reaching back to the past (both near and far) and creating something new is an interesting exploration of how history can inform the creative process.Item Lights in the Night for violin and orchestra(2015-05) Yoon, Minho; Welcher, Dan; Sharlat, YevgeniyLights in the Night is written for solo violin and orchestra. This piece consists of three movements, inspired by three different kinds of "nightscapes". The overall structure of the piece follows a traditional three-movement form (slow-fast-slow), and each movement has its own distinctive formal design, which derives from the narrative of the movement. The first movement, Midnight Snow, is characterized by a struggle between opposing musical elements: the shimmering light of falling snow and the frightening darkness of midnight. The following movement, City of Blinding Lights, represents the impression of a huge city at night--full of people and buildings, covered with colorful, bright lights. The final movement, Aurora, is inspired by my imaginary trip to Scandinavia, and the fantastic colors of Aurora Borealis. This movement also reprises specific musical themes from the previous movements, creating a sense of unity to the piece as a whole and bringing the work to its climax.Item Master's thesis recital (composition)(2010-04-29) Wilson, Zachery; Not availableNot so far as the forest -- Reverie -- Insert coin hereItem Outfacing the storm : songs from the Imperial Trans-Antarctic Expedition(2012-08) Wayman, Abraham Mark; Pennycook, Bruce, 1949-Outfacing the Storm is a song cycle that tells the story of the spectacular failure-turned-triumph of the Imperial Trans-Antarctic Expedition. Led by Sir Ernest Shackleton, the Expedition was an attempt to trek overland across the whole of the Antarctic continent. Shackleton’s ship, the Endurance, launched from England in August of 1914 with twenty-eight men. Within weeks of entering the polar latitudes, ice ensnared the ship. The Endurance remained stuck fast until the spring breakup crushed its hull, and it sank in November of 1915. The crew struck out for civilization, and, after six months and over one thousand miles of travel by foot, by ice-drift, and by lifeboat, they returned home alive. The Expedition’s safe return was heavily credited by its crew to Shackleton himself. A man of intense character, burning passion, and unfailing determination, Shackleton put the needs of his crew ahead of all else. His individual dedication to each member of the voyage was an inspiration to each. Ernest Shackleton, however, was a private man. He hid his own concerns from all except those closest to him. During the Expedition, he feared for the well-being of the crew. In the largest sense, he feared failure. Shackleton was only ever content while at sea. “Sometimes,” he wrote to his wife, “I think I am no good at anything but being away in the wilds… I grow restless and feel any part of youth is slipping away from me and that nothing matters… I feel I am no use to anyone unless I am outfacing the storm in wild lands.” This song cycle tells the tale of the Expedition through Shackleton’s eyes. The cycle is in eleven movements—nine recounting the story, plus a prologue and epilogue. All of the text is Shackleton’s own. The nine middle movements are taken from Shackleton’s memoir about the voyage, South. The prologue and epilogue are taken, respectively, from an interview and the above letter.Item Vortex(2014-05) Laney, Ryan Michael; Grantham, Donald, 1947-; Pinkston, RussellVortex is a two-movement piece for 14-player chamber ensemble of approximately 12 minutes in duration. It is scored for Flute/Piccolo, Oboe, Clarinet in B-flat, Horn in F, Trumpet in B-flat, Trombone, Percussion, Drum Set, Piano, and Strings.