Doctoral Dissertations--Composition (DM)
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Browsing Doctoral Dissertations--Composition (DM) by Type "D. Mus."
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Item Afterimages: for orchestraSink, Phillip, 1982-Item Chamber symphonySweeney, Mike, 1982-Item Concerto for chorus(Indiana University, 2020-07-21) Rubin, Corey, 1983-Item Dans l'espoir de ce jour(2013-12-20) Kingsland, Chappell, 1980-A setting of a poem by Léopold Sédar Senghor for baritone and chamber orchestra.Item Danzas encefálicas: Dream cycles for sinfonietta and electronics(Indiana University, 2020-07-14) Tovar-Henao, Felipe, 1991-Item E pluribus(Indiana University, 2017-12-06) Smith, Curtis N., 1983-This piece is about the individual and the collective, and is inspired by democracy. There are two main characters—the ocean of sound, represented most prominently by the strings—especially at the beginning and end, and a tonal chord progression that emerges gradually from the dense cluster at the beginning of the piece. The sublimation of the tonal progression into the cluster and the cluster’s interaction with the tonal progression propel the piece, delineate structure, and act as a type of embodiment for the societal shifts and interactions experienced in a democracy.Item Ghost of the machine(2014-05-14) Chase, Ryan, 1987-Item Gonna get your soul start dancing(2016-04-19) Podgursky, JeremyItem Icarus(2013-05-09) Lindsay, Eric, 1980-Discussions about music, as with those about life, often circle around the idea of goal-directed motion. In these conversations, many of the metaphors we use to describe directionality can apply across contexts—stasis vs. transition, cycles of repetition vs. developing variation, drive vs. aimlessness, and so on. Similarly, many of us tend to attribute these labels to our perception of a piece’s agency, anthropomorphizing musical gestures as though they were characters on a journey. My objective in Icarus was to reflect on the symbiosis between the transitions we undergo in and outside of the listening experience. (As a personal aside, this piece was written at a time when the clearly delineated goals of academia gave way to the uncertain ones that dictate what comes next in life.) Like the mercurial transitions that connect the primary and secondary theme areas in late-Romantic sonatas, what was once the obvious end-goal now becomes one of several alternative, often-conflicting possibilities, conjuring a state of unrest and instability. Making decisions in a world of increasing opportunities is the spice of life... yes, except for that moment where competing internal dichotomies seem to keep life from moving forward. I sometimes liken this juncture to Icarus’ leap from the tower high above the cliffs of Crete, where Icarus fashioned his own fall by disastrously letting an opposing agent—hubris—distract him from the goal of flight. The language of this piece is itself a reflection of these tensions, born of an effort to rally notions of personal fulfillment, voice, style, substance and intuition together into a showcase and distillation of all I’ve ever learned. This state is reflected, too, in the musical gestures themselves, where repeated sections (or "ritornelli") are pushed and pulled by various ingredients within the material fighting for greater prominence. With each structural repetition, the goal of a passage is colored by the implications of alternatingly prominent rhythmic, metric and/or harmonic characteristics. The end result is a collection of earnest, opposing ambitions—blazing forward while always threatening to rip the whole apart at the seams.Item IleDonner, Ezra, 1986-Item Interstellar arias(2014-05-06) Snethkamp, Steven, 1982-Item Into the forest(Indiana University, 2019-04-26) Cho, Ara, 1988-Item Jim, Jimi, and James(2013-04-26) Lubell, Gabriel, 1983-Item Ko-oh(2015-05-04) Kim, Texu, 1980-Item Music from elsewhere: orchestra(2012-12-13) Groffman, JoshuaItem Nights of 1998(Indiana University, 2018-04-09) LaRosa, ChristopherItem Permissions(Indiana University, 2020-05-03) Taylor, Tyler, 1992-Item Son perpetuumCortés-Álvarez, Francisco, 1983-From Mexico all the way to Argentina, many Latin American countries share a very strong tradition of music in 6/8 meter that emerged from the blend of music traditions from Spain, the native cultures, and the African descendants. In this musical tradition there is a constant rhythmic device, not unique to this kind of music, but certainly one of its main characteristics: the hemiola. For the last five years I have been working at the Latin American Music Center (Indiana University), and “Son Perpetuum” is an abstraction of multiple styles that have influenced my compositional work during my doctorate. Rhythms such as Son Husteco, Landó, and Zamacueca, among others, are blended into an energetic rush of color, texture, and harmony in perpetual motion. “Son Perpetuum” does not have breaks; it does not slow down; it is always energetic. The interest of the piece depends on a wide variety of timbral, textural, harmonic, dynamic, and registral ranges.Item Songs from Bedlam: for solo baritone voice and chamber orchestra(2015-05-18) Turner, Jess, 1983-Item Valley of dry bones(2014-05-23) Ahn, Sang Mi, 1979-