My senior capstone project is an exploration of musical arrangement, a process that involves the adaptation of an original composition for the purpose of performance, and such a process usually involves harmonization, orchestration, or the addition of instrumental accompaniment. The underlying question is, when a piece of music outlives its composer or era, how should it be preserved or re-imagined in a relevant way? To answer this question, I have chosen two pieces of music composed by Johann Sebastian Bach, the Prelude from the G Major Cello Suite (BWV 1007) and the Bouree II from English Suite no. 2 in A minor (BWV 807) to arrange for bluegrass instruments.
This is a study of two international composers living and teaching in the United States; and how their innovations on world music demonstrate cosmopolitanism. The study follows the lives and music of Tendai Muparutsa from Zimbabwe and I Made Lasmawan from Indonesia, and analyzes their original compositions in order to explain their innovative style. Interviews, analyses and and literature on Zimbabwean and Balinese music as well as world music education are the basis of this study.
The singer faces the difficult task of learning not only music, but also the song’s lyrics. For the classically trained singer, a common way to begin learning a piece is to isolate the music from the text by singing the music with only a single syllable. When the lyrics are reinserted, the challenge for the singer is to connect the words to the music’s melody in a sophisticated and expressive manner. The ultimate goal is to bridge the gap between the music and the meaning of the lyrics. The purpose of this paper is to investigate the relationships between the music and text in vocal repertory from 1600 until 1950 through the analysis of seven songs. This paper presents observations about music-text relationships that are directly applicable to enhancing the performance of these works.
The topic of this project is remix as a form of arrangement, as viewed through the lens of an original composition based on the harmonies in the ‘Prelude’ of Bach’s Cello Suite no. 1 in G Major (BWV 1007). From writing a sort of variation on the movement, to remixing that variation using both analog and digital means, I explore the possibilities and results of reinventing Bach in a modern context.
What is folk music? What defines the folk sound? Can modern adaptations of folk songs be considered authentic? What makes folk music relevant today? In order to answer these questions, my senior recital explores the repertories of both American and Irish folk music. For these two repertories, I will identify the key elements of folk music by analyzing and evaluating modern adaptations of traditional songs and styles. As I prepared my recital of traditional and contemporary folk music, I studied the vocal techniques appropriate for each piece and its cultural context. I learned the pieces for my recital via secondary orality, the practice of learning music from recordings without the use of sheet music, as a means of retaining authenticity. I argue that understanding both the traditional roots of folk songs and the ways in which contemporary pieces evolved is crucial to the interpretation of contemporary folk music.
This is a study of the gugak orchestra and its role in Korean musical culture. What is gugak? Jong-mi Kim states that there are three situations in which music can be deemed gugak. The first case is when the music is played by traditional instruments, the second is when the music incorporates gugak characteristics, and the third is when both factors are present in the music (Kim 2004:31). Dongeun Noh argues that during the Japanese Occupation (1910-1945), the term gugak was coined to specify music that was specifically Korean. After Korean music was recognized as a cultural expression, the public began to think of it as one genre among many, which lowered its status in Korean musical culture (in Kim 2004:26). In 1962, the South Korean government passed a Cultural Properties Protection Law hoping to retain the heritage that was lost through decades of war. In 1972, the government passed a Cultural and Arts Promotion Law to give “financial support to preserving the nation’s architecture and maintaining arts and crafts” (Seth 2011:489). It was during this time, through government funding and the desire to preserve culture, that innovation in Korean traditional music began to emerge. This project is a study of tradition and innovation in Korean music, which is a valuable cultural asset to Korean people in and outside of Korea. The music encompasses the foundation of Korean roots and carries the story of Korean history. In this project, I focus on the Gyeonggi Provincial Traditional Music Orchestra and the gugak orchestra’s function and role in Korean musical society. I also present diverse opinions about innovation in traditional music expressed by current Korean performers.