This paper outlines the importance of using acoustics to inform the composition and recreation of musical works; As well as, the scientific methodology and basis for room acoustics.
Running about 37 minutes over the course of ten tracks, Great Animal (2017) is an instrumental rock album recorded by my group, Most Bodacious, and engineered, mixed, and mastered by Jacob Folk. The following documentation will cover Great Animal’s composition, production, post-production, publication, distribution, and overall significance in five corresponding sections. The main purpose of this paper is not only to introduce and promote my first major work, but also to provide tangible results of my musical studies at The Colorado College (CC) and, furthermore, to purport individual engagement and discovery through the record.
My capstone project delves into the world of opera and its traditions with this concept in mind. Presenting discourse criticizing the classic and contemporary roles of women in opera, this capstone analyzes examples of mistreated women in opera between the seventeenth and twentieth centuries—the time when opera was at its peak in both interest and production. These historic observations are juxtaposed with the contemporary opera L’Amour de Loin and female composer Kaija Saariaho. An analysis of these works illuminates an adverse and misogynistic trend in the treatment of the female characters. Furthermore, the prevalent performance of these works continues to perpetuate an outdated and unjust view of women in the industry today. Through the analysis of the contemporary work L’Amour de Loin and its female composer Kaija Saariaho, I take an anti-essentialist view; suggesting that there is no inherent difference between an opera composed by either gender. Regardless, the objectified and exploited operatic woman is so instilled in this genre, that Saariaho herself suffers in this industry. This exploration of women in opera identifies two categories that operatic women: victims and femme fatales. These portrayals are problematic for several reasons. They pigeonhole women into an unfair erroneous binary spectrum, instill outdated and misogynistic views on women’s rights, and come from an exclusively male perspective. Two case studies for each category present this discourse: Mozart’s Don Giovanni (1787) and Pucinni’s Madama Butterfly (1903) for portrayals of women as victims, and Bizet’s Carmen (1875) and Berg’s Lulu (1937) for women portraying femme fatales.
A look into the underlying connections between certain Chopin Preludes and how the composer Ronald Stevenson created his "Six Pensees sur des Preludes de Chopin" based off of these pieces. In his Pensees, Stevenson explores the similarities between rhythmic, melodic, and harmonic elements in the Preludes to both find where musical links can be made as well as an opportunity to explore his own musical style.
Bluegrass is a genre that is rooted in tradition and culture, and those that play the genre all tend to draw from those fundamentals. As a genre that was born in the rural south, the music was very much driven by community and in-person interactions. This meant that the stories and progressions in the music remained, for many years, secluded in that area of the country. Today, the genre has gained recognition, and with that there has been an unmistakable shift away from the traditional sounds and towards a modern, folk influenced style. The stories and traditions that are such an integral part of the genre’s foundations run the risk of being forgotten in that transition. Thus there is great need for the documentation of these musical transformations, especially by those that play the genre. Podcasts have become a popular medium for sharing stories as they provide an outlet for synthesizing both music and discussion into one cohesive narrative. This project uses that channel to gather stories and thoughts from musicians immersed in the bluegrass scene today, to expand knowledge and appreciation of the genre, and to bridge the gap between the old and the new.