School of Music
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Long, Courtney (Wichita State University, May , 2010)[more][less]
Abstract: Instrumentation: Flute -- Clarinet in Bb -- Bass Clarinet in Bb -- Alto Saxophone in Eb -- Baritone Saxophone in Eb -- Bassoon -- Horns I and II in F -- Trumpet in Bb -- Bass Trombone -- Percussion I (Suspended Cymbal, Woodblocks, Timpani: 32-30”, 29-28”, 26-25”, and 23”) -- Percussion II (Tom-Toms, Suspended Cymbal) -- Keyboard Percussion (Marimba, Vibraphone) -- Violin I -- Violin II -- Viola -- Violoncello Double Bass All wind instruments should be one to a part, unless the conductor thinks doubling is necessary for balance. The string doublings should be as follows: 3 players to a part for Violin I, Violin II, Viola, and Violoncello; and 2 players for the Double Bass part. Description: Thesis (M.Mus.)--Wichita State University, College of Fine Arts, Dept. of MusicThe score is in C. Energy is a four movement, continuous piece. The movements are: I. Upward -- II. Forward -- III. Circular -- IV. Namaste. Each movement intends to convey the different energies created in certain yoga positions. URI: http://hdl.handle.net/10057/3316 Files in this item: 1
t10025_Long.pdf (706.6Kb) -
Tiemeyer, Robyn Morrison (Wichita State University, August , 2008)[more][less]
Abstract: This study is intended to explore the spirituality of Gustav Mahler through his emphasis on Catholicism in his Eighth Symphony by relating those themes to other parts of Mahler's life, focusing on his use of Johann Wolfgang von Goethe's Faust as a basis for Part II of the "Symphony of A Thousand." Surprisingly, the conclusions on Mahler's spiritual beliefs do not come from his religious practices, but arise from exploring his personal relationships, testimony from his colleagues, and interpretations of Goethe's poetry. The first concern is Mahler's conversion from Judaism to Christianity in 1897, and how a majority of his biographers determine the motivation to be political rather than spiritual in order to obtain the post of Vienna Opera director. However, through research it is shown how both a sentimental appreciation and belief in Catholicism are held by Mahler and subsequently reflected in his compositions. Three main categories of Christianity are then discussed: the Catholic view of Woman and her three roles of mother, virgin, and queen; suffering and purification; and mysticism. Each part of Catholicism is then related to Mahler and Part II of his Eighth Symphony through some part of this life. The three roles of Woman are related to his relationship with his own mother, sister, and wife. His thoughts on suffering are compared to that of one of his favorite author, Fydor Dostoyevsky's, life and best known works, Crime and Punishment, specifically the comparison of Raskolnikov and Sonia's respective suffering. Finally, his fascination with mysticism is highlighted through man's transformation from natural to spiritual as it is recorded in the New Testament and how that is symbolic of Faust's evolving perspective. Supplemental topics discussed in this study are Mahler's earlier symphonies, his meeting with Sigmund Freud in 1910, Friedrich Nietzsche's philosophy of the übermensch, the writings of C.S Lewis on mysticism, the Gospel of John, and Deryck Cooke's relation of Part I and Part II of the Eighth Symphony to Christianity's meaning of the Word and the Deed. Description: Thesis (M.Mus.)--Wichita State University, College of Fine Arts, School of MusicIncludes bibliographic references (leaves 59-62) URI: http://hdl.handle.net/10057/2016 Files in this item: 1
t08051.pdf (744.0Kb) -
Sauceda, Jonathan (Wichita State University, August , 2008)[more][less]
Abstract: Although the image of Woody Guthrie has often used as a symbol by collectivist leaning groups such as the Communist Party of the United States and the free love movement of the 1960s, and although he has been viewed by scholars as a dogmatic union supporter, an examination of several musical works characteristic of his creative oeuvre demonstrate individualistic traits. Guthrie’s own life, his solitary travels, his lack of concern for the welfare of his own family, his attitude toward financial success, treatment of and by the Communist Party, marriages, military career and final years demonstrate this individualism. His writings, most notably Bound for Glory – his semi-factual autobiography – and Woody Sez – a collection of his articles for a Communist Periodical – also show clear signs of a focus on self-actualization and independence rather than a desire for a Communist Cockaigne. The lyrics of songs characteristic of Guthrie’s preferred topical genres – “Jesse James” and “They Laid Jesus Christ in His Grave,” outlaw, “This Land is Your Land,” travel and “I Ain’t Got No Home,” anti-organized religion – came from an individualistic paradigm. Guthrie’s choices in crafting a musical idiom also reflect individualizing efforts. The easily played keys, chords, forms and rhythms allow a wide variety of individuals to take part in the music and also allowed for many variations on the music and lyrics while retaining the original message. Guthrie’s purposeful crafting of his own image independent of the musical culture both in his hometown and around him also demonstrates his independence. The choice of ultra-portable instrument – guitar – supplemented Guthrie’s rambling, self-reliant mystique. Description: Thesis (M.Mus.)--Wichita State University, College of Fine Arts, School of MusicIncludes bibliographic references (leaves 59-62) URI: http://hdl.handle.net/10057/2015 Files in this item: 1
t08050.pdf (881.2Kb) -
School of Music (Wichita State University, September 28, 2007)[more][less]
URI: http://hdl.handle.net/10057/1853 Files in this item: 1
music_education_report_2006-07.pdf (75.35Kb) -
School of Music (Wichita State University, November 1, 2006)[more][less]
