By exploring the rehearsal techniques employed by democratic musical ensembles, I hope to gain some insight into what makes rehearsals both effective and enjoyable, and how more egalitarian rehearsal models can be used in a school setting., 2012, Old URL: https://wesscholar.wesleyan.edu/etd_hon_theses/830, In Copyright – Non-Commercial Use Permitted (InC-NC)
Joe Hisaishi Rob Rusli film score scoring composition, 2010, Old URL: https://wesscholar.wesleyan.edu/etd_hon_theses/408, In Copyright – Non-Commercial Use Permitted (InC-NC)
Cost, Matthew Andrew (Matthew Andrew Cost) (Author), (Neely Bruce) (Thesis advisor)
Date
2014-04-15
Description
This paper examines the process by which the theoretical model of modal music, in its Renaissance form, evolved and, to some extent, dissolved into the modern system of tonality. The musical examples illustrating this shift are drawn from Monteverdi's work in the first two decades of the seventeenth century, when some of the most significant changes in technique and thinking were occurring. Monteverdi's opera L'Orfeo (1607) serves as a pivot, since it is firmly modal yet exhibits key elements of tonal thinking. The analysis of the musical examples attempts to trace how and why fragments of modal technique were transmitted into tonal music, despite the fact that the basic building blocks of modality and tonality are fundamentally different. The paper aims to elucidate what happened to European art music in the seventeenth century by presenting the theoretical models that came before and after Monteverdi, and then delving into his music itself to find the cords that bind it all together., 2014, Old URL: https://wesscholar.wesleyan.edu/etd_hon_theses/1185, In Copyright – Non-Commercial Use Permitted (InC-NC)
Masters, Jacob Simon (Jacob Simon Masters) (Author), (Neely Bruce) (Thesis advisor)
Date
2015-04-15
Description
This project is a musical analysis of the three transitional passages between scenes in Richard Wagner’s Das Rheingold. I begin each transition’s analysis by separating it into distinct sections. Following a chronological analysis of the harmony and melodic development, I discuss what those musical decisions represent with regards to the larger story. A primary focus of this analysis is the use of the many different leitmotifs that pervade the entire opera. Much like the way I analyze the transitions, I first look at how these motifs are constructed and then discuss what the specific alterations to the motifs over time represent. Ultimately these transitions define the development of the characters on stage. In doing so, they make nature an active character in the opera as well., 2015, Old URL: https://wesscholar.wesleyan.edu/etd_hon_theses/1438, In Copyright – Non-Commercial Use Permitted (InC-NC)
