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  1. Characterizing the field of Atomic Layer Deposition: Authors, topics, and collaborations

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    Description: This paper describes how Atomic Layer Deposition (ALD) has evolved over time using a combination of bibliometric, social network, and text analysis. We examined the rate of knowledge production as well as changes in authors, journals, and collaborators, showing a steady growth of ALD research. The study of the collaboration network of ALD scientists over time points out that the ALD research community is becoming larger and more interconnected, with a largest connected component that spans 90% of the authors in 2015. In addition, the evolution of network centrality measures (degree and betweenness centrality) and author productivity revealed the central figures in ALD over time, including new “stars” appearing in the last decade. Finally, the study of the title words in our dataset is consistent with a shift in focus on research topics towards energy applications and nanotechnology.
    Keyword: scientific publishing, centrality, bibliometrics, and atomic layer deposition
    Creator: Angel Yanguas-Gil and Elsa Alvaro
    Owner: Elsa Alvaro
    Publisher: PLOS
    Date Uploaded: 01/16/2018
    Date Modified: 01/16/2018
    Rights: Creative Commons BY Attribution 4.0 International
  2. Behind the Wallpaper: For Voice, String Quartet & Electronics

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    Description: Behind the Wallpaper was written for Julia Holter and Spektral Quartet in 2014–15, expanding on a four-song cycle of the same name from 2013. It was premiered on February 23, 2015 at Amsterdam Bar & Hall in St. Paul, MN, as part of the Liquid Music Series. The piece tells the story of someone undergoing a mysterious transformation and ultimately finding a home in another world, superimposed on our own but invisible to the uninitiated. Many of the dreamlike images in the songs were inspired by my experience with gender transition, but my hope is that the story will feel familiar to anyone who has ever felt alienated from the broader culture. I wrote Behind the Wallpaper with the specific qualities of Julia Holter’svoice in mind. Her singing is quiet, meant for amplification, and largely vibratoless. She also pronounces words the way they’re pronounced in everyday speech, rather than attempting to formalize or “purify” the English language. If another singer performs the piece, it’s essential that the songs retain this informal, speech-like character. This score is released under a Creative Commons Attribution Non-Commercial Share-Alike license. This means that other composers may quote the piece or create derivative works, as long as they credit Alex Temple for the original work, do not use their new creations commercially, and license them under identical terms.
    Keyword: mysterious transformation, electronics, sheet music, transgender, lyrics, Julia Holter, musical score, dma project, surrealism, Spektral Quartet, and string quartet
    Subject: sheet music
    Creator: Alex R. Temple
    Owner: Scholarly Digital Publishing
    Date Uploaded: 01/10/2018
    Date Modified: 01/10/2018
    Date Created: 2015-02-23
    Rights: Creative Commons BY-NC-SA Attribution-NonCommercial-ShareAlike 4.0 International
    Resource Type: Other
  3. Intercultural Exchange and Cultural Resistance in Sarajevo's Classical Music Institutions: A Recent History of Art Music in Sarajevo

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    Description: This document gives a brief history of classical music (Western art music) in Sarajevo, Bosnia and Herzegovina, with a focus on recent events and developments from the beginning of the siege (1992) to the present. Further focus is placed on the effects of Sarajevo's cultural pluralism on the city's largest classical music institutions, particularly the National Theater and the Sarajevo Music Academy. Lists of frequently performed repertoire and informal interviews with prominent Sarajevan professional musicians show that the classical music institutions in Sarajevo frequently promote intercultural exchange. Furthermore, music was used in besieged Sarajevo as a means of cultural resistance against hatred and violence. International media coverage of Sarajevo's musical activities since 1992 has inspired a worldwide production of academic and artistic works that promote music as a facilitator of dialogue and tolerance.
    Keyword: Cultural Resistance, Music, dma project, Sarajevo, Cultural exchange, and Bosnia and Herzegovina
    Subject: Oboe Performance
    Creator: Megan Elizabeth Robbins
    Owner: Scholarly Digital Publishing
    Date Uploaded: 01/10/2018
    Date Modified: 01/10/2018
    Date Created: 2014-06-01
    Rights: In Copyright
    Resource Type: Dissertation
  4. Nature Music: Prerecorded Nature Sounds in Electroacoustic Composition

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    Description: Since Ottorino Respighi included the recording of a nightingale in his Pini di Roma (1924), composers have used prerecorded nature sounds, or field recordings, to help establish a specific sense of place. The purpose of this project is to examine how modern composers utilize field recordings to create natural-world settings, as well as how prerecorded nature sounds influence the melody, harmony, rhythm, and texture of their compositions. After a brief overview of nature sounds in twentieth-century composition, two contemporary composers and two works for electronics and wind ensemble are discussed in greater detail. In Beneath, Alex Shapiro creates an underwater atmosphere by composing with the recording of a humpback whale song; in Rusty Air in Carolina, Mason Bates uses recordings of insects and birds to bring listeners on a musical journey to a Southern summer night. These discussions illuminate how melody, harmony, rhythm, and texture are generated from recordings of the natural world. The concluding chapter draws connections and distinctions between each composer’s use of field recordings.
    Keyword: whale song, insect sound, nature sound, prerecorded, electroacoustic, bird song, alex shapiro, composition, ottorino respighi, dma project, and mason bates
    Subject: Conducting
    Creator: Joseph E. Higgins
    Owner: Scholarly Digital Publishing
    Date Uploaded: 01/10/2018
    Date Modified: 01/10/2018
    Date Created: 2017-12-09
    Rights: In Copyright
    Resource Type: Dissertation
  5. The Tubist’s Guide to the Brass Quintet: A Survey of Historical Developments and Performance Techniques

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    Description: Since the standardization of the modern brass quintet in the middle of the twentieth century, extensive research has been dedicated to the history of the genre, ensembles which have promoted and advanced brass chamber music and the growing body of original brass quintet repertoire. Such scholarship has provided practical benefits to performers and reflected the increased validity of the brass quintet as a chamber music entity equal to that of its string and woodwind counterparts. No instrument has benefitted more from the progress and recognition of the brass quintet than the tuba. Despite this fact, relatively little scholarly activity has been devoted to the specific demands and applications of the tubist’s role in brass quintet performance. The current study serves as a performer’s guide for the tubist in a brass quintet. Following a brief introduction, the second chapter provides historical context by studying several ensembles and individuals who developed the genre of brass chamber music and the tuba’s function therein. Based on writings, interviews and recordings of these and many other preeminent chamber musicians and pedagogues, Chapter Three includes an overview of equipment considerations and elements of tuba performance unique or relevant to the brass quintet setting. Chapter Four applies these performance elements to Victor Ewald’s Quintet no. 1, op. 5, demonstrating a model for repertoire-specific research and performance preparation. By examining the history of the tuba in the brass quintet and performance aspects related to playing tuba in a chamber music setting, this document serves as both a reference for advanced performers and a pedagogical tool for students.
    Keyword: tuba, ewald, dma project, and brass quintet
    Creator: Thomas Walsh Curry
    Owner: Scholarly Digital Publishing
    Date Uploaded: 01/10/2018
    Date Modified: 01/10/2018
    Date Created: 201512-01
    Rights: In Copyright
  6. The History and Semiotics of Early Electronic Advertising Music

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    Description: Starting in the late 1950s, the advertising world rapidly became a fertile arena for experimentation in the realm of electronic music. Composers explored new forms, such as the sound logo; new technology, such as the Moog synthesizer; and new semiotic relationships between music, words, images and concepts, including attempts to forge subliminal associations between sounds and brand names. Yet the composers responsible for these innovations have largely been ignored by scholars of both music and advertising. This dissertation is a step toward filling that gap. The first part consists of a literature review and a history of the repertoire, focusing on the groundbreaking work of Raymond Scott and Eric Siday, the do-it-yourself experimentation of the BBC Radiophonic Workshop, and the refinements that Suzanne Ciani brought to the genre starting in the late 1970s. The second part analyzes common tropes in electronic advertising music, including fanfare-like melodies, telegraph and teletype rhythms, sonic representations of carbonation, and the use of noisy filter sweeps in makeup commercials. In Chapter 3, drawing on Anahid Kassabian’s work on the role of “ubiquitous musics” in identity formation, I argue that advertising music played an important role in creating the idea of the Space Age. And in Chapter 4, I propose some modifications to Philip Tagg and Bob Clarida’s classification of musical signs, and then combine their approach with Kassabian’s theory to create a detailed cultural, historical and semiotic analysis of Siday’s logo for American Express.
    Keyword: sound logo, Eric Siday, BBC Radiophonic Workshop, capitalism, sonic branding, electronic music, identity formation, dma project, advertising, music semiotics, jingles, Raymond Scott, audio logo, and Suzanne Ciani
    Subject: Music Composition
    Creator: Alex R. Temple
    Owner: Scholarly Digital Publishing
    Date Uploaded: 01/10/2018
    Date Modified: 01/10/2018
    Date Created: 2017-06-01
    Rights: In Copyright
    Resource Type: Dissertation
  7. An Argument and Pedagogical Guide for Introducing Concepts of Music Theory into Intermediate Level Horn Pedagogy

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    Description: Ever since Jean-Baptiste Lully welcomed the horn to the stage as an instrument capable of producing music suitable for indoors, a tradition of horn methodology and pedagogy has been developed and expanded over the centuries. Despite the volume and variety of pedagogical materials available to the horn student and pedagogue today, there is still one area of horn pedagogy that is lacking: an approach that integrates horn pedagogy with adequate music theory training. I will make a case here for why such a resource is necessary and present suggestions and samples of lesson material. This resource is aimed at the student horn player of intermediate level and their private lesson instructor, with the assumption that such a player between the ages of late middle school to early high school.
    Keyword: Intermediate, Pedagogy, dma project, Music Theory, and Horn
    Subject: Wind and Percussion
    Creator: Valerie Whitney
    Owner: Scholarly Digital Publishing
    Date Uploaded: 01/10/2018
    Date Modified: 01/10/2018
    Date Created: 06-01-2017
    Rights: In Copyright
    Resource Type: Dissertation
  8. A Narratological Analysis of 'Pnima...ins innere' by Chaya Czernowin

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    Description: Chaya Czernowin’s opera 'Pnima…ins innere' is about the encounter between a young Israeli boy and his grandfather, a Holocaust survivor so traumatized by his past that he cannot speak. Fittingly, the opera does not contain any words: the four singers in the work instead sing phonemes and other non-verbal sounds. This document provides an analysis of the opera from the perspective of musical narratology (the study of musical narrative), seeking to discover how Czernowin enacts the encounter between the child and the old man by means of music alone. In particular, narratological concepts from Byron Almen’s A Theory of Musical Narrative are adapted for application to 'Pnima.' Three primary musical agents are identified and analyzed in detail: two instrument groups that respectively embody the psyches of the old man and the child, and the string orchestra, which functions as a collective presence rather than enacting the psychology of an individual. Interactions among and changes to these musical agents over the course of the three scenes of the opera are analyzed and interpreted in light of Czernowin’s statements about the work and other contextualizing texts. Using 'Pnima' as a case study, this document comments on both the potential and the limitations of musical narratology with respect to the study of post-tonal music; it also suggests ways in which the analysis it contains might assist in the creation or criticism of productions of the opera.
    Keyword: opera, music theory, dma project, narratology, new music, contemporary opera, and Czernowin
    Subject: Music Composition
    Creator: Eliza Brown
    Owner: Scholarly Digital Publishing
    Date Uploaded: 01/10/2018
    Date Modified: 01/10/2018
    Date Created: 2015-03-01
    Rights: In Copyright
    Resource Type: Dissertation
  9. Timbral Intention: Examining the Contemporary Performance Practice and Techniques of Kaija Saariaho’s Vocal Music

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    Description: Kaija Saariaho’s vocal music offers singers a rewarding challenge. Her works contain extended techniques and innovative performance practices, which allow her to create interesting and moving timbral effects. Her musical language has its foundation in her cultural identity, formed when she was a girl in the forests of Finland. The sounds of the woods, birdsong, whispering, and wind are integral parts of Saariaho’s musical voice. Her creative use of text setting results in a highly emotional and unusual expression of poetry, although unconventional manipulation of words necessitates some extra effort on the part of the performer. The extended techniques in her music are likewise emotionally-driven, and include methods of fine variation in breathiness, pitch, and vibrato to create a wide palette of vocal sounds. Her use of electronics also allows her to write meaningful music with a unique musical atmosphere. In collaboration with singers Saariaho has proven to be extremely approachable and supportive, both when coaching performers of her work and developing new pieces with colleagues. Saariaho’s vocal music is more straightforward and less complex than her work for solo instruments in her use of rhythm and pitch collections; however, her innovative text setting and embracing of the wide sonic spectrum of the human voice results in a very colorful and deep musical language. As the first female composer to have an opera performed at the New York Metropolitan in over a hundred years, she is now an established and lauded composer of vocal music. It is my hope that this project will encourage singers who are unfamiliar with Saariaho to perform her work.
    Keyword: Contemporary music, dma project, Vocal music, Extended techniques, and Saariaho
    Creator: Alison Wahl
    Owner: Scholarly Digital Publishing
    Date Uploaded: 01/10/2018
    Date Modified: 01/10/2018
    Date Created: 2017-03-01
    Rights: In Copyright
    Resource Type: Dissertation
  10. The Galant in the Hammerklavier

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    Description: Beethoven’s late compositional style is known for bending conventions he learned as a young man. Many discussions of his late style concentrate on adherence to and deviations from the conventions of functional harmony, fugal techniques, and sonata form. This document sheds light on an additional, previously unexamined aspect of Beethoven’s compositional process: his use of Galant schemata. These schematic patterns were catalogued and described by Robert Gjerdingen in his book Music in the Galant Style. For earlier 18th century composers, schematic constructs were a necessary time-saving tool which allowed composers to keep up with enormous demand on their output. While Beethoven faced different market conditions from his predecessors, and while his music embodied early iterations of nascent musical Romanticism, Beethoven nonetheless inherited the language of the Galant style and its building blocks. This study presents a detailed analysis of the way Beethoven deployed and subverted these schematic patterns in the Hammerklavier piano Sonata. The analysis leads to the conclusion that these schemata, far from chaining the composer’s creative impulses, were indeed a handy tool which he could employ in accordance with his contextual needs. Moreover, by analyzing how Beethoven integrates Galant schemata throughout the Hammerklavier, this document shows that the presence of seemingly outdated patterns in a self-consciously esoteric and romantically sublime piano Sonata underscores a synergy, not an opposition, between the old Galant and the new Romantic idioms in Beethoven’s late compositional style.
    Keyword: dma project, hammerklavier, galant schemata, beethoven, and gjerdingen
    Subject: Piano Performance
    Creator: Sergiy S. Komirenko
    Owner: Scholarly Digital Publishing
    Date Uploaded: 01/10/2018
    Date Modified: 01/10/2018
    Date Created: 2014
    Rights: In Copyright
    Resource Type: Dissertation