TROMBONE MUSIC OF SCANDINAVIA: A STUDY OF TROMBONE SOLO AND CHAMBER WORKS FROM SWEDEN, NORWAY, AND DENMARK

This dissertation project aims to establish Scandinavian trombone solo and chamber works as a major contribution to the trombone repertoire. From the late 19th century to modern day, Scandinavian composers have produced a steady output of trombone works of substantial musical quality. Deep-rooted in the traditions of strong military wind bands, Scandinavia has also produced an unusual number of trombone virtuosos, ranging from those holding positions in leading orchestras, and internationally renowned pedagogues, to trombonists enjoying careers as soloists. In this study I propose that it is the symbiotic relationship between strong performers and traditionally nationalist composers that created the fertile environment for the large number of popular trombone solo and chamber repertoire not seen in any other region besides the Paris Conservatory and its infamous test pieces. I also interpret the selected repertoire through the prism of nationalism and influence of folk music, and convey that the allure of the mystic Nordic folk influences enhances the appeal of the Scandinavian trombone repertoire to world-wide audiences and performers. The dissertation project was realized over three solo recitals, each showcasing the music of Sweden, Norway, and Denmark respectively. For each program, I looked to choose a standard work from the trombone solo repertoire, a work written for or by a native virtuoso, and a lesser-known work that warrants the attention of other performers for its musical qualities. The recital of Swedish music presented Mandrake in the Corner by Christian Lindberg, Subadobe by Frederik Högberg, A Christian Song by Jan Sandström, and Concertino for trombone and strings by Lars-Erik Larsson. The recital of Norwegian music presented Concerto for Trombone op. 76 by Egil Hovland, Ordner Seg by Øystein Baadsvik, Elegi by Magne Amdahl, and Concerto in F major by Ole Olsen. The recital of Danish music presented Rapsodia Borealis by Søren Hyldgaard, Madrigal by Bo Gunge, Romance for trombone and piano by Axel Jørgensen, Concerto for trombone by Launy Grøndahl, and Three Swedish Tunes by Mogens Andresen. Through the performance of works from these three countries, the dissertation establishes Scandinavia as a rich source of solo trombone repertoire perpetuated by nationalist composers and virtuosos, as well as providing a brief survey of Scandinavian trombone works of various instrumentation and difficulty levels to be enjoyed by student, professional, and amateur performers and their audience.

The Psalms of Holy Scripture : the only songs of Zion : an appeal to the churches in behalf of this ordinance of God /

Mode of access: Internet.

DOCUMENTARY RESCUE OF POPULAR TRADITIONS OF THE CENTRAL AREA CANTONS HEREDIA PROVINCE

This paper presents the results of documentary rescue demonstrations performed in different counties present in the central area of the province of Heredia.This idea was enhanced thanks to the Organization of the United Nations Educational, Scientific and Cultural Organization (UNESCO) has provided the rescue and preservation of folk traditions, both tangible and intangible, throughout the world.Coupled with this, the Ministry of Education under the direction of Professor Manuel Antonio Bolaños, launched in the administration of La Espriella Pacheco (2002-2006) the development of an educational project aimed at rescuing the popular traditions of the province of Heredia, which under the title"Draft Heredianidad" became one of the main inspiring to be translated into a multimedia all information collected in the process of this research.The final graduation consisted of three major axes: the memory, the media containing all the information collected and a database in which (the) user (s) and to describe the bibliographic production on the subject of popular traditions Heredia has occurred, would help to physically locate these publications.To achieve the objectives we proceeded to conduct visits to public libraries and municipalities in the province as well as interviews with different artistic personalities of the cantons heredianos, thereby gained access to various legends, anecdotes, stories, songs, music and history of the province of Heredia.

Mapping the uncharted territory of folk drama

Students of mumming and guising plays – the seasonal verse dramas performed for over 200 years throughout much of England, Scotland, and northern Ireland – have suffered from having too much information to work with. The first part of this poster presentation outlines and illustrates the situation. There are thousands of places where the plays are known to have been performed, and hundreds of texts have been collected. Furthermore, the plays show some tantalising similarities while simultaneously exhibiting the wide range of variation one would expect from orally transmitted dialogue. Until recently, scholars openly admitted to not knowing where to start with such a flood of material, to the extent that some dismissed the texts altogether as unimportant and irrelevant, focussing instead on the "actions". Fortunately, the introduction of computers has managed to break the impasse and is aiding the intellectual process. Part two shows a case study for one of the tools on the Master Mummers website - the Folk Play Scripts Explorer – which is based on a large database of digitised texts and a typology for individual lines. This allows researchers to search for lines, explore textual variants, and map their geographical distribution. This is yielding some interesting surprises. Seemingly trivial variations often turn out to have discrete distribution patterns, while it transpires that certain "ubiquitous" lines have restricted geographical ranges. Thus, the Scripts Explorer is providing novel insights into how the plays evolved and spread.

Contrasts: Quartets and Art Songs of the Nineteenth Century

The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).

“In The Good Old Days of Long Ago": Echoes of Vaudeville and Minstrelsy in the Music of Uncle Dave Macon

Uncle Dave Macon provided an essential link between nineteenth-century, urban popular stage music (especially the minstrel show and vaudeville) and commercialized country music of the 1920s. He preserved through his recordings a large body of songs and banjo techniques that had their origins in urban-based, nineteenth-century vaudeville and minstrelsy. Like the minstrel and vaudeville performers of the nineteenth century, Macon told jokes and stories, employed attention-grabbing stage gimmicks, marketed himself with boastful or outrageous slogans, and dressed with individual flair. At the same time, Macon incorporated many features from the rural-based folk music of Middle Tennessee. Overall, Macon’s repertoire, musical style, and stage persona (which included elements of the rube, country gentleman, and old man) demonstrated his deep absorption, and subsequent reinterpretation, of nineteenth-century musical traditions. Macon’s career offers a case study in how nineteenth-century performance styles, repertoire, and stage practices became a part of country music in the 1920s. As an artist steeped in two separate, but overlapping, types of nineteenth-century music—stage and folk—Macon was well-positioned to influence the development of the new commercial genre. He brought together several strains of nineteenth-century music to form a modern, twentieth-century musical product ideally suited to the new mass media of records, radio, and film. By tracing Macon’s career and studying his music, we can observe how the cross-currents of rural and popular entertainment during the nineteenth and early twentieth centuries interacted to form the commercial genre we now know as country music.

The Ponto-Caspian basin as a final trap for southeastern Scandinavian Ice-Sheet meltwater

This paper provides new data on the evolution of the Caspian Sea and Black Sea from the Last Glacial Maximum until ca. 12 cal kyr BP. We present new analyses (clay mineralogy, grain-size, Nd isotopes and pollen) applied to sediments from the river terraces in the lower Volga, from the middle Caspian Sea and from the western part of the Black Sea. The results show that during the last deglaciation, the Ponto-Caspian basin collected meltwater and fine-grained sediment from the southern margin of the Scandinavian Ice Sheet (SIS) via the Dniepr and Volga Rivers. It induced the deposition of characteristic red-brownish/chocolate-coloured illite-rich sediments (Red Layers in the Black Sea and Chocolate Clays in the Caspian Sea) that originated from the Baltic Shield area according to Nd data. This general evolution, common to both seas was nevertheless differentiated over time due to the specificities of their catchment areas and due to the movement of the southern margin of the SIS. Our results indicate that in the eastern part of the East European Plain, the meltwater from the SIS margin supplied the Caspian Sea during the deglaciation until ∼13.8 cal kyr BP, and possibly from the LGM. That led to the Early Khvalynian transgressive stage(s) and Chocolate Clays deposition in the now-emerged northern flat part of the Caspian Sea (river terraces in the modern lower Volga) and in its middle basin. In the western part of the East European Plain, our results confirm the release of meltwater from the SIS margin into the Black Sea that occurred between 17.2 and 15.7 cal kyr BP, as previously proposed. Indeed, recent findings concerning the evolution of the southern margin of the SIS and the Black Sea, show that during the last deglaciation, occurred a westward release of meltwater into the North Atlantic (between ca. 20 and 16.7 cal kyr BP), and a southward one into the Black Sea (between 17.2 and 15.7 cal kyr BP). After the Red Layers/Chocolate Clays deposition in both seas and until 12 cal kyr BP, smectite became the dominant clay mineral. The East European Plain is clearly identified as the source for smectite in the Caspian Sea sediments. In the Black Sea, smectite originated either from the East European Plain or from the Danube River catchment. Previous studies consider smectite as being only of Anatolian origin. However, our results highlight both, the European source for smectite and the impact of this source on the depositional environment of the Black Sea during considered period.

Learning English is Fun! Incidental vocabulary acquisition of music and traditional class ninth graders via listening to pop songs

Finnish youth are constantly exposed to music and lyrics in English in their free time. It is likely that this has a positive effect on vocabulary learning. Learning vocabulary while simultaneously accompanied with melodies is likely to result in better learning outcomes. The present thesis covers a study on the vocabulary learning of traditional and music class ninth graders in a south-western upper comprehensive school in Finland, mainly concentrating on vocabulary learning as a by-product of listening to pop music and learning vocabulary through semantic priming. The theoretical background presents viable linguistic arguments and theories, which provide clarity for why it would be possible to learn English vocabulary via listening to pop songs. There is conflicting evidence on the benefits of music on vocabulary learning, and this thesis sets out to shed light on the situation. Additionally, incorporating pop music in English classes could assist in decreasing the gap between real world English and school English. The thesis is a mixed method research study consisting of both quantitative and qualitative research materials. The methodology comprises vocabulary tests both before and after pop music samples and a background questionnaire filled by students. According to the results, all students reported liking listening to music and they clearly listened to English pop music the most. A statistically significant difference was found when analysing the results of the differences in pre- and post-vocabulary tests. However, the traditional class appeared to listen to mainstream pop music more than the students in the music class, and thus it seems likely that the traditional class benefited more from vocabulary learning occurring via listening to pop songs. In conclusion, it can be established that it is possible to learn English vocabulary via listening to pop songs and that students wish their English lectures would involve more music-related vocabulary exercises in the future. Thus, when it comes to school learning, pop songs should be utilised in vocabulary learning, which could also in turn result in more diverse learning and the students could, more easily than before, relate to the themes and topics of the lectures. Furthermore, with the help of pop songs it would be possible to decrease the gap between school English and real-world English.

Using Songs to Improve EFL Students' Pronunciation

Se analiza la utilidad de las canciones en las clases de inglés y cómo pueden usarse para la enseñanza de la pronunciación. Estudiantes de todas las edades tienen un gran interés por la música, de modo que es un recurso que debe aprovecharse. Con el fin de comprender y mejorar la producción de distintos sonidos y elementos suprasegmentales, se presenta a los profesores de inglés como lengua extranjera para hispanohablantes estas ideas para usar canciones en la clase. Esta invéstigación está basada en la experiencia de la autora como aprendiente y docente de la lengua extranjera.The importance of using songs in the English classroom and how it can be implemented to teach pronunciation is analyzed here. Students of all ages have a strong i  nterest in music; therefore, it is a resource that should be taken into account. To understand and improve the production of varied sounds and suprasegmental features, English as a Foreign Language teachers of Spanish speakers are given these ideas to analyze songs in class. This research is based on the author's experience as a foreign language leamer and teacher.

“Contemporandino”: tres piezas de música andina colombiana en lenguaje contemporáneo

La Música contemporánea, como corriente estética de los siglos XX y XXI, ha contado con distintos desarrollos teóricos y técnicos, que se han convertido en herramientas con amplias posibilidades creativas para la renovación del lenguaje sonoro del compositor -- El objetivo de este artículo es dar cuenta de un proceso compositivo que buscó unir la riqueza tímbrica, rítmica y melódica de las músicas populares tradicionales de la zona andina colombiana, con algunas de las estéticas y formas más representativas de la música académica contemporánea -- En primer lugar, se realizó una investigación sobre estas últimas, seleccionando, en un primer momento, algunas de las más representativas, seguido por una identificación de ciertos aires, formas y estructuras propias de la música tradicional colombiana que permitieran este proceso de fusión entre ambos lenguajes -- Esta etapa de reflexión y experimentación dio lugar a la composición de tres piezas instrumentales basadas en elementos de Guabina-Torbellino (primer movimiento); Danza (segundo movimiento) y Bambuco-Pasillo (tercer movimiento), acompañadas de su respectivo análisis descriptivo que tiene, como objetivo pedagógico, el acercar a compositores y a ejecutantes intérpretes de cuerdas pulsadas colombianas (Bandola, Tiple y Guitarra) a este tipo de fusión, que buscó que la música andina colombiana pueda encontrar, en otro tipo de estéticas, nuevos caminos de evolución

Expresiones populares en la música electroacústica latinoamericana: la inclusión de músicas de tradición popular en la composición electroacústica

La composición académica siempre ha buscado la manera de nutrirse de las músicas de tradición popular y es posible rastrear, en la historia de la música occidental, muchos compositores que han recurrido al uso de éstas -- Es importante seguir observando y estudiando los procesos creativos que mantienen vivas ambas prácticas musicales y las expresiones artísticas que continúan explorando diversas maneras de establecer relaciones entre lo académico y lo popular -- Mi intención es mostrar diferentes vías para hacer inclusión de elementos sonoros que hagan referencia a músicas y/o contextos de tradición popular en la composición de música electroacústica y ver su incidencia en el discurso musical -- Se establecerán categorías para la identificación y análisis de lo que llamaré Objeto Sonoro Popular y se notará la manera en que éste es utilizado y manipulado por diferentes compositores en Latinoamérica y, particularmente en Colombia

Folk schools: Um estudo de caso

O presente trabalho tem como âmbito de estudo o campo da educação não formal. Trata-se de uma investigação qualitativa descritiva, com o objectivo geral de descrever todos os aspectos da actividade de uma folk school, um espaço de educação não formal, situada no sul da Dinamarca, sob as perspectivas de professores e alunos. Participaram neste estudo três entidades que fazem parte deste modelo de educação não formal, tendo sido realizadas entrevistas ao Director, a três professores e a sete alunos. Para a recolha de dados foi utilizado um guião de entrevista semi-estruturada. Os dados recolhidos pelas entrevistas foram organizados em categorias e foi realizada a análise de conteúdo. Como resultado deste estudo temos a descrição do funcionamento da escola analisada, bem como testemunhos da forma como este tipo de educação desenvolve o espírito de comunidade e cidadania, potenciando, também, o desenvolvimento pessoal e profissional. /ABSTRACT: This work develops in the study field of non-formal education. It is a descriptive, qualitative research, with the overall aim of describing all aspects of the activity of a folk school, located in southern Denmark, an institution of non­formal education, seen through the perspectives of both teachers and students. Three entities that are involved in this type of non-formal education have participated in present study, so the director, three teachers and seven students were interviewed. ln order to collect data we applied semi-structured interviews. The data thus obtained in the interviews was organized into categories and, afterwards, their content was analyzed. From this study results the description of the activity done in the school studied, as well as the testimony of how this kind of education develops a spirit of community and citizenship, also enhancing the personal and professional development and improvement.