This collection of essays and scores is intended to be neither a treatise on methods of compositi... more This collection of essays and scores is intended to be neither a treatise on methods of composition, nor an attempt to defend my work as a student. I have no desire to placate critics, as others' opinions of my work are largely irrelevant to the greater goal of honoring my God. Instead, with these writings, I hope to present a clearer picture of my motives, methods, and approach to composition as well as my own analysis and commentary on the best compositions from my college career. While the language is occasionally technical in nature, I have also attempted to include anecdotes and reflections that might be of interest even to those with a limited knowledge of music theory and terminology. The compositions are presented in chronological order as a partial catalog of my collegiate career. Originally, I intended the collection to include some of my less than favorites as well as a few arrangements and pop songs. However, after spending a great deal of time on my best "art music," I was left with over fifty pages of narrative and a hundred pages of scores. Thus, I chose to limit the scope for this project, leaving my so-called "less scholarly" work for later publication. Beginning with Rag for Two Marimbas and Two Xylophonists and culminating with The Vancouver Suite for string quartet, this offering is a journey through the orchestra, the choir, and even a few soloists. You will find brushes with extended and poly-tonality, word painting, jazz, pop, and various other influences. However, I hope that the most brilliant stroke upon my canvas will be nothing directly related to music, but instead, the message of God woven amongst the notes, dynamics, and phrases. As J.S. Bach wrote so many years ago, my music is S.D.G.: Solo Deo Gloria-to the glory of God alone. Before I get to the music, allow me to offer a few brief words of thanks to a few people who have helped me to make it this far. To Mrs. Josephine, Mrs. Rummel, Dr. Luther, Dr. Brunell, Dr. Batey, and Dr. Stutzenberger who led me through dangerous waters of music education. To my church families who have allowed and encouraged me to share the music of my heart. To the many friends who listened to, commented on, and proofread both text and tune. To Dr. Jacobs who gave me the freedom to explore myself by not allowing me to be anyone else. To my parents who encouraged me to persevere by making me stick with it. Most importantly, to the supreme and eternal Creator who saw fit to bless me with ideas and opportunities; may my feeble attempts to channel His inspiration serve only to glorify Him. In the Shadow of Agony . ..
I represent that my thesis or dissertation and abstract are my original work. Proper attribution ... more I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. The document mentioned above has been reviewed and accepted by the student's advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student's thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above.
General A::isessment-please provide J short paragraph that highlights the most significant featur... more General A::isessment-please provide J short paragraph that highlights the most significant features 0 (the project. Comments (Optional): :sr-t//,\ Cv1A. ~~ fJ I'-6lI' ;'J.d eCL N Y-c/ I r:LtJ<:(;II-""O~~-6 ~~ tJ~ 4 i s-~dJ'J~hl-.l' c~,r/+,'-~ ~v-I. ~ft1'e &(s-fv~-f Cl+ ~~ (/Ju'v-..tr"S/~-t)' d 7e'tY1! J.!q ,
OF DISSERTATION THE CHORAL COMPOSER/CONDUCTOR COLLECTIVE: AN ONGOING EXPERIMENT IN MUSICAL SELF-G... more OF DISSERTATION THE CHORAL COMPOSER/CONDUCTOR COLLECTIVE: AN ONGOING EXPERIMENT IN MUSICAL SELF-GOVERNANCE C4: The Choral Composer/Conductor Collective and Triad: Boston’s Choral Collective are the first choirs to explore collectivity as a method of ensemble organization. While more traditional ensembles have a single artistic director, C4 and Triad share and rotate leadership responsibilities among the full membership. Artistic and logistical decisions develop through conversation, consensus, and/or voting. This monograph draws primarily on interviews with thirteen current and former members of the two ensembles as well as the author’s personal experiences with Triad’s inaugural concert cycle to present a narrative description of member characteristics, governance, and operational processes. Interview responses are compared to relevant and recent findings in business, psychology, and choral music education research, establishing connections with larger social trends toward collecti...
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Papers by Julian Bryson