Technical Report: Thoughts on a Monochrome Symphony (original) (raw)

The British Symphony as a Model of a 20th century Symphony: Symphony No. 3 (1962

The following article was written for a seminar that studied musical trends in artistic music during the 20 th century. The work was the result of original, methodical research into the writings of composer Robert Simpson and reflects an effort to create a methodical, clear model of the form of the symphony as it took shape in theory and in actual symphonic works in 20 th century England. The theoretical model was applied for the first time to Simpson's Third Symphony (1962). I posit that the model, built according to Simpson's principles, offers a broad window of possibilities for symphonic expression that can be personal-artistic as well as communicate to the broader public.

Symphony No. 1

2013

This document contains the complete musical score for Symphony No. 1, a four-movement composition for symphonic orchestra by Joseph Hasper. In addition to the full score, the document contains a discussion of the modern symphony’s historical context and the implications this context had on the composition of this piece. The document also presents an analysis of organizing principles, formal structures, harmonic resources, and melodic developments found in the symphony, and concludes with notes on how to listen to this piece.

A Reimagined Beethoven Cycle

Music and Practice, 2020

In this anniversary year, many orchestras saturate their seasons with Beethoven's complete symphonies. The University of Kansas' 2020 Beethoven Cycle, by contrast, features two "unheard" symphonies of Beethoven, each comprising four movements in the classical format, with one movement selected from each of the first eight symphonies. This article discusses the surprising cohesiveness and organicity of the two "new" works and shows that they recreate sensibilities of the early nineteenth century. By embracing the flexible performance expectations of Beethoven's contemporaries, our symphonic experiment offers an alternative to encyclopedic presentations of museum "masterpieces," which largely resulted from Romantic and modernist aesthetics.

The Future is a Symphony

Lighting Design & Application, 2022

Light and sound are shared sensory experiences across the strata of life. Yet we utilize entirely different frameworks in how we apply them within shared spaces. Much can be learned from our intentional use of sound. In our lives, communities share an agreed upon quietude each night. In the art of music, each note is dynamic and intentional. From simple compositions to complex symphonies, musical instruments call and respond precisely and harmoniously to share the temporal space.

VISUAL MUSIC: A NEW PERCEPTUAL SYNTHESIS

In this paper I propose a conceptual discussion concerning the perceptual synthesis accomplished by visual music. I aim to answer the following question: what kind of perceptual synthesis has been engendered through the interaction between sound and image? I start with a brief presentation of some conventions forged during the consolidation of the tonal system. It continues with an account of the way in which composers inherited such conventions and established them as common ground for underscoring procedures. Then, after an historic overview about the raising of visual music, I attempt to demonstrate how, by forcing artists to distance themselves from those conventions, visual music prompted different modes of music perception.