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You searched for +publisher:"University of Houston" +contributor:("Marmolejo, Noe"). Showing records 1 – 2 of 2 total matches.

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University of Houston

1. Dueppen, Timothy. The Trombone as Sacred Signifier in the Operas of Wolfgang Amadeus Mozart.

Degree: Music, Moores School of, 2012, University of Houston

The trombone was understood during the eighteenth century and earlier in Germany as an instrument with important sacred significance. This association developed because of its appearance in German translations of the Bible by Martin Luther and Catholic theologians and its presence in encyclopedias and treatises of the period. This, along with the trombone’s vast use in church music of the period, helped it to be understood as an instrument of sacred significance by the German musical public. It was this social understanding of the sacerdotal qualities of the trombone that propelled Mozart to use the instrument in his operas Idomeneo, Don Giovanni, and Die Zauberflöte to enhance some of the most important sacred elements of each work. The trombone’s use by German composers in opera began with Gluck, who used the instrument mainly to double the voices of the choir and other instruments. Mozart, however, used the trombone in more innovative ways, which included borrowing compositional ideas from German church music (including his own) and incorporating them into his operatic use of the instrument. Mozart used the trombone to enhance certain moments of drama within Idomeneo, Don Giovanni, and Die Zauberflöte with specific harmonic treatment of sacerdotal sections of the text, certain dynamic and expression markings, and an emphasis on creating moments of tension and release through the harmonies used. These, along with the trombone’s understood sacred significance, aurally aided the audience in associating the moments the instrument was used in each opera as having spiritual implications in the drama. Advisors/Committee Members: Sposato, Jeffrey S. (advisor), Davis, Andrew (committee member), Marmolejo, Noe (committee member), Kauk, Brian (committee member).

Subjects/Keywords: Bach; Joseph I; Leopold Mozart; Reutter; Shofar; Salpignx; Posaune; Trumpet; Mason; Trombone; Opera; Mozart; Brass; Music; Enlightenment; Luther; Catholic; Freemasonry; Sacred Music; Treatises; Bible; Idomeneo; The Magic Flute; Don Giovanni; Beethoven; Brahms; Wagner; Doles; Hiller

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Dueppen, T. (2012). The Trombone as Sacred Signifier in the Operas of Wolfgang Amadeus Mozart. (Thesis). University of Houston. Retrieved from http://hdl.handle.net/10657/1178

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Dueppen, Timothy. “The Trombone as Sacred Signifier in the Operas of Wolfgang Amadeus Mozart.” 2012. Thesis, University of Houston. Accessed May 19, 2019. http://hdl.handle.net/10657/1178.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Dueppen, Timothy. “The Trombone as Sacred Signifier in the Operas of Wolfgang Amadeus Mozart.” 2012. Web. 19 May 2019.

Vancouver:

Dueppen T. The Trombone as Sacred Signifier in the Operas of Wolfgang Amadeus Mozart. [Internet] [Thesis]. University of Houston; 2012. [cited 2019 May 19]. Available from: http://hdl.handle.net/10657/1178.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Dueppen T. The Trombone as Sacred Signifier in the Operas of Wolfgang Amadeus Mozart. [Thesis]. University of Houston; 2012. Available from: http://hdl.handle.net/10657/1178

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation


University of Houston

2. -8920-6141. Bill Evans: Harmonic Innovator in Jazz Piano.

Degree: Music, Moores School of, University of Houston

Bill Evans was the most influential post-bop jazz pianist of the twentieth century. Evans advanced harmonic jazz playing with a modality and challenging intervallic relationships which can be attributed to the combination of his training as a “classical” pianist and bebop vocabulary from his primary bebop influence, Bud Powell. Evans was specifically influenced by his study of the French composers Ravel and Debussy, as well as music theorist Lenny Tristano. Western Classical training mixed with bop vocabulary were a key synthesis which yielded a harmonic language for generations to come. This study focuses on Evans’s harmonic influence on jazz, looking mostly on his work from 1958-1962. It was during this time period that collaboration with bassist Scott LaFaro sparked some of Evans’ most far-reaching and influential recordings. Those recordings are New Jazz Conceptions, Everybody Digs Bill Evans, Portrait in Jazz, The 1960 Birdland Sessions, Explorations, Sunday at the Village Vanguard, Waltz for Debbie, and Evans’s work on Miles Davis’s Kind of Blue. It was during this period that, with Scott LaFaro’s unique approach, Evans redefined the role of the piano in the modern jazz piano trio. The way in which Evans’ played in the early 1960s is still modern performance practice today. A study of interviews, live performance reviews, and first-hand recollections from the players and studio producers will highlight the impact Evans had on harmony specific to the jazz piano. Analysis of Evans’ solo piano playing on his composition “Peace Piece” from Everybody Digs Bill Evans, “Blue in Green” from Portrait in Jazz, “Nardis” from Explorations and “Autumn Leaves” from The 1960 Birdland Sessions will be used to provide descriptive examples of Evan’s harmonic contributions. Advisors/Committee Members: Koozin, Timothy (advisor), Marmolejo, Noe (committee member), Hester, Timothy (committee member), Snyder, John (committee member).

Subjects/Keywords: jazz piano; piano; harmony; Bill Evans

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

-8920-6141. (n.d.). Bill Evans: Harmonic Innovator in Jazz Piano. (Thesis). University of Houston. Retrieved from http://hdl.handle.net/10657/2642

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
No year of publication.
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

-8920-6141. “Bill Evans: Harmonic Innovator in Jazz Piano.” Thesis, University of Houston. Accessed May 19, 2019. http://hdl.handle.net/10657/2642.

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
No year of publication.
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

-8920-6141. “Bill Evans: Harmonic Innovator in Jazz Piano.” Web. 19 May 2019.

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
No year of publication.

Vancouver:

-8920-6141. Bill Evans: Harmonic Innovator in Jazz Piano. [Internet] [Thesis]. University of Houston; [cited 2019 May 19]. Available from: http://hdl.handle.net/10657/2642.

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

Council of Science Editors:

-8920-6141. Bill Evans: Harmonic Innovator in Jazz Piano. [Thesis]. University of Houston; Available from: http://hdl.handle.net/10657/2642

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

.