Advocating for the Music of Villa-Lobos

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Howell, Forrest Advocating for the Music of Villa-Lobos Dr. Scott Holden, School of Music Introduction My ORCA project was an in depth study of the Brazilian composer, Heitor Villa-Lobos. Villa-Lobos is revered in Brazil as the father of Brazilian classical music. What is not well understood, however, is the major contribution that Villa-Lobos made to […]

One Fold, One Shepherd

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Madsen, Christopher One Fold, One Shepherd Hastening the Lord’s Musical Vision through the Book of Mormon Rosalind Hall (School of Music, Choral Conducting and Ensembles Division) Introduction My project proposal was to compose and perform a sacred work for choir, soloists, piano, and select instruments in the Classical music style using text concerning the coming […]

Attending Study Abroad in Vienna, Austria

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Adamson, Zachary Attending Study Abroad in Vienna, Austria Faculty Mentor: Dr. Scott Holden, Keyboard Performance Department Chair Throughout my life, music has been a source for mental development, spiritual growth and enjoyment. It has been at times both exciting and discouraging. As I completed my project, however, and engaged in the struggle to understand music, […]

Kreisleriana and E.T.A. Hoffman: Literary Influences on the works of Robert Schumann

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Freeman, Alissa Kreisleriana and E. T. A. Hoffmann: Literary Influences on the Works of Robert Schumann, Faculty Mentor: Scott Holden, Keyboard Studies Robert Schumann is one of the most renowned composers of the romantic era, but only those who have studied his life realize that he also made enormous contributions to the world of literature. […]

Perceptions of Talking Time in Choir Rehearsal

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D. Michael Draut and Paul Broomhead, School of Music Analyzing choir teachers’ perceptions of talking time has been a rewarding experience. I was able to collect data on how much time choir teachers spend talking during rehearsal; how choir teachers view the amount of time they spend talking; and how accurate their perceptions of time […]

Preserving Performance Power Classifying and Publishing Notes of Douglas Bush

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Krissa Hendricks and Don Cook, School of Music Introduction Great performers often rely on the wisdom of other great performers to inform their musical interpretations. Understanding historical context and expert interpretations can not only make a performance more historically accurate but also more engaging. Because most of the music that performers play originates from deceased […]

Bass World 3: Music in St. Petersburg

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Christian Hales and Eric Hansen, School of Music Introduction Russia has always been known for its indelible contributions to the arts. The likes of Tchaikovsky, Rachmaninoff, Rostropovich and Koussevitzky cultivated their great talents there. Eric Hansen, professor of double bass at Brigham Young University, encouraged me to use some of his connections in Russia as […]

Tremors: A Musical Exploration of Modern Faith

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Asher Bay and Christian Asplund, Department of the School of Music Introduction Under the guidance of Professor Christian Asplund, I composed and produced a concept EP addressing the complexity of modern faith. The purpose of the project was to validate trials of faith that often are otherwise unspoken in our community and to encourage people […]

An Analysis of State Music Education Certification Practices in The United States

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Allyssa Pehrson and Brittany May, Department of Education Introduction The purpose of this study was to compile relevant information for music educators about certification practices of each of the United States and the District of Columbia from resources available fall 2015, and to examine the commonalities and differences among the state policies. Specifically we identified […]

Trumpet Transcription of Frederic Chopin’s Nocturnes for Piano, Opuses 9, 15, 27, and 32

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Logan Anderson and David Brown, School of Music The art of trumpet playing has existed for thousands of years, but today’s trumpet is a relatively new instrument. The addition of piston valves in the early 19th Century (see figure 1) allowed the trumpet to play in every key, while its predecessor (see figure 2) was […]