Susan Botti, Jennifer Higdon, and Cindy McTee

The 19th century was an era of change. There were lots of progression in technology, science, and philosophy that gradually turned European society away from the past centuries. Women’s status in the 19th century Europe also changed. Many of the 19th century women were able to have a profession as they received higher and wider education, and also allowed to have more participation in society. In the musical life of 19th century Europe, numbers of women were able to perform and compose as good and men.

Drive of rhythm sets the motion of the piece, whether or not it will be slow or fast, moving from strong to weak beats, creating a pulse. Finally, the expression of form is the full statement of the piece. It is the contrast between high points and pulling back, frantic moments of fury versus subdued passages. Combined, these details will be used to analyze the musical message the artists, Hilary Hahn and Jascha Heifetz are trying to convey to their listeners.

Giovanni Gabrieli was a legendary composer of the 16th century. As the fundamental structure and ideas of the Catholic Church were being challenged by the Protestant Reformation and the Counter-Reformation, Gabrieli’s compositions were given the opportunity to be successful and influential to music in the coming centuries. His works helped to transform not only church music of the Catholic Church, but also secular music as well. Giovanni Gabrieli wrote significant works that ultimately shaped the rise of the symphony, including the development of purely instrumental works, the art of orchestration, and the concerto style. Without his innovations in composition, it is arguable that instrumental music would not have developed as quickly, or developed

In this essay we will analyze two modern musical pieces. These pieces are namely Sonata V from John Cage’s Sonatas and Interludes, and Caballito Negro by George Crumb. Composed in mid twentieth century, both pieces made a great success and they are worth examining in terms of the historical and subjective values affecting their achievements.

Born Dmitri Dmitrievich Shostakovich on the 25th September, 1906, in St. Petersburg, Russia, the composer began his descent into classical music at the age of 9, before later moving on to study at the Petrograd conservatory. Throughout his life he compiled 15 symphonies, 15 string quartets and 36 film scores as well as many other compositions. Within his musical work and the course of his career Shostakovich managed to both adhere to traditions set within classical music as well as dissent from them, I will be exploring these.

Compositional writing in the Unites States started in the late 1600s and early 1700s with European born composer Charles Theodore Patchelbel (1690-1750). American compositional writers were a male dominant career, in which women had little compositions produced, until Emma Roberto Steiner (1852-1929) produced some of her works. It was not until Amy Beach (née Cheney) (1867-1944) who proved that American women as capable of producing small and large compositional works. Amy Beach was an extremely talented female composer who against the odds, of her parents and society, was influential and successful both as the first female American composer to compose large works and advocate for more female composers.

Serialism was greatly influential in post-War music. Serialism was “revolutionary” and declared itself as a “new tonality”. Serialism created an environment where experimentation with sound was at the forefront of composition, which led to increased use of electronics as well as other applications of mathematical notation to composition.

The Civil Rights Movement was a tumultuous era, not only did black activists and leaders fight for their inalienable rights but there were also many gender, racial and generational conflicts within the Movement. In the novel Meridian by Alice Walker, the three central characters, Truman Held, Meridian Hill, and Lynne Rabinowitz are young passionate activists during the Civil Rights Movement. However, the relationship of genders and the racial and generational dynamics mold and influence the actions of the characters. In this essay, I will argue that Meridian is forced to constantly collide and reconcile with past generations, Truman is self conflicted with the idea of abandoning his African roots, and Lynne is conflicted with the idea of white guilt.

In 1971 she went to the University of Cincinnati College-Conservatory of Music due to her high school music teacher encouragement. Here she earned a bachelor's degree in music education. She went on to teach music at public schools in Cincinnati. While she was teaching she continued her education until she got her master's degree.

The Renaissance period occurred from 1400-1600. It can be separated into third smaller periods. The early, middle, and the late period, but for the sake of this paper, they will be referred to as stages to avoid confusion. This paper will compare two composers one from the early stage and another from the late stage. The early stage composer will be John Dunstable, and the late stage composer will be Giovanni Pierluigi da Palestrina. The purpose of this paper is to compare these two composers’ composition style through the analysis of two of their works.

Music is constantly changing. The Baroque period (1600-1750) and the Classical period (1750-1820) have both differences and similarities in elements such as form, texture, and dynamics. I will be comparing the first movement of Spring from the Four Seasons composed by Antonio Vivaldi and the first movement of Symphony No. 5 in C minor by Ludwig van Beethoven. I will construct a stylistic comparison of the two compositions and their musical stylings with regard to the periods of music of which they belong.

Commemorating International Women’s Day, The first concert in the Bucknell Orchestra Semester of Social Justice Series explores the music of great women composers. The concert opens with the March of the Women, and the overture to The Boatswain’s Mate by Ethel Smyth, British composer and suffragette. Flute soloist Leslie Cullen will perform Cécile Chaminade’s Concertino for Flute and Orchestra. Music from the first symphony of Florence Price, the first African-American woman to have a composition performed by a major orchestra, and Rachel Portman’s original film score to The Cider House Rules completes the program. Leslie Cullen, flute soloist and the Women of the Bucknell Chorale, Dr. Beth Willer, director, are the orchestra’s guest artists.

In their respective essays, Helen Molesworth and Sheila Cavanagh underscore the key role that design plays in overcoming cultural anxieties about race, gender and abjection. Drawing from both essays, pick a room—bathroom or kitchen—and discuss three formal strategies that designers employ to overcome the fears triggered by these spaces.

Further research could be done to identify how the compositional styles of 19th Century opera composers influence the development of post-nineteenth century music

Baroque music tends to be complex, but with a very organized system of forms and harmonies that is the basis for almost all music from what is called the “Common Era,” the period between 1700-1900. The Common Era developed throughout the nineteenth century, but after 1900 music entered an age of experimentation; music perhaps became a postmodern art genre very early on. Baroque music all sounds similar, although the educated listener can tell Bach from Handel without difficulty. In the realm of contemporary music, however, entirely atonal music from Schoenberg and Webern can easily exist alongside French Impressionism and Copland’s American neo-Romanticism. Today’s composers are similar only in that their styles, and entire musical languages, are radically different.