Browsing by Author "Grapes, K. Dawn, committee member"

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Open Access
A conductor's analysis of James M. David's Symphony No. 2–"The Road Is Life"
(Colorado State University. Libraries, 2025) Mepham, James A., author; Phillips, Rebecca L., advisor; Grapes, K. Dawn, committee member; Taylor, James, committee member; Mallette, Dawn, committee member
The purpose of this thesis is to analyze James M. David's Symphony No. 2 – "The Road Is Life" (2024) to understand its literary influences, assist conductors in their performance of the piece, and introduce the work to a larger audience. James M. David (b. 1978) is a versatile American composer with a unique voice inspired by many creative and intellectual sources. David composes for a wide range of ensembles, and his works draw inspiration from countless musical, literary, historical, and artistic sources. He often combines complex contemporary harmonic and rhythmic language with the more accessible elements of jazz, funk, and other popular genres. David's Symphony No. 2 forms a unique addition to the wind band repertoire in its use of jazz-like stylistic elements to explore the literary works of the Beat Generation. This well-known group of dissident American authors, notably Allen Ginsburg and Jack Kerouac, paved the way for the counterculture movement in post-World War II America, railing against the distractions of modern life. Each movement of David's Symphony No. 2 musically depicts a literary work of the Beat Generation and a related geographical location. Thus, David explores the sounds of New York City, New Orleans, the rugged wilderness of Colorado, and the chaos of San Francisco in this road-trip-like work. This thesis will synthesize David's numerous intellectual and musical influences within the compositional structure of Symphony No. 2. It will also provide detailed musical information and explore the thematic elements of the work. This thesis will thus be both a primary resource for conductors seeking to perform James M. David's Symphony No. 2 and will add to the academic literature of the wind band genre.
Open Access
A conductor's analysis: John Mackey's Wine-dark sea: symphony for band
(Colorado State University. Libraries, 2020) Weber, Shannon Denise, author; Phillips, Rebecca, advisor; Grapes, K. Dawn, committee member; Kenney, Wes, committee member; Pedrós-Gascón, Antonio, committee member
This thesis provides a study of the composer John Mackey and his music. In the last twelve years, Mackey has become internationally renowned and one of the most widely performed composers in the band world. Mackey has received numerous awards and honors for his musical contributions. His unique compositional style is distinguishable in his works regardless of the genre. Audiences, conductors, and performers alike continue to find enjoyment in his music due to his creative, rhythmic, and unique scoring for winds and percussion. This document includes biographical information on the composer, provides insight into his compositional style, and thoroughly analyzes the symphony for band, Wine-Dark Sea. Wine- Dark Sea was commissioned in 2014 by Jerry Junkin and the University of Texas Wind Ensemble, in celebration of the 100th anniversary of the Sarah and Ernest Butler School of Music. The symphony is a programmatic piece that tells the story of Odysseus, Homer's hero from The Odyssey, through three exciting and dramatic movements. Distinctive characteristics of this piece include Mackey's unique use of meter changes, extended techniques in winds and percussion, and recurring programmatic themes. Wine-Dark Sea is Mackey's longest work to date, one of his most challenging works for performers and conductor, and is especially captivating for the audience.
Open Access
A conductors guide to the use of ensemble pedaling and acoustic recreation of electronic delay processing in the wind band music of Viet Cuong
(Colorado State University. Libraries, 2023) Pouncey, Benjamin Allen, author; Phillips, Rebecca L., advisor; Grapes, K. Dawn, committee member; Taylor, James, committee member; Doe, Sue, committee member
The purpose of this thesis is to provide a conductor's analysis of two unique orchestration techniques utilized in Viet Cuong's wind band music. Viet Cuong (b. 1990) is an award–winning contemporary American composer whose eclectic sound has been described as "alluring" and "wildly inventive" by The New York Times. Two approaches to orchestration have been identified by the composer as distinctive elements of his compositional voice: ensemble pedaling, and the acoustic recreation of electronic delay processing. Sound and Smoke (2011) is Cuong's earliest available work for wind band and exemplifies early application of these techniques. Over the course of his career, Cuong has continued to employ and develop these approaches in select works, including Vital Sines (2022). Therefore, this document provides detailed examination of ensemble pedaling, and the acoustic recreation of electronic delay processing appearing in Cuong's Sound and Smoke, with select examples provided from Vital Sines to serve as a comparison of these techniques in the composer's recent body of work. The research conducted was completed concurrently with the Colorado State University Wind Symphony's performance preparation of Sound and Smoke in the 2023 spring semester. The information presented serves as a resource for the preparation and performance of Viet Cuong's music for wind band.
Open Access
A conductors guide to Vincent Persichetti's King Lear
(Colorado State University. Libraries, 2018) Gillespie, Andrew Robbins, author; Phillips, Rebecca L., advisor; Grapes, K. Dawn, committee member; Kenney, Wesley, committee member; Mallette, Dawn, committee member
Vincent Persichetti's septet King Lear was originally composed for the choreographer Martha Graham and her 1949 production, Eye of Anguish. While the production was considered a failure and has not been performed since its European tour in 1950, Persichetti admired his own portion of the collaboration and argued it would stand on its own merit as a chamber work. This thesis represents the first significant study of Persichetti's King Lear. It is a guide for conductors and chamber ensembles preparing an informed performance, with historical information, theoretical analysis, and rehearsal analysis.
Open Access
A guide to the performance of James M. Stephenson’s Symphony No. 2: Voices for Concert Band
(Colorado State University. Libraries, 2021) Peterson, Myron S., author; Phillips, Rebecca L., advisor; Doe, Sue, committee member; Grapes, K. Dawn, committee member; Kenney, Wes, committee member; Leslie, Drew, committee member
James M. Stephenson is an American composer whose compositions are lauded by critics, performed on multiple continents, and recognized with prestigious awards from respected intuitions. His Symphony No. 2: Voices for Concert Band won the 2017 National Band Association William D. Revelli Composition Contest, and the 2018 Sousa-ABA-Ostwald Composition Contest. It was commissioned by "The President's Own" United States Marine Band and Colonel Jason Fettig. It was premiered on December 14, 2016 at the Midwest Clinic: International Band and Orchestra Conference at the McCormick Place in Chicago, Illinois. This thesis infuses James M. Stephenson's personal and intimate knowledge of his Symphony No. 2: Voices for Concert Band with a theoretical analysis to provide conductors, performers, and other musically curious patrons insight into understanding its performance. A granular analysis of this symphony examines theoretical topics such as form, melody, harmony, rhythm, dynamics, texture, orchestration, instrumentation, and unifying thematic material. The theoretical analysis then combines insights from Stephenson about the symbolic and emotional development of the piece, along with salient rehearsal considerations. Finally, this paper documents current influences on Stephenson's work and his broader views on composing, composers, and the state of wind bands in general.
Open Access
A guide to the performance of Love and Light by Brian Balmages
(Colorado State University. Libraries, 2022) Middleton, Ryan James, author; Phillips, Rebecca L., advisor; Grapes, K. Dawn, committee member; Mallette, Dawn, committee member; Taylor, Jayme, committee member
Brian Balmages is a renowned American composer in the band profession. This thesis is the first formal study of Brian Balmages and his compositions. The author provides a detailed biographical account of the composer's musical background as well as an overview of his works and contributions to music education, both derived from an interview and written communication with Balmages. Although Balmages is well known for his significant contributions to the repertoire of developing ensembles, his 2020 composition Love and Light exemplifies his ability to express his compositional voice in a more intricate and expansive setting. The piece was commissioned in January 2019 by Elizabeth Elliott. This document provides a detailed account of the inception and premiere of the piece, based primarily on interviews with Elliott and Balmages. These personal accounts are vital in understanding the impact of the piece both within and beyond the music community. A detailed theoretical analysis of Love and Light completes this study, covering a wide array of musical elements, including form, melody, harmony, rhythm, orchestration, texture, dynamics, and use of borrowed musical material. Throughout the theoretical analysis, rehearsal and performance considerations for conductors and ensemble members are highlighted.
Open Access
Adam Gorb's Bohemian Revelry: a conductor's analysis and performance guide
(Colorado State University. Libraries, 2022) Kasper, Matthew, author; Phillips, Rebecca L., advisor; Grapes, K. Dawn, committee member; Kenney, Wes, committee member; Balgopal, Meena, committee member
Adam Gorb is a British composer whose works have been performed worldwide and received much critical acclaim. His ability to blend many musical styles and influences within individual pieces and the utilization of varied sound colors and textures has resulted in a distinct compositional voice among contemporary composers, specifically in the wind band genre. Gorb's composition Bohemian Revelry was composed in 2013 for the Bromley Youth Concert Band and has since been distinguished by the World Association of Symphonic Bands and Ensembles (WASBE) as a significant work. This thesis provides an in-depth study of Bohemian Revelry, further exploring the influences behind Gorb's compositional voice and his process for composing this work. Study of the unique characteristics of traditional Czech folk songs and dance styles reveal how Gorb assimilates them into his own compositional voice. The results of this analytic research culminate in a set of rehearsal considerations that can be utilized by other conductors and musicians in future performances of this piece. Interviews were conducted with the composer and conductor Timothy Reynish to provide additional insights and perspectives about Bohemian Revelry, Gorb's other compositions for winds, and his impact on wind band music. This document also provides updated biographical information about Gorb and works completed since 2011.
Open Access
Alan Hovhaness: a conductor's analysis featuring Symphony No. 4, op. 165 for Wind Orchestra and Symphony No. 17, op. 203 for Metal Orchestra
(Colorado State University. Libraries, 2016) Bowles, Michael P., author; Phillips, Rebecca, advisor; Grapes, K. Dawn, committee member; Kenny, Wes, committee member; Balgopal, Meena, committee member
Studying American composers and American music encourages the continued performance of our cultural music masters. Alan Hovhaness (1911-2000) is seldom researched and is thus becoming an underperformed composer. He composed during the eclectic compositional era of the twentieth century and is best known for his orchestral works. His music for wind band is not well known by the music community at large. The purpose of this thesis is to provide conductors and performers with a guide to performing and understanding the wind band music of Alan Hovhaness. Part I includes a biographical sketch and summary of Hovhaness’s compositional style. Part II is a conductor’s analysis of two works for winds and percussion. The first is his most well known piece for band, Symphony No. 4 (1958), and the second is a lesser known chamber work Symphony No. 17 (1963). The conductor’s analysis consists of both a theoretical and rehearsal analysis for each work. The theoretical analysis is a survey of each work focusing on form, melody, harmony, texture, dynamics, rhythm, and meter. The rehearsal analysis is comprised of two major sections, first is the considerations for the conductor, and second is considerations for the ensemble. Both sections are designed to guide future performers in executing these two works.
Open Access
An investigation of emerging music courses in Colorado secondary schools
(Colorado State University. Libraries, 2022) Cort, Madeleine Amy, author; Johnson, Erik, advisor; Grapes, K. Dawn, committee member; Decker, Derek, committee member
Emerging Music Courses (EMCs) are music classes for secondary students outside of traditional ensemble offerings and include courses in composition, music theory, music technology, guitar, piano, and general music. These classes are a growing trend and serve as an access point to music learning for students who play an instrument not offered in ensembles, are not enrolled in traditional ensemble courses, or have musical interests outside of ensemble performance (Abril & Gault, 2008; Kubik, 2018; Sanderson, 2014; Veronee, 2017). Though these courses are popular choices for students (Pendergast & Robinson, 2020) and viable options for teachers looking to increase their course offerings (Freedman, 2019; Sanderson, 2014), music educators historically lack training in the pedagogical practices of these courses (Kubik, 2018; Ruthmann, 2006; Sanderson, 2014). Additionally, there is a lack of research surrounding the EMCs currently being offered by Colorado secondary schools and the practices of experienced EMC educators. The purpose of this study was to investigate the prevalence of EMCs in Colorado's secondary public schools, examine the learning activities currently used in EMCs, explore the beliefs teachers have about music learning in the context of EMCs, and assess the impact of the COVID-19 pandemic on these courses. Findings suggest that a variety of EMCs are offered in Colorado secondary schools, with general music, guitar, and piano as the top three most offered courses. Learning activities in EMCs appear to focus on performing, reading, and appreciating music, in addition to applying skills learned outside of the classroom. The COVID-19 Pandemic affected the enrollment in and availability of EMCs and, to a lesser extent, the instructional delivery of EMCs. Results from follow-up interviews suggest that educators believe EMCs are valuable to their professional goals and students, but more training and preparation is needed in order for teachers to feel confident in their curricular design and delivery.
Open Access
James M. David: the composer, his compositional style, and a conductor's analysis of Symphony No. 1 - Codex Gigas
(Colorado State University. Libraries, 2020) Loyd, Sheridan Monroe, author; Phillips, Rebecca L., advisor; David, James M., committee member; Grapes, K. Dawn, committee member; Kenney, Wes, committee member; Kodrich, Kris, committee member
This thesis provides the first formal study of James M. David and analysis of his compositions. Through extensive interviews with the composer, the author provides a biographical account of the composer's musical development and approach to composition, as well as a thorough description of the elements that constitute David's unique compositional voice. His musical background cultivated an extensive knowledge of modernist and post-modernist compositional techniques. By applying these methods within a tonal landscape, David creates works that are enjoyable for both musicians and audience. This document provides theoretical and rehearsal analyses of David's Symphony No. 1 - Codex Gigas (2019). This study is unique, in that interviews with David were conducted as he was composing the symphony, offering insight into his compositional approach throughout the experience. The author observed the duration of David's creative process, from initial sketches of the work to its completion in December 2019. David intended the work as a tribute to Czech-American composer Karel Husa, drawing inspiration from Husa's Music for Prague 1968 (1968) and Apotheosis of this Earth (1970). Music for Prague 1968 presents a message of protest and hope for the fate of the Czech people during a time of political uncertainty and fear. Apotheosis of this Earth warns of mankind's imminent destruction of the environment. David uses thematic, tonal, timbral, and rhythmic elements from both works as the foundation for his symphony. A second layer to Symphony No. 1 - Codex Gigas is its historical inspiration from the Codex Gigas, a medieval manuscript shrouded in mystery. Considered an attempt to contain all of the world's knowledge in one location, the Codex Gigas represents for David a persistent search for truth and wisdom. The book contains two large drawings: a vivid depiction of the devil lies opposite a separate image of the city of heaven. The unclear motive behind the drawings resulted in the book's nickname, the "Devil's Bible." David creates a musical representation of these dualities: good and evil, darkness and light, even enlightenment and ignorance. He considers the Codex Gigas a metaphor for the preservation of knowledge, and how information can be used for the good of society as well as for individual gain. With modern technology, information is available at the push of a button. However, the increased accessibility of information creates the opportunity for misinformation, often obscuring truth. David uses rational rhythms and diatonicism to portray knowledge and reason, while irrational rhythms and chromaticism portray ignorance and poor intentions. Altogether, the symphony manifests a new work presented within a historical context to communicate the underlying message that, in the face of disinformation, truth and enlightenment will prevail. Throughout Symphony No. 1 - Codex Gigas, David applies a contemporary approach to established compositional techniques from bygone musical eras, transforming them into innovative musical ideas. The work displays ingenuity in craftsmanship regarding David's treatment and variation of motives, meticulous creation of mathematical patterns, and detailed treatment of timbres and percussion voices. Although the basis for many of David's compositional techniques is very academic, their application within the work remains accessible to the listener. Through repetition and variation, David allows the listener to digest the alteration of themes and rhythmic ideas over the course of the work. Together, the four movements create a memorable musical experience, sure to take performers and audiences alike on an emotional journey.
Open Access
Paul Hindemith's Symphony in B flat and Septet: a conductor's analysis
(Colorado State University. Libraries, 2016) Morin, Chase, author; Phillips, Rebecca, advisor; Grapes, K. Dawn, committee member; Kenney, Wesley, committee member; Mallette, Dawn, committee member
The Symphony in Bb and Septet by Paul Hindemith are cornerstone works in the wind repertory. The conductor’s analysis of these works is a resource and a tool that includes a biographical sketch covering the major events in Hindemith’s life, an outline of the composer’s compositional style, a detailed analysis of the formal components of each work, and specific issues that require consideration when planning rehearsals. With this tool, the conductor who intends to study and conduct these works will find information that is vital to the preparation required to create an authentic performance. This body of information can be a source for discovering new ideas and analyses or to substantiate ideas and information that have been acquired either from other sources or by the conductor himself.
Open Access
Where is their artistry? Artistic disposition and culturally responsive education in the twenty-first century secondary music classroom
(Colorado State University. Libraries, 2018) Hedrick, Katrina, author; Johnson, Erik, advisor; Grapes, K. Dawn, committee member; Sebald, Ann, committee member
Artistic disposition, as an amalgam of our individual and shared experiences, has a profound impact on how we engage and identify with music in a complex and pluralistic musical culture (Eger, 2005; Jorgensen, 1997 & 2003; Lind & McKoy, 2016; Reimer, 2003 & 2009; Small, 1998). The American public music educator, as a member of a pluralistic musical culture, is responsible for providing an accessible music education for all students. As such, the educator must provide an education that reflects each student's identity within a multitude of cultural intersections (Allsup, 2016; Allsup & Benedict, 2008; Jorgensen, 1997, 1998, & 2003; Kratus, 2007; Lind & McKoy, 2016; Reimer, 2003 & 2009; Small, 1998). The growth of individuals' artistic disposition is directly related to the ability to aesthetically engage in pursuit of expressing their lived experience (Jorgensen, 1997 & 2003; Reimer, 2003 & 2009; Runco, 2011 & 2014). Furthermore, the opportunity for each student to engage with a comprehensive music education in order to cultivate individual artistic dispositions is an educational necessity that has been articulated and reified by contemporary philosophers in the music education community (Allsup, 2016; Allsup & Shieh, 2012; Danielsson et al., 2016; Jorgensen, 1997 & 2003; Kratus, 2007; Lind & McKoy, 2016; Reimer, 2003 & 2009; Small, 1998). Many issues inherent to a postcolonial society working towards social justice—a society wrought with mass shootings, suicides, drug abuse, divisive politics, and an overburdened criminal justice system— complexify the cultivation of a gritty, artistic disposition, especially one that enables students to explore the artistic possibilities reflective of lived experience. Emphasis of an artistic mindset in secondary music education settings can facilitate the realization of an individual's identity and cultural belonging by providing a means of expression through musical expression. However, while contemporary music education philosophers implore practitioners to nurture every individual's artistic disposition (e.g. Allsup, 2016; Jorgensen, 2003; Reimer, 2003 & 2009; Small, 1998) and policy (e.g. NAfME, 2014), addressing these issues is limited by curricular design, teaching processes, and learning experiences of the student and the music educator. This philosophical inquiry questions which curricular designs, teaching processes, and learning experiences in secondary music education comprehensively lead to students' development of their own artistic dispositions. Further, this inquiry also seeks to examine the associations between artistic disposition and culturally responsive practices in order to address the challenges that music educators currently face in preparing graduates for successful engagement in a diverse array of contemporary American musical cultures. The purpose of this examination is to consider the use of artistic disposition as a means to increase music educators' efficacy in curricular scope, professional training, and pedagogical processes in order to provide students with the comprehensive music education. Three normative vignettes (Lecompte, 1999) are used to articulate a philosophical framework related to a Universalist orientation (Reimer, 2009). Each vignette highlights inclusive possibilities present in scholarship on artistic disposition and culturally responsive pedagogy for students to develop interpretive and expressive tools for their lived experiences.