Many of today's active composers are consistently looking for new ways to expand the repertoire in any idiom for which they compose. The Nationalist era (c. 1810-1970) saw a trend among composers of drawing from previous musical styles, namely folk music, to expand the repertoire. That trend, continuing now into the 21st century, has seen countless sources of material being utilized, and some influences have been lasting. One style in choral composition that went largely unnoticed (if not ignored) until very recently was the tradition of Sacred Harp singing, a style present across the nation, though particularly prevalent in the American deep South. While innovation and drawing from new sources is often a positive process, it can be difficult to draw from sources that lend themselves to accessible writing.
Abstract: The development of Michael Schelle's piece for solo piano, "Hammerstein", is based greatly on direct influences and quotes from other composers. The piece adapts the styles of the etudes of Fryderyk Chopin, but also draws influences, and even direct quotes from two Beethoven Sonatas, Sonata No. 21 "Waldstein", and Sonata No. 29 "Hammerklavier", and "This Nearly was Mine" from Rogers and Hammerstein's "South Pacific". This paper analyzes the use of these quotes, and their origins, and includes research on the influences that drives the original material
Abstract: Morten Lauridsen wrote his famous "O Magnum Mysterium" while in residence with the Los Angeles Master Choral. The director of the Chorale at the time, Paul Salumunovich, has been hailed as one of the "great practitioners of Gregorian chant". Lauridsen considered this in his composition of the piece, and used a great deal of influence from Gregorian chant on his piece. This paper analyzes the use of chant through the work, and how it is altered to fit the modern choral era.
Abstract: The nationalist era of music spanned over a century of the Romantic and modern eras, these times varying between different coutries as they sought to create a national identity. This occured in the United States during the early-mid 20th century. During this time, Aaron Copland was arguably the most influential American composer. This paper briefly researches the success of four of his major works, and how they created a national identity for the U.S.A., and made Copland into the "Dean of American Composers".
The design booklet for Adam's presentation of his original score for "The Glass Menagerie". (Note: No scores or recordings are included in the booklet. Please contact the composer directly if interested in either.)