Theses and Dissertations - Department of Music (Applied & Theory)

Permanent URI for this collection

https://ir.ua.edu/handle/123456789/124

Browse

Browsing Theses and Dissertations - Department of Music (Applied & Theory) by Subject "History"

Now showing 1 - 2 of 2
  • Thumbnail Image
    Item
    Classical jazz: the life and musical innovations of Nikolai Kapustin
    (University of Alabama Libraries, 2013) Roberts, Jonathan Eugene; Engebretson, Noel J.; University of Alabama Tuscaloosa
    This is an extended study of the historical significance, life, and music of Nikolai Kapustin, Russian composer and pianist. Kapustin's music creatively fuses the virtuosity and structure of traditional classical music with the musical language of jazz. Having composed over 147 works, including twenty piano sonatas, twenty-four preludes and fugues, and six piano concerti, he is arguably one of the most prolific composers of the twentieth and twenty-first centuries. The study consists of three parts. The first part is an overview of the history of classical-jazz fusion and illustrates how Kapustin stands apart from composers whose music is typically categorized as "crossover" or "third stream." The second part documents Kapustin's biography and musical development throughout the various stages of his life and is the most thorough account of Kapustin's career to date. The third part presents an analysis of the combination of jazz and classical styles in two contrasting pieces: Kapustin's Sonata No. 2, Op. 54, and his Prelude and Fugue Op. 82, No. 10. As a preface, this part will also include an overview of some basic jazz compositional techniques that will help the reader understand the analyses.
  • Thumbnail Image
    Item
    Masonic symbols, the ascent to Master Mason, and Wolfgang Amadeus Mozart's "Maurerische Trauermusik," K. 477
    (University of Alabama Libraries, 2012) Saunders, Daniel John; Biermann, Joanna Cobb; University of Alabama Tuscaloosa
    Wolfgang Amadeus Mozart's Maurerische Trauermusik, K. 477, is often placed between his Mass in C Minor and his Requiem. The reason being that the three works share similar motivic content. The Maurerische Trauermusik is perceived as a stepping-stone between the two more famous works and is often overlooked. The genesis of the Maurerische Trauermusik is the issue. Mozart recorded in his thematic catalogue that the piece was composed in July of 1785 for the funeral of two lodge brothers; however, the two lodge brothers did not die until November of the same year. The reason Mozart composed the Maurerische Trauermusik was because it was used as music for a Masonic ritual ceremony to ascend to the degree of Master Mason. Noted Mozart scholars Philippe Autexier and Heinz Schuler attempt to decipher the origins of this piece; however, both of their arguments are based on historical context. Historical context alone is not sufficient enough to provide an accurate understanding of the genesis of the Maurerische Trauermusik. An analysis of the musical elements that relate to Freemasonry are essential to understanding the piece. The goal of this thesis is to explain how the Maurerische Trauermusik was originally used as a piece of ritual music. Mozart left clues in the music itself to show the enlightened its true meaning. Using Mozart's history with the Brotherhood, an analysis of the musical symbols that relate to Freemasonry, and referencing other Masonic works by Mozart, one will see that the Maurerische Trauermusik was used as program music in the ritual to ascend to the degree of Master Mason.