Symposium

Department of Music

Kevin Balint

Professor Derek Weller, Sponsor

Tarantella in A Minor by Giovanni Bottesini

Giovanni Bottesini was born December 24, 1821 in Crema, Lombardy. He composed several double bass concertos, though his Tarantella in A Minor is probably his most recognized work. The myth of the Tarantella dance asserts that if one were bit by a tarantella, they would have to perform a dance to rid themselves of the poison. This tarantella opens with a freely moving cadenza to represent the spider, followed by a lively dance rhythm.

Session A - Intermedia Gallery - 9:15 a.m.~9:30 a.m.

Susan Gannon

Professor Michael G. McGuire, Sponsor

Music Therapy for Children with Williams Syndrome

Williams Syndrome, a rare genetic disorder, is characterized by physical and mental impairments and abilities. Individuals with Williams Syndrome display cognitive disabilities in reasoning, mathematics, spatial processing and visual processing. However, they usually have average to above average abilities for language, facial processing, social skills and music. Music therapy is recommended because of the musicality and music talents demonstrated by many of the children diagnosed with Williams Syndrome. This presentation presents implications for music therapy treatment.

Session C - Intermedia Gallery - 12:00 p.m.~12:15 p.m.

Michael James Hejka

Professor John Dorsey, Sponsor

Polaris by Mark Ford

Polaris is a one movement composition for solo marimba based on a rhythmic theme in 7/8 meter. Set in a modified rondo form, two separate ostinatos help unify the music while themes from the opening chorale and allegro sections are developed. As the North Star has served as a navigation reference for centuries, Polaris reflects the inner part of each of us that guides our decisions and shapes our identity.

Session A - Intermedia Gallery - 9:00 a.m.~9:15 a.m.

David V. Pierce

Professor David M. Pierce, Sponsor

Bassoon Concerto in F Major, Mvt. I by Johann Nepomuk Hummel

Johann Nepomuk Hummel (1778-1837) was an Austrian pianist, composer, teacher and conductor and was considered, in his time, to be one of Europe's greatest composers and perhaps its greatest pianist. He was a student of Mozart and Haydn, and was Haydn's successor as kapellmeister for Prince Esterh\xa0zy. The bassoon concerto, which was dedicated to a bassoonist named Griesbacher, is considered the most difficult of its period, featuring virtuosic passagework and feats of technical display.

Session C - Intermedia Gallery - 12:15 p.m.~12:30 p.m.

Erin Quellhorst

Professor Ernest Brandon, Sponsor

"Welche Wonne, welche Lust" from Die Enfuhrung aus dem Serail and "Deh vieni, non tardar" from Le Nozze di Figaro by Wolfgang Amadeus Mozart

One of two contrasting arias for lyric soprano, "Deh vieni, non tardar" (Please come, don't delay) from The Marriage of Figaro, written to an Italian text, is somewhat sustained and requires the soprano to sing well into her alto range. "Welche Wonne, welche Lust" (What rapture, what joy) from The Abduction from Seraglio, set in German, has a melody that is quick, light and slightly ornamental, as the soprano remains in her customary range.

Session B - Intermedia Gallery - 10:45 a.m.~11:00 a.m.

Jennifer Shirley

Professor Kimberly Cole Luevano, Sponsor

Soliloquies by Leslie Bassett

Winner of the 1966 Pulitzer Prize in Music, Leslie Bassett (b. 1923) has written music performed by professional ensembles and soloists around the world. The Albert A. Stanley Distinguished University Professor Emeritus of Music at the University of Michigan, Bassett is a familiar face in Southeast Michigan. Soliloquies for unaccompanied solo clarinet and dedicated to the Rev. Robert Onofrey is a protrayal through music of the process of recovery from the death of a loved one.

Session B - Intermedia Gallery - 10:30 a.m.~10:45 a.m.

Bryan Stanbridge

Professor John Dorsey, Sponsor

Variations on Lost Love by David Maslanka

An established composer currently residing in Montana, David Maslanka (b. 1943) has written numerous compositions for solo and chamber percussion, band, orchestra, and other chamber ensembles. Variations on Lost Love, written in 1977, has a spiritual theme with three variations in a modern variation style. Variations is a highly technical and musically challenging composition for solo marimba.

Session C - Intermedia Gallery - 11:45 a.m.~12:00 p.m.

Makiko Yamauchi

Professor Diane L. Winder, Sponsor

Cello Concerto in E Minor, Mvt. IV by Edward Elgar

Elgar (1857 - 1934) wrote his only cello concerto and last major composition as a memorial to the destruction created by World War I. The leading English composer of his generation, his music is firmly rooted in European Romanticism. Here the return of the first of two major themes is followed by a reference to the theme from the previous Adagio. A quote of the dramatic solo recitative from movement I creates a cyclic feel to the entire work.

Session B - Intermedia Gallery - 11:00 a.m.~11:15 a.m.

Seo-Hyun You

Professor Joel Schoenhals, Sponsor

Scherzo in B Minor, Op. 20 by Frederic Chopin

Composers like Beethoven and Mozart typically used the title scherzo for humorous, joke-like music. Revolutionary yet respectful of tradition, Chopin maintained the traditional ABA form while using the title Scherzo for something completely different emotionally. The Scherzo in B minor, Op. 20 is restless, fiery and passionate in the outer sections, lyrical and dreamy in the contrasting middle section. Chopin composed almost exclusively for the piano, to which he revealed his innermost thoughts and feelings.

Session A - Intermedia Gallery - 9:30 a.m.~9:45 a.m.

Yang Zheng

Professor Dady Mehta, Sponsor

Sonata in F Major, Op. 10, No. 2, Mvt. I by Ludwig van Beethoven

Written in 1797, the first movement of this Beethoven Sonata is in typical Sonata form: exposition, development and recapitulation. The exposition opens with a light and rhythmic theme, then, after a transition, modulates into a warm and bright second theme in C-Major. The theme continues to modulate in the development. The theme returns in the recapitulation, but not in the tonic key. It lands in the key of D-Major, and finally, after a beautiful retransition, returns to the tonic key of F-Major.

Session C - Intermedia Gallery 108 - 12:30 p.m.~12:45 p.m.


			Department of Music Kevin Balint Professor Derek Weller, Sponsor Tarantella in A Minor by Giovanni Bottesini Giovanni Bottesini was born December 24, 1821 in Crema, Lombardy. He composed several double bass concertos, though his Tarantella in A Minor is probably his most recognized work. The myth of the Tarantella dance asserts that if one were bit by a tarantella, they would have to perform a dance to rid themselves of the poison. This tarantella opens with a freely moving cadenza to represent the spider, followed by a lively dance rhythm. Session A - Intermedia Gallery - 9:15 a.m.~9:30 a.m. Susan Gannon Professor Michael G. McGuire, Sponsor Music Therapy for Children with Williams Syndrome Williams Syndrome, a rare genetic disorder, is characterized by physical and mental impairments and abilities. Individuals with Williams Syndrome display cognitive disabilities in reasoning, mathematics, spatial processing and visual processing. However, they usually have average to above average abilities for language, facial processing, social skills and music. Music therapy is recommended because of the musicality and music talents demonstrated by many of the children diagnosed with Williams Syndrome. This presentation presents implications for music therapy treatment. Session C - Intermedia Gallery - 12:00 p.m.~12:15 p.m. Michael James Hejka Professor John Dorsey, Sponsor Polaris by Mark Ford Polaris is a one movement composition for solo marimba based on a rhythmic theme in 7/8 meter. Set in a modified rondo form, two separate ostinatos help unify the music while themes from the opening chorale and allegro sections are developed. As the North Star has served as a navigation reference for centuries, Polaris reflects the inner part of each of us that guides our decisions and shapes our identity. Session A - Intermedia Gallery - 9:00 a.m.~9:15 a.m. David V. Pierce Professor David M. Pierce, Sponsor Bassoon Concerto in F Major, Mvt. I by Johann Nepomuk Hummel Johann Nepomuk Hummel (1778-1837) was an Austrian pianist, composer, teacher and conductor and was considered, in his time, to be one of Europe's greatest composers and perhaps its greatest pianist. He was a student of Mozart and Haydn, and was Haydn's successor as kapellmeister for Prince Esterh\xa0zy. The bassoon concerto, which was dedicated to a bassoonist named Griesbacher, is considered the most difficult of its period, featuring virtuosic passagework and feats of technical display. Session C - Intermedia Gallery - 12:15 p.m.~12:30 p.m. Erin Quellhorst Professor Ernest Brandon, Sponsor "Welche Wonne, welche Lust" from Die Enfuhrung aus dem Serail and "Deh vieni, non tardar" from Le Nozze di Figaro by Wolfgang Amadeus Mozart One of two contrasting arias for lyric soprano, "Deh vieni, non tardar" (Please come, don't delay) from The Marriage of Figaro, written to an Italian text, is somewhat sustained and requires the soprano to sing well into her alto range. "Welche Wonne, welche Lust" (What rapture, what joy) from The Abduction from Seraglio, set in German, has a melody that is quick, light and slightly ornamental, as the soprano remains in her customary range. Session B - Intermedia Gallery - 10:45 a.m.~11:00 a.m. Jennifer Shirley Professor Kimberly Cole Luevano, Sponsor Soliloquies by Leslie Bassett Winner of the 1966 Pulitzer Prize in Music, Leslie Bassett (b. 1923) has written music performed by professional ensembles and soloists around the world. The Albert A. Stanley Distinguished University Professor Emeritus of Music at the University of Michigan, Bassett is a familiar face in Southeast Michigan. Soliloquies for unaccompanied solo clarinet and dedicated to the Rev. Robert Onofrey is a protrayal through music of the process of recovery from the death of a loved one. Session B - Intermedia Gallery - 10:30 a.m.~10:45 a.m. Bryan Stanbridge Professor John Dorsey, Sponsor Variations on Lost Love by David Maslanka An established composer currently residing in Montana, David Maslanka (b. 1943) has written numerous compositions for solo and chamber percussion, band, orchestra, and other chamber ensembles. Variations on Lost Love, written in 1977, has a spiritual theme with three variations in a modern variation style. Variations is a highly technical and musically challenging composition for solo marimba. Session C - Intermedia Gallery - 11:45 a.m.~12:00 p.m. Makiko Yamauchi Professor Diane L. Winder, Sponsor Cello Concerto in E Minor, Mvt. IV by Edward Elgar Elgar (1857 - 1934) wrote his only cello concerto and last major composition as a memorial to the destruction created by World War I. The leading English composer of his generation, his music is firmly rooted in European Romanticism. Here the return of the first of two major themes is followed by a reference to the theme from the previous Adagio. A quote of the dramatic solo recitative from movement I creates a cyclic feel to the entire work. Session B - Intermedia Gallery - 11:00 a.m.~11:15 a.m. Seo-Hyun You Professor Joel Schoenhals, Sponsor Scherzo in B Minor, Op. 20 by Frederic Chopin Composers like Beethoven and Mozart typically used the title scherzo for humorous, joke-like music. Revolutionary yet respectful of tradition, Chopin maintained the traditional ABA form while using the title Scherzo for something completely different emotionally. The Scherzo in B minor, Op. 20 is restless, fiery and passionate in the outer sections, lyrical and dreamy in the contrasting middle section. Chopin composed almost exclusively for the piano, to which he revealed his innermost thoughts and feelings. Session A - Intermedia Gallery - 9:30 a.m.~9:45 a.m. Yang Zheng Professor Dady Mehta, Sponsor Sonata in F Major, Op. 10, No. 2, Mvt. I by Ludwig van Beethoven Written in 1797, the first movement of this Beethoven Sonata is in typical Sonata form: exposition, development and recapitulation. The exposition opens with a light and rhythmic theme, then, after a transition, modulates into a warm and bright second theme in C-Major. The theme continues to modulate in the development. The theme returns in the recapitulation, but not in the tonic key. It lands in the key of D-Major, and finally, after a beautiful retransition, returns to the tonic key of F-Major. Session C - Intermedia Gallery 108 - 12:30 p.m.~12:45 p.m.