State of North Carolina

Undergraduate Research & Creativity Symposium

Performing Arts Abstracts

Student Author(s):	Bonsteel, Brian J.
Dept & College or University:	School of Music, East Carolina University
Research Mentor(s):	Ed Jacobs/School of Music, East Carolina University
Title of Presentation:	The Influence and Incorporation of Video Game Music Styles into Modern Day Musical Composition

Ever since the development of video games, the style of video game music has become increasingly complex and popular. Who, for instance, doesn't recognize the introduction to the Super Mario Bros. theme song? Certain elements of the style of early video game music have remained prominent within the genre's fibers today, and can be traced back three decades; to some extent, it can even be traced back to the Baroque and Classical periods. Influences from the genre of video game music are prevalent within certain styles of music today, especially in the realm of dance music. Generally, a mixture of individual style and electronic influences become most successful and popular among listeners; I plan to present and discuss some of my own works that draw from this electronic style, as well as discuss the dichotomy between film and video game music.

Student Author(s):	Carter, Jonathan D.
Dept & College or University:	Hayes School of Music, Appalachian State University
Research Mentor(s):	Jennifer Sterling Snodgrass/Hayes School of Music, Appalachian State University
Title of Presentation:	"Lethargic Fervor"

The string quartet has evolved from a uniform, conventional genre of the Baroque era to an unconventional genre that focuses on off-centered melodies, disjunct countermelodies, and rhythmic deviations in meter and structure. This presentation will focus on the compositional techniques used in the creation of the string quartet entitled "Lethargic Fervor." Many styles are embraced within this composition including tonality, atonality, extreme dissonances, unconventional intervals, and chromaticism. After a performance of this composition using the Finale software system, the composer of this piece will offer the audience a in-depth analysis of the piece as well as added insight into the compositional process.

Student Author(s):	Dennis, Rachel E.
Dept & College or University:	Hayes School of Music, Appalachian State University
Research Mentor(s):	Jennifer Snodgrass/Hayes School of Music, Appalachian State University
Title of Presentation:	Chant as Utilized in Buddhist Ceremonies in Tibet

The chant plays an important role in the music utilized in the Buddhist ceremonies of Tibet, largely because of the widespread Indian influences on Tibetan Buddhist music. Both styles of music are focused on chanting that utilizes long drawn out notes. In addition to this, the main instruments involved in the religious music are primarily the same in both Tibet and India. This includes but is not limited to, drums, trumpets, cymbals, and the conch. Even though the chant now has a significant role in the Buddhist music of Tibet, the chant did not begin with musical aspects in mind. Chant actually started as a means for students of Buddhism to memorize the sadhanas, or religious texts. Despite these beginnings, chants are now composed as an offering to the deities, and to help on the path towards enlightenment. The resulting sound is thought to make the chanter one with the deity. In Vajrayana Buddhism, sound or music is actually considered to be one of the seven offerings to be made to deities and spiritual teachers. There are many different forms of chant, each with a specific purpose. Chant used in Tibetan Buddhist ceremonies is very diverse and despite its Indian influences, very specific to the culture. This paper will focus on the chant as used in Buddhist ceremonies of Tibet. Musical examples will also be discussed in relation to performance context.

Student Author(s):	Fann, Aaron P.
Dept & College or University:	Hayes School of Music, Appalachian State University
Research Mentor(s):	Eric Koontz/Music, Appalachian State University
Title of Presentation:	Collages Of Sounds: Modern Music's Face(s)

The availability of music has never been as widespread as it is today. All types of styles from different cultures surround us in our everyday lives. The modern-day composer can now draw from a vast amount of influences and, his or her potential for a creative palette is quite larger than ever before. Yet still, mediums for musical performance, as old as centuries, remain. The string quartet, one of the most important and common chamber groups, is utilized for my composition, “Five Allusions.” Appalachian State’s Liberace Quartet, consisting of: Josh Helms, Amanda Roberts, Greg Sipek, and Thomas LaForgia, will perform the work under the direction of Eric Koontz. This piece can illustrate the 20th century’s further emphasis placed upon timbre, rhythm, and further harmonic explorations rather than merely melody and harmony. The use of modal transformations, atonality, extended techniques, frequent stylistic modifications, non-conventional chordal structures, neo-classicism, and rhythmic dissonances are able to demonstrate just how the modern composer is able to emit such a variety of contrasting ideas and emotions within a single work. After the performance, a look at the conception and, the evolving nature present during the writing of the piece will be discussed.

Student Author(s):	Newton, Alex M.
Dept & College or University:	Hayes School of Music, Appalachian State University
Research Mentor(s):	Eric Koontz/Music, Appalachian State University
Title of Presentation:	Musical Composition in the Post-Millennium: A Look at Different Twentieth Century Techniques and Influences

The primary focus of music in the classical world goes to renowned composers such as Mozart, Beethoven and Brahms, but what are the composers of the 21st century doing differently hundreds of years later? After a performance of my String Quartet by the Appalachian State University Liberace Quartet (Josh Helms, Violin I, Amanda Roberts, Violin II, Greg Sipek, Viola, Thomas LaForgia, Cello, Eric Koontz, Director), there will be a discussion of the influences and the techniques used. The general ideas behind the piece will be presented as well as the differences in traditional (e.g. cadences, bowings) and more modern techniques (e.g. extended harmonies, graphic notation). Also, influences on composers both from western classical music and non-classical music will be discussed. The piece has Twentieth century classical techniques and non-traditional “Step Team” influences (Clapping, Stomping, etc.). The piece is an example of how modern-day composers draw from all different types of music, not just traditional Western classical style.

Student Author(s):	Scibetta, Myra V.
Dept & College or University:	UNC-Greensboro
Research Mentor(s):	Eluza Santos/Dance, UNC-Greensboro
Title of Presentation:	By Reason of Cavaquinho

Cavaquinho, a small four-stringed guitar, is one of the main instruments in the Brazilian musical style known as chorinho. Chorinhos composed by men have become well known since the beginning of the 20th century. Only recently, chorinhos by women have gained more attention and have been included in a series of CD's, acknowledging the high quality of these compositions as well as the wonderful talent and the invaluable musical contributions by these women. "By Reason of Cavaquinho" is dedicated to these female composers, and to all powerful women. The choreographer and original performer of this solo, Eluza Santos, is a native of Brazil. As a solo dance artist, much of Ms. Santos's research is in setting her works on non-Brazilian dancers, questioning, "How do non-Brazilian dancers absorb and radiate the Brazilian 'flavor', culture, energy, and passion of my work?" This piece in particular contains within it a universal concept: the recognition of the power of women. Therefore, the research of "By Reason of Cavaquinho" is not only through the performer learning to absorb and radiate the Brazilian energy of the piece, but also of discovering the power in the passionate, life-giving energy that resides in every woman.

Student Author(s):	Stone, Kyla Ruth
Dept & College or University:	Honors, Scholars, and Undergraduate Research Programs, East Carolina University
Research Mentor(s):	Michael Bassman/Honors, Scholars, and Undergraduate Research Programs, East Carolina University
Title of Presentation:	True Colors

Lyrical dance is a style of dance that incorporates jazz and ballet. It is a style of dance that is very expressive. The piece entitled "True Colors" is an original choreography inspired by the amount of women and children who are beaten and raped nationally at this time. Upon first hearing this song it brought to mind a picture of being scared and afraid to open oneself up. Then there is a break through and they are allowed to show their true colors. With one in four girls and one in seven boys admitting to being violated annually we must encourage those who have not come forward to do so. These traumatic experiences follow these individuals throughout the rest of their lives. Women who were abused as a child are 77% more likely to end up in jail. It is our goal to stop the hurting now. This piece is meant to reach out to those who have been violated and are too afraid to speak with an authority or even a counselor. Everyone has someone they can turn to, so open up and let your true colors shine through.

Go to State of North Carolina Undergraduate Research Symposium Main Page

Go to Listing of Abstracts

Go to Listing of Participants