Browsing by Author "Angkasa, Linda"

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    CLASS RECITAL featuring piano students of Brian Connelly Saturday, November 6, 2010 5:30 p.m. Lillian H. Duncan Recital Hall
    (Shepherd School of Music, Rice University, 2010-11-06) Angkasa, Linda; Lin, Katherine; Cho, Brian; Forseth, Kiefer; Siu, Eric (violin); Giuca, Christina (piano); Yamamoto, Aya; Angkasa, Linda
    PROGRAM: Fantasy in F Minor, Op. 49 / Frederic Chopin -- Sonata No. 31 in A-flat Major, Op. 110 / Ludwig van Beethoven -- Impromptu in A-flat Major, Op. 142 No. 2 / Franz Schubert -- Impromptu in B-flat Major, Op. 142 No. 3 / Franz Schubert -- Sonata in A Major, Op. 2 No. 2 / Ludwig van Beethoven -- Sonata No. 1 in G Major for Violin and Piano, Op. 78 / Johannes Brahms -- Sonata in C Minor, D. 958 / Franz Schubert -- Funerailles / Franz Liszt
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    Lou Harrison's Concerto for Piano with Javanese Gamelan
    (2015-03-27) Angkasa, Linda; Loewen, Peter; Connelly, Brian; Brandt, Anthony; Englebretson, Robert
    Lou Harrison’s compositions for Indonesian gamelan and Western instruments have served as representations of Harrison’s distinctive transcultural voice. His Concerto for Piano with Javanese Gamelan represents a fascinating musical synthesis between two great classical traditions. More than blending Eastern and Western instruments within a single composition, hidden beneath this juxtaposition lies a Harrison’s complex creative method. The purpose of this study is to examine Harrison’s method of forging Western and Javanese idioms within a single work. In order to gain a better understanding through musical analysis, I include chapters concerning the development of exoticism in twentieth-century Western music, with brief historical background on traditional Javanese gamelan, and Harrison’s compositional trajectory toward his Concerto for Piano with Javanese Gamelan. In this concerto, I provide critical understanding of his compositional process using both in Eastern and Western elements. The analysis covers both the macrocosmic and microcosmic structures of the musical form in each movement, pitch-class sets, and rhythmic complexity. Through this method, one can see how Lou Harrison synthesizes the piano successfully with the gamelan idiom by blending two distinct musical cultures, while also emphasizing and reconciling their idiosyncrasies.