ALBÉNIZ’ IBERIA: THE FORGING OF A SPANISH MUSICAL IDENTITY, University of Michigan, 2014
Lecture and recital on Spanish folk idioms incorporated in Isaac Albéniz’ Iberia, focusing on Book 2. Examined Albéniz’ use of melodic and rhythmic components of various regions of Andalusia. Also closely analyzed and demonstrated modal inflections that make the pieces sound so idiosyncratic to Albéniz.
TELEOLOGICAL PROCESSES IN GYÖRGY LIGETI’S ETUDES, University of Michigan, 2012
Research papers and presentations on approaches to analyzing Ligeti etudes, particularly in relationship to “Fanfares” from Book 1. Explored the different dimensions (rhythm, dynamic, harmony, etc) as to how the teleological aspects of the compositional process contribute to the listening process. Examined his compositional techniques to bring variety of color, character and a sense of perspective into the music.
CYCLICAL MATERIAL IN BEETHOVEN’S SONATA IN A MAJOR, OP. 101 University of Michigan, 2012
Presentation and demonstration on a close analysis on Beethoven’s Sonata in A major, Op. 101, focusing on the make-up of motivic and thematic material. Questions examined include how Beethoven’s choice of thematic material might contribute to the cyclic structure, and how the motives are developed over the course of the whole sonata.
CHORALES OF BACH’S ST. MATTHEW PASSION, University of Michigan, 2012
Presentation and research paper examining the chorales in Bach’s St. Matthew Passion. Discussed the origins of words and melodies of the chorales, as well as the functions of the chorales in which they contribute to the passion as a whole. Further examined different types of chorales and Bach’s treatment of the chorale melodies and text.
UNDERSTANDING AND PERFORMING OF BACH’S G MAJOR PARTITA University of Michigan, 2011
Presentations and paper proposing an approach to interpreting Bach on the modern piano based on an examination of compositional structures. The project is aimed at discovering how issues of phrasing, articulation, harmonic decoration, rhythm, ornamentation, etc., can be understood from a compositional perspective and thereafter translated from performance on the harpsichord to the modern piano.