This dissertation discusses compositional techniques used by Mark Camphouse in the twelve of his published pieces that he believes are his best and most important. These techniques define his overall characteristic sound and are identified through comparisons among the selected works. An analysis of these devices provides insights into why his music is recognizable as being written by him—what makes Camphouse sound like Camphouse. This study also illuminates the inspirations for these twelve pieces by sharing the composer’s stories behind the notes. The results are intended to serve as a reference for musicians who wish to gain insights into Camphouse’s musical compositions and his unique style of composing to better interpret, perform, and communicate his music.
|Advisor:||Ciorba, Charles R.|
|Commitee:||Robinson, Greg, Maiello, Tony, Camphouse, Mark|
|School:||George Mason University|
|School Location:||United States -- Virginia|
|Source:||DAI-A 82/6(E), Dissertation Abstracts International|
|Subjects:||Music, Musical composition, Music education|
|Keywords:||A Movement for Rosa, Camphouse, Camphouse, Mark, Mark Camphouse analysis, Mark Camphouse band, Mark Camphouse music|
Copyright in each Dissertation and Thesis is retained by the author. All Rights Reserved
The supplemental file or files you are about to download were provided to ProQuest by the author as part of a
dissertation or thesis. The supplemental files are provided "AS IS" without warranty. ProQuest is not responsible for the
content, format or impact on the supplemental file(s) on our system. in some cases, the file type may be unknown or
may be a .exe file. We recommend caution as you open such files.
Copyright of the original materials contained in the supplemental file is retained by the author and your access to the
supplemental files is subject to the ProQuest Terms and Conditions of use.
Depending on the size of the file(s) you are downloading, the system may take some time to download them. Please be