7:00 PM - 8:30 PM
Moderator: Cory Wikan
Creative Writing
Finalists for Zeak Monroe Award for Creative Writing--Fiction and Prose
- Phoebe Cragon, “Recycled Premonitions”
- Callie Fedd, “Longwood General Store”
- Danny Paulk, “Hell Is High Water”
Finalists for the Audrey M. Smith Poetry Award for Poetry
- Phoebe Cragon, “Elegy for July and Other Poems”
- Brian Flynn, “In Layman’s Terms and Other Poems”
- Danny Paulk, “Notes Collected from the Remains of a House Fire”
Music
An Analysis of Imagery in Chopin's Prelude, Op. 28, No.15 (Raindrop)
Veronica Seal-Bravo
Research Advisor: Dr. James Eakin, Hurley School of Music
Frédéric Chopin’s Prelude number fifteen, opus twenty-eight is the longest piece out of his twenty-four-prelude cycle. It was given the nickname “Raindrop” by an editor, and the imagery throughout the piece gave speculation that it was inspired by rain. Chopin, however, never gave any indication that this was true. In this paper, Chopin’s Prelude, Op. 28, No. 15 will be analyzed to find the correlation of rain and other related representations of nature in the piece.
Emotional Implication and Harmonic Analysis of Puccini’s “O Mio Babbino Caro”
Janine Cunningham
Research Advisor: Dr. James Eakin, Hurley School of Music
The purpose of the analytical paper is to deconstruct Puccini’s “O Mio Babbino Caro's” to ascertain the true meaning behind the melody. Puccini created his melodies upon motifs to capture the various emotions of each character in his comic opera, Gianni Schicchi. His operas are built around relatable events for his audience to experience the statement of each work. In anticipation of Lauretta’s aria, Puccini creates a frenzy of emotion. Puccini used and announced the musical elements and context of the piece. He then produces meaningful cadences in specific measures to articulate the intensity behind Lauretta’s emotion. Throughout the paper, I will explore the intent and process behind Puccini’s creations of his numerous melodies. Understanding his melodic development will create an extensive apprehension of “O Mio Babbino Caro’s“ melodic intent emotionally and harmonically.
The Count's Aria: A in-depth look into Mozart’s use of text painting
Andrew Echols
Research Advisor: Dr. James Eakin, Hurley School of Music
Mozart’s use of text painting in the Aria “Hai già vinta la causa...Vedro mentr'io sospiro” or more commonly known as the Count’s Aria from Le nozze di Figaro clearly states the characters’ emotions, inner monologue, and frantic behavior. Throughout the recitative and the aria, Mozart employs text painting that symbolizes physical motions such as running and pacing while the character is processing the shocking news he has overheard prior to the beginning of his aria. Throughout my paper, I will provide musical examples from the score that show the stylistic and harmonic choices used by Mozart in this Aria that can be interoperated as text painting while also providing translations of key phrases and moments in the piece.
Debussy: From a Draft to a Composition
Brennen Templeton
Research Advisor: Dr. James Eakin, Hurley School of Music
When analyzing a piece of music, one should take the time to study its origin and inspiration as well as its musical components. Thus, when discussing Debussy’s “Sarabande” and “Souvenir du Louvre,” consideration must be given to the dance form it is based on, the woman he dedicated the work to, and his development of musical ideas. These central components allow a listener or analyst to see into the work and its design. Debussy, as the contemporary of his time, provided the listener with only what is impressed upon the music. He uses his choice of harmony, melody, and rhythmic motion to move the listener and to reflect his view of his dedicatee. The listener may take note of his changes of harmonization, texture, and dynamic expression and compare the two renditions of the piece as to gain a clearer image of what Debussy felt needed to be changed. Any change made between these editions reflects what Debussy felt was necessary for his idea to be fully realized for publication. The analysis of these pieces focuses on the conception of ideas and how Debussy strived to perfect the composition for its final publication.
Visual Arts
Creative Strategy for Bayou Flippin’ LLC
Kendall Knaps
Creative Strategy Statement: To convince home buyers to choose Bayou Flippin’ instead of competing companies because they are local and choose to make a difference by buying, fixing, and reselling houses for active members of the Air Force and Locals of the Shreveport/Bossier area. My project highlights the advertising side of this company. Going into this project, Bayou Flippin’ was completely new. I created and designed everything from scratch. My work includes Brand Collateral, Business Cards, Outdoor Ads, Magazine Ads, App Mock-ups, Guerilla Ads, and a full brand work up including: color palette, ideal customers, do’s and don’ts, Fonts, and Evolution of the work.
The Reality of My Happily Ever After
Suzie Wilson
Research Advisor: Jessica Hawkins, Department of Art
The series My Happily Ever After is a diary for the intense joys and pains I have been through this year and in my last relationship. I have chosen to be vulnerable and open up about the hardest experiences I have had to go through in my life. The drawing Walk of Life shows a pregnancy test, featuring black paper to symbolize the dark depression that I experienced and blue paper to represent the baby’s gender. The Forever Dress is a combination of handmade paper and original writing about my own marriage. This ruined wedding dress shares the story of my entire relationship. Wasting Away uses repurposed and destroyed love stories to create a toilet bowl. They begin to spiral as if they are being flushed away, in attempt to forget them as they go down the drain. Wrapped in Thought is two works made of toilet paper rolls that have also been made from a love story. One of the rolls is already used and only has leftover bits of paper stuck to it. The leftover pieces have phrases that connect to the idea of marriage.