Music Commons^™

Music In Haredi Jewish Life: Liquid Modernity And The Negotiation Of Boundaries In Greater New York, Gordon A. Dale

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

In this dissertation I seek to understand tensions regarding boundary maintenance, music, and cultural continuity among the contemporary Haredi (“Ultra-Orthodox”) Jewish community of Greater New York in the context of sociologist Zygmunt Bauman’s theory of liquid modernity. While Bauman suggests that modernity has melted familiar institutions and created an unstable and rapidly shifting world, I argue that for Haredim, the non-liberal religious community and its cultural productions solidify social bonds. While many Haredi Jews strive to continue the musical practices of pre-WWII Europe, some Haredi musicians push or disregard the boundaries of accepted practice by experimenting with Western popular ...

Knowledge And Practices Of Faculty At Nasm Accredited Institutions In The Southeast Region Regarding Standards-Based Instruction, Jonathan Leon Nelson

Dissertations

In 1993, Congress passed the mandate Goals 2000: Educate America Act, which established standards for K-12 education that outlined the core benchmarks of student achievement for individuals who have mastered the core curricula required to earn a high school diploma (Mark, 1995). Unfortunately, these curricular requirements did not include any criteria for music education, nor did they consider the curricular implications for higher education in providing NSME Standards based training for music educators.

The aim of this study was to determine if and to what extent music education faculty engage in NSME Standards-based instruction within the higher education classroom. Questionnaires ...

The Crimson And The Black: The History Of The Central Washington University Alma Mater, Norman D. Wallen

Music Faculty Scholarship and Creative Works

A brief history of "The Crimson and Black", the alma mater of Central Washington University.

Paper Disc Record: A Consumption-Based Account Of Musical Identity, David Prescott-Steed

Proceedings from the Document Academy

Since 1991, I have been keeping a pen and paper list of my CD's, added to with each new purchase. With the increasing availability of digital media, not everything that I now listen to comes from a disc. Nevertheless, I have never bought digital music downloads, and so every new album purchase is a physical product with the band name and release title still added to the list. I keep it rolled up in a desk draw (the first composition-pages of which are yellowing nicely). The list comprises approximately 280 entries. Each entry until March 5, 2006 is numbered ...

The “Bitter Sweetness” Of Hybridity: Being A Bicultural Greek Australian Musician, Renee Georgoulas, Jane E. Southcott

The Qualitative Report

“Calista” is a bilingual, bicultural Greek-Australian musician in Melbourne, Victoria who explores and enacts her bicultural identity by musicking (making music). This single case study explores the formation and development of hybridized identity which is a complex lifelong process that may generate tensions for an individual that changes across the lifespan. There are strengths and challenges for those traversing different cultures. This study focuses on a bicultural identity formed by personal, musical and cultural contexts. Calista enacts her bimusicality in different musical genres and in different modes of musical engagement. Data were collected by semi-structured interview and by reference to ...

Schoenberg's "Phantasy" Form, Lisa A. Tipton

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

Scholars have long debated the form of Schoenberg’s Phantasy for Violin and Piano accompaniment, Op. 47, his last instrumental work. The numerous accounts (by Rufer, Lewin, Lester, Hasty, Hyde, and others) have variously proposed a pseudo-sonata, a three-part, and a four-part form. This dissertation suggests that the piece is best thought of as a multi-layered four-part form, in which the thematic pattern ABB¹A¹ is found at every structural level, from the phrase up to the entire work. An intriguing compositional sketch found on the Schoenberg Center’s website inspired the exploration of a four-part form with ...

Gustave Vogt's Musical Album Of Autographs: A Scholarly Edition, Kristin Leitterman

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

Gustave Vogt (1781–1870) was the most famous oboist in Europe during the mid-nineteenth century. Throughout his career he played with the best orchestras in Paris, toured Europe widely, and also taught the next generation of oboists at the Paris Conservatoire from 1802–1853. Although many of the details of his life have been lost to history, he did leave behind a record of the esteem in which he was held. This is preserved physically in the form of an album of short musical compositions honoring Vogt, collected between 1831 and 1859. The album has never been published, and is ...

Reimagining The Collective: Black Popular Music And Recording Studio Innovation, 1970-1990, Will Fulton

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

This dissertation examines developments in the production practices of black popular music in the recording studio from 1970 to 1990. The year 1970 marked a transition in the recording practice of popular music that had a distinct impact on styles marketed as R&B, soul, and funk. Multitracking in the 1950s and 1960s had paved the way for a transformed production process, one initiated by Les Paul’s and Sidney Bechet’s overdubbing experiments in the 1940s. The collective sound of instrumentalists and vocalists heard on records no longer resulted from live-to-tape recordings of group performances, but was increasingly the product of constructed representations, as separate layered events were cut to multitrack tape.

When mixed together, these overdubbed tracks presented the listener with the impression of collective, interactive performances. Features central to the ethos of R&B music making – vocals in call and response, instruments in apparent rhythmic dialogues, and funky syncopation usually resulting from interactive group dynamism – were increasingly the product of the technologically mediated process of overdubbing, and performed often by one musician singing all of the parts or layering several instruments. By 1990, in part due to the popularity of newly developed drum machines, MIDI sequencers, samplers, and digital synthesizers, to record collectively in R&B-based black popular music was the exception rather than the norm.

This study considers new practices of record production that developed in this era of multitrack recording and electronic experimentation through an examination of four case studies: Stevie Wonder’s recordings in the early 1970s; Prince’s recordings from the late 1970s to the mid 1980s; Michael Jackson’s composition and recording process from this same period; and the mid-to-late 1980s sampling and sequencing processes of Public Enemy’s Bomb Squad production collective. The producers of these recordings, well aware of the collective ethos of earlier black music styles, conceived imaginative ways ...

Between Speech & Song: Clarifying The Sprechstimme Of Schoenberg's Pierrot Lunaire, Sara M. Paar

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

Since its creation, the technique of Sprechstimme has fascinated the audiences, performers, and composers of twentieth century music. What is it? How is it done? How should it be notated? At the fore of investigations into these questions has been Arnold Schoenberg’s Pierrot lunaire, the work in which Schoenberg debuted this new technique. Much has been written in regard to Schoenberg’s creation and use of Sprechstimme, as well as his own exploration of the speech/song continuum. Composers, conductors, and performers have all tried to make sense of the notation, instructions, and performances Schoenberg left behind. Despite this ...

"Toccatas And Arias": Analysis And Historical Context Of Vivian Fine’S Last Work For Solo Piano, Manon Hutton-Dewys

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

Vivian Fine’s Toccatas and Arias (1987) is an important work both in Fine’s compositional output and in the history of ultramodern music. Through her close associations with Ruth Crawford, Henry Cowell, and others, Vivian Fine was very much a product of the musical scene that developed in New York in the 1920s and early 30s. Toccatas and Arias, Fine’s last piece for solo piano shows that Fine continued to write in the ultramodern/dissonant counterpoint style throughout her life. Its characteristics also demonstrate that, contrary to music-historical writings that suggest such music essentially died out in the ...

Teaching Music In The Reformed/Calvinist Tradition, John Macinnis

Pro Rege

Editor’s Note: This article (© 2017 by the author) was submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY) license (http://creativecommons.org/licenses/by/4.0/). It was first published in Religions on March 31, 2017, in the Special Issue Teaching the Reformations and was edited for that publication by academic editor Christopher Metress.

The Story And The Song: Examining Worship In The Tabernacle In Relation To The Gospel And Postmodern Evangelism, Debra Wilcox

Masters Theses

By examining tabernacle worship and its connection to the Gospel, worship leaders may find effective lyrical contexts for reaching the post-modern unbeliever. The priestly responsibility of the worship leader is to carry out the job description of helping people to worship God. As worship leaders select music for worship, they should take the opportunity to teach context and select songs that have parallels to tabernacle worship. In example, the significance of “entering into” worship is a reference to the high priest entering into the Most Holy Place. Worship pastors can approach the task of connecting postmodernists to God by examining ...

From The Concert Hall To The Cinema: The Journey Of The Classical American Sound, Rebecca Stegall

Masters Theses

American classical music has enjoyed a long-standing presence around the world as its own entity within the classical music genre. As early as the 1920s, American classical music has had its own unique sound. The early 20th Century was a time of musical experimentation and social unrest in America. Due to its relative newness and experimentation by numerous composers, identifying the defining characteristics of American music, an experimental music itself, became difficult and ambiguous. Also, the continuation of American classical music became increasingly problematic as classical music was replaced in popular culture by other genres of music. The research for ...

The Aepm Collection: A Set Of Annotated Traditional French Music Scores, Pierre Beauguitte

Conference papers

The aim of this paper is to present the AEPEM collection, consisting of more than five thousand scores of French traditional melodies. The original material and the digitized collection are described. A short statistical analysis is performed to compare this collection to existing ones in terms of melodic profiles.

Jazz Small Groups (Combos 1, 2 & 3), May 31, 2017, Lawrence University

Conservatory of Music Concert Programs

Harper Hall

Afro-Cuban Jazz Concert, Lawrence University Jazz Workshop, May 31, 2017, Lawrence University

Conservatory of Music Concert Programs

Harper Hall

We Are One: Singing, Sisterhood, And Solidarity In Appleton-Area Women's Choirs, Lauren Vanderlinden

Lawrence University Honors Projects

Despite its relatively small population, the city of Appleton has a large and thriving women’s choir community. Between the Lawrence Academy of Music Girl Choir, which serves hundreds of girls every year, and Cantala, the women’s choir at Lawrence University, opportunities for involvement in nationally-recognized female-voice ensembles range from second grade all the way through to college graduation. Using the theories of Foucault, Bourdieu, Butler, Green, and Bentham, this project explores the women’s choir culture of Appleton in an attempt to discover the core values of these two influential programs. I accomplished this by conducting ethnographic research ...

Looking Through The Glass: An Album Of Original Music And Accompanying Artist Book, Sam Genualdi

Lawrence University Honors Projects

“Looking Through the Glass” is a 12 track, 38-minute long album of original songs accompanied by a hand-bound artist book. The book houses the CD as a well as an accordion-structure text block of original prints. The content and form of the work draw upon the experiences of the author to create a unique and personal take on memory as a human experience. Sam Genualdi composed and produced all of the music as well as created all of the art.

A Recipe For Black Girl Magic: A Critical Study Of The Mise-En-Scene In Beyoncé’S Visual Album Lemonade As A Radical Representation Of Black Women, Tatiyana Jenkins

Lawrence University Honors Projects

Lemonade, a visual album released by pop icon Beyoncé Knowles Carter in 2016, crafts a mise-en-scene that redefines the way that black women are allowed to feel and exist in media culture. Contrary to the negative stereotypes and misrepresentations perpetuated in media, Lemonade is a radical attempt to provide audiences with an alternative representation of the experiences of black women. For this honors project, I address the controversy surrounding the visual album’s radical representations of black womanhood. To inform my understanding of the visual album I examine the various creative contributions such as the film Daughters of the Dust ...

Classical Vibe, Viking Bassoon Ensemble, May 28, 2017, Lawrence University

Conservatory of Music Concert Programs

Harper Hall