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Knowledge And Practices Of Faculty At Nasm Accredited Institutions In The Southeast Region Regarding Standards-Based Instruction, Jonathan Leon Nelson 2017 University of Southern Mississippi

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 ...


Gustave Vogt's Musical Album Of Autographs: A Scholarly Edition, Kristin Leitterman 2017 The Graduate Center, City University of New York

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 2017 The Graduate Center, City University of New York

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 ...


"Toccatas And Arias": Analysis And Historical Context Of Vivian Fine’S Last Work For Solo Piano, Manon Hutton-DeWys 2017 The Graduate Center, City University of New York

"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 ...


Between Speech & Song: Clarifying The Sprechstimme Of Schoenberg's Pierrot Lunaire, Sara M. Paar 2017 The Graduate Center, City University of New York

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 ...


Schoenberg's "Phantasy" Form, Lisa A. Tipton 2017 The Graduate Center, City University of New York

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 ...


Beyond England's "Green And Pleasant Land": English Romantics Outside The Musical Renaissance, Christopher Little 2017 University of Kentucky

Beyond England's "Green And Pleasant Land": English Romantics Outside The Musical Renaissance, Christopher Little

C. Scott Little PhD

England experienced a resurgence of musical talent in the late nineteenth and early twentieth centuries known as the "English Musical Renaissance." This rebirth spanned the years 1880 – 1945 and is credited to the work of Edward Elgar, Frederick Delius, Gustav Holst, and Ralph Vaughan Williams. Their break with Continental compositional models and the subsequent rediscovery of Tudor music and English folk song eventually created a "pastoral" musical style, heard as the authentically English musical voice.

A strain of English musical Romanticism continued parallel to the Renaissance, however, represented by Granville Bantock, Joseph Holbrooke, Rutland Boughton, Arnold Bax, and Havergal Brian ...


Flesh And Blood, Clayton Petras 2017 Washington University in St. Louis

Flesh And Blood, Clayton Petras

Graduate School of Art Theses

In my work, I look for ways to visualize and document the degenerative mental disease of Parkinson’s and transform it into portrayals of the disease itself, its effects, and those it afflicts. Being a physical breakdown of the body, both popular culture and my own corporal understanding influence my interpretation and representation. This document outlines those influences and their buildup towards a shared understanding of the interests behind the work, as well as implies what the work does through these contexts.

How do we give identity to a disease that is difficult to diagnose or view on medical technology ...


Caroline Dunlap Wins Ouachita's 2017 Virginia Queen Piano Competition, Kacy Earnest Spears, Ouachita News Bureau 2017 Ouachita Baptist University

Caroline Dunlap Wins Ouachita's 2017 Virginia Queen Piano Competition, Kacy Earnest Spears, Ouachita News Bureau

Press Releases

Caroline Dunlap, a senior from Little Rock, Ark., won Ouachita Baptist University’s recent Virginia Queen Piano Competition.

A piano performance major and student of Dr. Adam Haas, visiting assistant professor of music, Dunlap earned $500 for her winning performances of “Prelude in D major, Op. 23 No. 4” by Sergei Rachmaninoff and “Sonatine, Animé” by Maurice Ravel.

“The Rachmaninoff ‘Prelude in D major’ was, by far, my favorite piece this semester, and I was excited to be able to share it with people during the competition,” said Dunlap, who averaged three to six hours of practice a day throughout ...


Music: A Key For Unlocking Locked-In Syndrome And Improving The Quality Of Life For Those With Neurodegenerative Diseases, Heidi Hanekamp 2017 University of Wyoming

Music: A Key For Unlocking Locked-In Syndrome And Improving The Quality Of Life For Those With Neurodegenerative Diseases, Heidi Hanekamp

Honors Theses AY 16/17

Neurodegenerative diseases involve the gradual loss of neuronal functioning over time; such diseases include Alzheimer’s disease (AD), Parkinson’s disease (PD), amyotrophic lateral sclerosis (ALS), and Huntington’s disease. The cause of these disorders is often idiopathic and treatment options are limited. Certain progressions of these diseases may lead to Locked-in-Syndrome, where an individual is aware of their environment but unable to communicate due to paralysis. The impact from these disorders often leads to further comorbidities and an overall lower quality of life. This paper addresses scientific literature on the effects of music on the brain and how music ...


The Partimento Tradition In The Shadow Of Enlightenment Thought, Deborah Longenecker 2017 Cedarville University

The Partimento Tradition In The Shadow Of Enlightenment Thought, Deborah Longenecker

Channels: Where Disciplines Meet

How did Enlightenment ideals influence seventeenth-century music theory and composition pedagogy? This article investigates the relationship between partimento pedagogy and Rameau’s music theories as influenced by Enlightenment thought. Current research on partimento has revealed its importance in Neapolitan music schools of the eighteenth and nineteenth centuries. Along with counterpoint, partimento was a core subject in the study of composition in the Neapolitan schools; however, as pedagogy and theory began to be influenced by Enlightenment ideals such as the scientific method or a preference for clear systemization, the partimento tradition began to wane. Juxtaposing the Enlightenment ideals of Rameau’s ...


"Composers’ Intentions?: Lost Traditions Of Musical Performance," By Andrew Parrott, Colin Lawson 2017 Royal College of Music - London

"Composers’ Intentions?: Lost Traditions Of Musical Performance," By Andrew Parrott, Colin Lawson

Performance Practice Review

Colin Lawson discusses Andrew Parrott's 2015 work.

Parrott, Andrew. Composers’ Intentions?: Lost Traditions of Musical Performance. Suffolk: Boydell and Brewer, 2015. ISBN 978-1-783-27032-3.


Senior Honors Recital, Soobin Dokko 2017 Whitman College

Senior Honors Recital, Soobin Dokko

Honors Theses

An honors recital was given in partial fulfillment of the requirements for the Bachelor of Arts in Music, Performance emphasis. Soobin Dokko performed pieces by Maurice Ravel, J.S. Bach, Antonin Dvorak, and Sergei Rachmaninov.


Senior Piano Recital, Milo Ethan Cantor 2017 Whitman College

Senior Piano Recital, Milo Ethan Cantor

Honors Theses

This recital was held on April 16th, 2017 in Chism Recital Hall in the Whitman College music building. The program consisted of four pieces of classical repertoire from Bach, Mozart, and Chopin as well as three original compositions. The three original compositions are dedicated to my advisor Dr. David Hyun-su Kim for his guidance over the past four years and Dr. Susan Pickett on the occasion of her retirement.


Senior Voice Recital, Olivia Anne Coackley 2017 Whitman College

Senior Voice Recital, Olivia Anne Coackley

Honors Theses

This Senior Voice Recital consists of art songs for soprano and piano, including music by W.A. Mozart, Gabriel Faure, Vincenzo Bellini, Robert Baksa, and George Gershwin. Program notes and texts and translations are included.


Princess Grace Library Monaco – Thomas Moore, Drawing Room Entertainer Or Rebel Songster?, Una Hunt 2017 DIT Conservatory of Music and Drama

Princess Grace Library Monaco – Thomas Moore, Drawing Room Entertainer Or Rebel Songster?, Una Hunt

Conference papers

The poet of all circles and the idol of his own…

The words of Lord Byron, inscribed on the tall Celtic cross erected on Thomas Moore’s grave, in Bromham churchyard, one hundred years ago. Thomas Moore wrote a biography of Byron, his close friend, and Byron adored the Irish Melodies. He told Moore ‘I have them by heart … they are my matins and my vespers.’ Although he moved easily in privileged circles, Moore was also genuinely loved by the people of Ireland where he was described as ‘the true hearted Irishman.’

Ten volumes of Irish Melodies totalling 124 songs ...


Concert: Ithaca College Brass Choir & Ithaca College Trombone Troupe, Ithaca College Brass Choir, Ithaca College Trombone Troupe, Keith Kaiser, Kaitlyn Laprise, Richard Laprise, Justin Cusick, Aaron Burgess 2017 Ithaca College

Concert: Ithaca College Brass Choir & Ithaca College Trombone Troupe, Ithaca College Brass Choir, Ithaca College Trombone Troupe, Keith Kaiser, Kaitlyn Laprise, Richard Laprise, Justin Cusick, Aaron Burgess

All Concert & Recital Programs

No abstract provided.


Concert: Ithaca College Wind Ensemble, Christopher Hughes, Justin Cusick 2017 Ithaca College

Concert: Ithaca College Wind Ensemble, Christopher Hughes, Justin Cusick

All Concert & Recital Programs

No abstract provided.


The Transmutation Of The Immutable Abyss, Amanda McCullough 2017 University of Nebraska-Lincoln

The Transmutation Of The Immutable Abyss, Amanda Mccullough

Student Research, Creative Activity, and Performance - School of Music

The Transmutation of the Immutable Abyss is a song cycle for a female voice and chamber orchestra, originally inspired by the instrumentation of a community theater pit orchestra. This piece sets eight poems by A. R. Ammons over eight movements. One primary goal of this piece was to combine elements of jazz and contemporary classical music.

The Transmutation of the Immutable Abyss also explores duality along with the combination of disparate elements to create a more complete whole. In a literal sense, jazz and classical elements coexist in varying amounts of prominence. Also in a literal sense, elements of tonality ...


A Study Of The Performance Requirements Found In The Sonata For Solo Violin Op 40 By Miklós Rózsa, James Moat 2017 University of Nebraska-Lincoln

A Study Of The Performance Requirements Found In The Sonata For Solo Violin Op 40 By Miklós Rózsa, James Moat

Student Research, Creative Activity, and Performance - School of Music

Miklós Rózsa’s Sonata for Violin Solo, written in 1986, is his last work for violin and completes a collection of pieces written for the violin dating back to 1929. There have been various scholarly papers written about Rózsa’s violin works, including Nancy Jane McKenney’s dissertation: ‘The Chamber Music of Miklós Rózsa’, and the book written by one of Rózsa’s close friends, Christopher Palmer: ‘Miklós Rózsa, A Sketch of his Life and Work’. Neither of these works discusses the Solo Sonata; in fact, Christopher Palmer’s book was published ...


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