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The Don Dance: An Expression Of Karen Nationalism, Heather Maclachlan
The Don Dance: An Expression Of Karen Nationalism, Heather Maclachlan
Music Faculty Publications
How do Karen people define themselves as Karen? This question has particular import for one community in New York State—the Karen of Utica. The two hundred members of this group affirm their distinctiveness in part by celebrating a day that is special to Karen people worldwide. Since their arrival in Utica in 1999, every January they dance the don dance, a dance created and practiced only by Karen people. This article will discuss the performance of the don dance in another context: in a refugee camp in Southeast Asia, the dance functions to create and reinforce a particular ideal of …
Woman To Woman: A Music Therapist's Experience Of Working With A Physically Challenged And Non-Verbal Woman, Carolyn Arnason
Woman To Woman: A Music Therapist's Experience Of Working With A Physically Challenged And Non-Verbal Woman, Carolyn Arnason
Music Faculty Publications
The phrase "woman to woman" implies that relationships between women have particular qualities and levels of understanding that value the female perspective (Gilbert & Scher 1999). This case study describes my experience as a female music therapist and pianist working for four years with Sarah (pseudonym), a physically challenged, intelligent woman who is non-verbal. Salient aspects of the improvisational music therapy sessions were use ofself as music therapist, building a collaborative relationship, working with subtle and non-verbal responses, interpretive flexibility and musical transparency. There were also dimensions of the therapeutic process that enlarged the musical relationship such as silence, "being …
Hearing The Voices Of Adolescent Boys In Choral Music: A Self-Story, Patrick K. Freer
Hearing The Voices Of Adolescent Boys In Choral Music: A Self-Story, Patrick K. Freer
Music Faculty Publications
The techniques of narrative inquiry may provide a framework for investigations of how the social, academic, and musical needs of adolescents can inform the process of teaching choral music in the middle grades. While a burgeoning body of narrative literature illustrates the musical experiences of individuals during instruction, missing from this dialogue are the voices of “marginalized singers” - those who want to participate in choral music but who feel excluded because of perceived ability or other attributions. When teaching strategies do not reflect the changing needs of young adolescent boys, the result can be an experience of frustration and …
A Response To Krista Riggs’ ‘Foundations For Flow: A Philosophical Model For Studio Instruction’, Patrick K. Freer
A Response To Krista Riggs’ ‘Foundations For Flow: A Philosophical Model For Studio Instruction’, Patrick K. Freer
Music Faculty Publications
No abstract provided.
Adapt, Build & Challenge: Three Keys To Effective Choral Rehearsals For Young Adolescents, Patrick K. Freer
Adapt, Build & Challenge: Three Keys To Effective Choral Rehearsals For Young Adolescents, Patrick K. Freer
Music Faculty Publications
No abstract provided.
Book Reviews: Classical Music - "Unlocking The Masters" Series, Marie Sumner Lott
Book Reviews: Classical Music - "Unlocking The Masters" Series, Marie Sumner Lott
Music Faculty Publications
The following informal guides to Western classical music are briefly reviewed (Amadeus Press): (1) "Decoding Wagner: An Invitation to His World of Music Drama," by Thomas May; (2) "The Mahler Symphonies, An Owner's Manual," by David Hurwitz; (3) "Getting the Most Out of Mozart, the Instrumental Works," by Hurwitz; (4) "Getting the Most Out of Mozart, the Vocal Works," by Hurwitz; (5) "Exploring Haydn: A Listener's Guide to Music's Boldest Innovator," by Hurwitz; and (6) "The Great Instrumental Works," by M. Owen Lee.
Convergence And Divergence In Peter Mennin's Canzona, Gene H. Anderson
Convergence And Divergence In Peter Mennin's Canzona, Gene H. Anderson
Music Faculty Publications
In a brief but perspicacious study of Mennin' s music in 1954, Walter Hendl describes the composer as "a consummate craftsman who devotes great attention to the organization of materials." Although Hendl may not have known Canzona, which had been premiered in 1951 but not published until the year of his essay, the author's statement could well have been written with Mennin's sole piece for band specifically in mind. Not only is every aspect of Canzona integrally related to every other, but the relationships are deployed with a remarkable economy of means.