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A Selective Guide To Solo Bass Trombone Repertoire From 1961 To Present, Andrew Amadeus Ortega
A Selective Guide To Solo Bass Trombone Repertoire From 1961 To Present, Andrew Amadeus Ortega
Graduate Theses, Dissertations, and Problem Reports
For nearly 60 years composers have written for bass trombone as a solo instrument and continue to create works that showcase its virtuosity and musical capabilities. Before 1961, bass trombonists would often play tuba solos, transcriptions, and musical arrangements from other instruments. This document includes works that were composed specifically for bass trombone from as early as 1961 to 2021. Each piece is categorized and presented with an evaluation in addition to a level of performance preferable for collegiate students to professional performers. Commentary has also been included discussing challenging areas as well as providing information necessary to perform the …
Introducing The First Of New Publications Of The Jussi Bjorling Society..., Dan Shea
Introducing The First Of New Publications Of The Jussi Bjorling Society..., Dan Shea
Newsletter of the Jussi Björling Societies of the USA & UK
As you will recall from the previous (3Q00) issue of Journal of the JBS-USA, Mickey Dove has announced that she will step down as Editor of the publication. Now, after consultation with our Board of Directors and other advisors, we have decided to try something new: We'll produce a pair of publications, the Newsletter with publication dates of about June 1 and December1 each year, Journal of Jussi Bjorling Society to appear in March and September.
Mapping Of Research Publications On Ethnomusicology Through The Lens Of Web Of Science, Puspanjali Hazarika, Atrayee Kashyap
Mapping Of Research Publications On Ethnomusicology Through The Lens Of Web Of Science, Puspanjali Hazarika, Atrayee Kashyap
Library Philosophy and Practice (e-journal)
This study attempts to define ethnomusicology as the study of people making music through the lens of mapping of research publications. People make sounds that are in ways or other sometimes considered as “music,” stretching into a specific cultural domain. This study delves into the idea of different types of music publications as a contingent cultural category. The necessary data were collected from the Web of Science database during 1996-2020 and analyzed accordingly.
Troubling Genre, Ethnicity And Geopolitics In Taiwanese American Independent Rock Music, Wendy Hsu
Troubling Genre, Ethnicity And Geopolitics In Taiwanese American Independent Rock Music, Wendy Hsu
Wendy Hsu
This paper examines the performances of Taiwanese American Jack Hsu and his New Jersey-based progressive erhu-rock band The Hsu-nami, in transnational contexts fraught by ethnonationalism and race. Through an ethnographic approach, this paper highlights the band's depoliticising practice to deflect the geopolitics across the Taiwan Strait. It also discusses how Hsu adapts the musical and gender ideologies in rock music culture to diffuse racial ideologies surrounding his ethnicity and instrument. Finally, an analysis of the band's deployment of cultural diplomacy discusses pragmatic multiculturalism, a mode that reflects the tension between rock music's ostensibly counter-cultural front and its commercial foundation.
The Kominas’ Punk Punjab And Digital Diaspora: Reclaiming A Socio-Musical Transnation, Wendy Hsu
The Kominas’ Punk Punjab And Digital Diaspora: Reclaiming A Socio-Musical Transnation, Wendy Hsu
Wendy Hsu
No abstract provided.
Suspicious Silence: Walking Out On John Cage, Clark Lunberry
Suspicious Silence: Walking Out On John Cage, Clark Lunberry
English Faculty Research and Scholarship
2012 marked what would have been the composer and writer John Cage’s 100th birthday, offering a nice round numbered moment to commemorate and reevaluate Cage’s lasting legacy. And it is a rich and still, astonishingly, controversial legacy, bringing forth bold assessments of Cage that range, as they have for decades, from worshipful acclaim, to ridiculing rejection. It seems with Cage, still, that it’s either black or white, love or hate; that he is either a saintly prophet of new sounds, new silences, or a foolish charlatan leading anarchically astray.
The Sound Of Racial Melancholia: Listening To And Performing Rock Music In Asian America, Wendy Hsu
The Sound Of Racial Melancholia: Listening To And Performing Rock Music In Asian America, Wendy Hsu
Wendy Hsu
No abstract provided.
Transforming Diaspora: The Kominas’ Translocal Socio-Musical Geography, Wendy Hsu
Transforming Diaspora: The Kominas’ Translocal Socio-Musical Geography, Wendy Hsu
Wendy Hsu
No abstract provided.
Digital Ethnography: Integrating Digital Methods Into Field Research And Ethnographic Representation, Wendy Hsu
Digital Ethnography: Integrating Digital Methods Into Field Research And Ethnographic Representation, Wendy Hsu
Wendy Hsu
No abstract provided.
Reaching Out To The Wilderness Of America’: Performing Punk Minoritarian Politics And Creating A Post-9/11 Taqwacore Diaspora, Wendy Hsu
Wendy Hsu
No abstract provided.
Identity, Geopolitics, And Networks In Transnational Asian Indie Rock Music, Wendy Hsu
Identity, Geopolitics, And Networks In Transnational Asian Indie Rock Music, Wendy Hsu
Wendy Hsu
No abstract provided.
Mapping The Translocal Taqwacore Social Networks Via Digital Humanities, Wendy Hsu
Mapping The Translocal Taqwacore Social Networks Via Digital Humanities, Wendy Hsu
Wendy Hsu
No abstract provided.
Resisting Multiculturalism: Racial And Gender Politics Of Indie Rock In Asian America, Wendy Hsu
Resisting Multiculturalism: Racial And Gender Politics Of Indie Rock In Asian America, Wendy Hsu
Wendy Hsu
No abstract provided.
Rocking Out And Genre Bending: Asian American Musicians In Indie Rock, Wendy Hsu
Rocking Out And Genre Bending: Asian American Musicians In Indie Rock, Wendy Hsu
Wendy Hsu
No abstract provided.
When Repetition Isn’T The Best Practice Strategy: Examining Differing Levels Of Contextual Interference During Practice, Laura A. Stambaugh
When Repetition Isn’T The Best Practice Strategy: Examining Differing Levels Of Contextual Interference During Practice, Laura A. Stambaugh
Laura A. Stambaugh
Two experiments examined the effects of blocked and random practice schedules on the performance accuracy, speed, and temporal evenness of performance by wind players. Blocked schedules used repetitive practice orders, while random schedules constantly changed the order of tasks practiced. Beginning clarinet students completed three days of practice on three short technical tasks, in either a blocked or random order. Twenty-four hours after practice, beginning students who had practiced in the random order were able to play significantly faster than students who had practiced in the blocked order (F1,38=24.95, p<0.001, n2=0.92). Students in the blocked group performed significantly slower at 24-hour delayed retention than immediately after practice (p<0.001). Contrary to non-musical motor learning investigations, there was no speed-accuracy trade-off: students maintained high accuracy scores while speed gradually improved. In Experiment II, university wind students practiced three short technical tasks in either a blocked or random order for two days. Retention testing occurred 24-hours and one week following practice. Preliminary results were presented in the conference session.
Review: Sensational Knowledge: Embodying Culture Through Japanese Dance By Tomie Hahn, Wendy Hsu
Review: Sensational Knowledge: Embodying Culture Through Japanese Dance By Tomie Hahn, Wendy Hsu
Wendy Hsu
No abstract provided.
Taiwanese America Meets Taiwan Through Indie Rock Music Performance, Wendy Hsu
Taiwanese America Meets Taiwan Through Indie Rock Music Performance, Wendy Hsu
Wendy Hsu
No abstract provided.
Review: Queering The Popular Pitch Edited By Sheila Whiteley And Jennifer Rycenga, Wendy Hsu
Review: Queering The Popular Pitch Edited By Sheila Whiteley And Jennifer Rycenga, Wendy Hsu
Wendy Hsu
No abstract provided.
Rocking Out Between The Global And The Local, Wendy Hsu, Carey Sargent
Rocking Out Between The Global And The Local, Wendy Hsu, Carey Sargent
Wendy Hsu
No abstract provided.
Reading And Queering Plato In Hedwig And The Angry Inch, Wendy Hsu
Reading And Queering Plato In Hedwig And The Angry Inch, Wendy Hsu
Wendy Hsu
No abstract provided.
I'M A Star, Get It': Yoko Ono Subverts Rock Masculinity, Wendy Hsu
I'M A Star, Get It': Yoko Ono Subverts Rock Masculinity, Wendy Hsu
Wendy Hsu
No abstract provided.
Review: Alvin Lucier Festival @ Uva, Wendy Hsu
William Hung: Performing The Asian Model Minority, Wendy Hsu
William Hung: Performing The Asian Model Minority, Wendy Hsu
Wendy Hsu
No abstract provided.
Misreading The Random: Translational Reading Of The Japanese Anime Cowboy Bebop, Wendy Hsu
Misreading The Random: Translational Reading Of The Japanese Anime Cowboy Bebop, Wendy Hsu
Wendy Hsu
No abstract provided.
Review: Wired For Sound: Engineering And Technologies In Sonic Cultures, Wendy Hsu
Review: Wired For Sound: Engineering And Technologies In Sonic Cultures, Wendy Hsu
Wendy Hsu
No abstract provided.
Between Narrative And Expressive, Fantasy And Melodrama In Bombay Film, Wendy Hsu
Between Narrative And Expressive, Fantasy And Melodrama In Bombay Film, Wendy Hsu
Wendy Hsu
Facing the hegemony of Bombay cinema, an intriguing irony lies in the intersecting point of film’s extreme popularity and its highly formulaic form. To understand this phenomenon, a discussion on the subjectivity of Bollywood1 film spectatorship, rather than the objectivity of cinema as the nation’s collective consciousness (Chakravarty, 1993; Kakar, 1983), is solicited. This paper first marks a fantasy space of differences in which cinematic elements are negotiated: narrative vs. expressive modes; fantasy vs. melodrama forms. Drawing from an Indian gothic classic Mahal (Amrohi, 1949), the paper then seeks to obscure the differentiation between the paradigmatic elements and, lastly, redefines …
"(Silence)": Scripting [It], Staging [It] On The Page, For The Stage, Clark Lunberry
"(Silence)": Scripting [It], Staging [It] On The Page, For The Stage, Clark Lunberry
English Faculty Research and Scholarship
The stage is no place for silence. The silence is no place for a stage. Like a white page upon which it is inscribed, presented as dramatic instruction—"(silence)"—the word is made into a mark, made into a bracketed moment, only to be instantly, noisily transformed into utterance. Mouths closed; the word erased but still seen, fully present and intended to form and function, to speak breathlessly. The speakers stop, pause, silent. On the page or on the stage, this instructed silence nevertheless stealthily expands and fills as a signified absence, inflating into a deliberately, paradoxically evacuated dimension; ink absorbed onto …