Arts and Humanities Commons^™

Chicago, Myra Hess Memorial Concert Series. Chicago Cultural Center. March 16, 2005, Oscar E. Macchioni

Oscar Macchioni

A Realization And Application Of Appropriate French Baroque Ornamentation For The First Four Preludes Of “L'Art De Toucher Le Clavecin” By Francois Couperin, Andres Javier Lopez

Theses and Dissertations - UTB/UTPA

In his work, L’Art de Toucher le Clavecin (1716-1717), Francois Couperin (1668-1733) details specific instructions for the correct playing of his ornamentation. In addition to the text, Couperin composes a series of didactic preludes in ascending order of difficulty to illustrate his ornamentation in the context of his work. I will focus on the proper interpretation of Couperin’s ornamentation and include a realization of four Couperin preludes. They contain the majority of issues presented by his ornamentation. I shall seek to properly realize Couperin’s ornamentation and use of unequal rhythms using the first four preludes of L’Art de Toucher le …

Music In The Culture Of Northern Afghanistan, Mark Slobin

Mark Slobin

No abstract provided.

A Muslim Shaman Of Afghan Turkestan, Mark Slobin

Mark Slobin

No abstract provided.

Music In The Culture Of Northern Afghanistan, Mark Slobin

Mark Slobin

No abstract provided.

Mostly Tangos. Piano Music From The Americas. Solo Cd, Oscar E. Macchioni

Oscar Macchioni

Ron’S Right Arm: Tactility, Visualization, And The Synesthesia Of Audio Engineering, Eliot Bates

Publications and Research

Most scholarship on audio engineering analyzes practices and practitioners in terms of musical and technical knowledges. The few references to sensory perception typically center on critical listening practices (“golden ears” engineers), audiophilia, and technologies of audition. However, particularly in light of computer-based workflows, the practice of audio engineering features carefully developed synesthesias of critical listening, visualization of digital audio, and tactile manipulations of interfaces, which can’t adequately be explained as cognitive processes or as conscious knowledge.

I draw on literature in the emerging field of sensory scholarship, in particular Brian Massumi’s theorization of synesthesia and affect and Charles Hirschkind’s analyses …

Sul Ross University. Guest Artist Concert Series, September 14, 2009, Oscar E. Macchioni

Oscar Macchioni

2010, Middle Eastern Music Ensemble’

Ephemera Materials

No abstract provided.

Musical Multiplicity: Emerging Thoughts, Mark Slobin

Mark Slobin

No abstract provided.

Resisting Multiculturalism: Racial And Gender Politics Of Indie Rock In Asian America, Wendy Hsu

Wendy Hsu

No abstract provided.

Musical Experience And Career Path In The Trinity College Alumni Community, Brett Jackson

Senior Theses and Projects

A musical ethnography of the Trinity College Alumni Community.

The Contributions Of Axel Jørgensen To The Solo Trombone Repertoire Of Denmark In The Twentieth Century, Andrew H. Converse

Glenn Korff School of Music: Dissertations, Theses, Student Creative Work, and Performance

Axel Jørgensen is one of a few Danish composers who has contributed compositions to the solo trombone repertoire that gained an international and lasting reputation in the twentieth century. Jørgensen, like many Danish composers from the first part of the twentieth century, is often overlooked due to the imposing figure of Carl Nielsen. Jørgensen’s compositions, while not overly patriotic, give the trombonist a sense of the Danish Nationalistic Romantic style of the late nineteenth and early twentieth century.

Jørgensen was one of the first composers to write for the emerging slide trombone idiom in Denmark at the beginning of the …

“Fusion” Musics And Tunisian Identity In The Age Of The Global Stereo, Rachel Colwell

Independent Study Project (ISP) Collection

Introduction (excerpt)

In this paper I will explore how contemporary Tunisian musicians have engaged with and adopted various “foreign” or “external” musics by melded them in myriad intricate and often controversial ways with the tunes, rhythms, and symbolic meanings of their own historically local musics. Equally, or perhaps more importantly, I will address how audiences throughout Tunisia have received these musical “fusion” projects and movements and will touch upon the responses of Tunisian diasporic communities and cosmopolitan cultural formations within and beyond the borders of the country.

I will present two case studies, the work of Anouar Brahem and the …

Rocking Out And Genre Bending: Asian American Musicians In Indie Rock, Wendy Hsu

Wendy Hsu

No abstract provided.

El Paso, Texas, Museum Of Art, Music Forum Concert Series, March 15, 2009, Oscar E. Macchioni

Oscar Macchioni

El Paso, University Of Texas. International Rodrigo Festival. February 23, 2009, Oscar E. Macchioni

Oscar Macchioni

Mesa St Trio And Valentine Ballet, Oscar E. Macchioni

Oscar Macchioni

"Macchioni is a sublime pianist with a deft touch... Any time the name of piano professor Oscar Macchioni shows up in one of the faculty recitals at the University of Texas at El Paso, I try to be in the audience."

El Paso, University Of Texas, Faculty Recital, February 7, 2009, Oscar E. Macchioni

Oscar Macchioni

Desde La Orilla: Fighting For A Queer Identity In The Dominican Republic, Angelina Tallaj

Publications and Research

No abstract provided.

Aziza

Sheet Music

No abstract provided.

Red Detachment Of Women And The Enterprise Of Making ‘Model’ Music During The Chinese Cultural Revolution, Clare Sher Ling Eng

Faculty Scholarship

Artworks produced with official sanction during periods marked by turmoil and human suffering are challenging subjects for scholars who would like to discuss them in a fair and responsible manner. If they aestheticize the works’ form and political affiliation, how would they be doing justice to these works whose creation and content are so meshed with the politics of their time? On the other hand, can an approach that takes ideology into account be developed that does not appear to ignore, condone or support the odious acts of violence associated with those periods? This article explores the latter question with …

Cuba: From Contradanza To Danzon, Peter L. Manuel

Publications and Research

If in the last century Cuban music has been known primarily for the mambo, the chachacha and the son that generated salsa, in the nineteenth century by far the most predominant and distinctively national music was the contradanza, in the diverse forms it took over the course of its extended heyday. The contradanza (or "danza," as it was later called) was also the era's most seminal genre, parenting the habanera that graced European opera and music theater, the elegant figures of the tumba francesa's mason dance, and, albeit ultimately, the mambo and the chachacha themselves, which evolved from the danza's …

Transnational Chowtal: Bhojpuri Folksong From North India To The Caribbean, Fiji, And Beyond, Peter L. Manuel

Publications and Research

In mid-February of 2007, I attended some lively sessions of chowtal (Hindi, cautāl), a boisterous Bhojpuri folk song genre, in a Hindu temple in a small town a few hours from Banaras (Varanasi), North India. The following weekend I was singing chowtal, in an identical style, with an Indo-Guyanese ensemble in Queens, New York City. In the subsequent season of the vernal Holi (Hindi, holī) festival, in March 2008, I found myself singing along with a group of Indo-Fijians in Sacramento, California, as they performed a similar version of one of the same chowtal songs. Despite the nearly identical styles …

From Contradanza To Son: New Perspectives On The Prehistory Of Cuban Popular Music, Peter L. Manuel

Publications and Research

While it is often claimed that the Cuban son emerged from rural Oriente and “invaded” Havana in the early 20th century, serious Cuban musicologists have clarifi ed that the true consolidation of the genre took place in Havana after around 1910–1920. Examination of 19th-century sources can help us trace with greater specifi city the origins of the particular musical features that distinguished the traditional son. Editions and descriptions of 1850s–1860s Havana contradanzas illuminate much about urban popular dance music of that milieu. In par-ticular, they reveal the presence of features typically associated with the son, such as melodies in duet …

Chowtal Rang Bahar: A Treasury Of Chowtal Songs From India And The Caribbean, Ramnarine Sasenarine, Peter L. Manuel

Publications and Research

No abstract provided.

Contradance And Quadrille Culture In The Caribbean, Peter L. Manuel

Publications and Research

No abstract provided.

The Baltic Psalteries: Bibliographical Problems And Desiderata Revisited, Carl Rahkonen

Carl Rahkonen

Statement Of Philosophy: Teaching, Creative Activities And Service, Oscar E. Macchioni

Oscar Macchioni