Arts and Humanities Commons^™

Albanian Traditional Music: A General Overview, Spiro J. Shetuni

Provost’s Spotlight on Scholarship Series

Shetuni, a native of Albania, says that the music, still an obscure subject, reflects a musical environment of both the Balkans and the Mediterranean world and is “not simply a heritage of the past, but above all, a vibrant contemporary art.” His presentation will examine the distinct musical culture of Albania, both monophonic and polyphonic, by delineating its four main musical dialects—Gheg, Tosk, Lab and Urban—along with its origins, styles and features.

Concerto Competition Final Round 2, Roberta Rust

Concerto Competition

Competition Coordinator

• Dr. Roberta Rust

Jury

• Sheila Browne, viola (University of North Carolina School of the Arts)
• Uriel Tsachor, piano (University of Iowa)
• Graham Ashton, trumpet (Conservatory of Music, Purchase College)

Piano Accompanists

• Carina Inoue (Collaborative Piano Student)
• Olga Kim (Collaborative Piano Student)
• Sheng-Yuan Kuan (Lynn University)
• Tatiana Lokhina (Collaborative Piano Student)
• Darren Matias (Collaborative Piano Student)
• Ricardo Pozenatto (Collaborative Piano Student)
• Dr. Marina Radiushina (Guest Accompanist)
• Anastasiya Timofeeva (Collaborative Piano Student)

Canvassers

• Roberta Burns
• Jack Kracke

Final Round

• Vijeta Sathyaraj, violin and Trace Johnson, cello - Johannes Brahms, Double Concerto for Violin and Cello in A minor, …

Concerto Competition Final Round 1, Roberta Rust

Concerto Competition

Competition Coordinator

• Dr. Roberta Rust

Jury

• Sheila Browne, viola (University of North Carolina School of the Arts)
• Uriel Tsachor, piano (University of Iowa)
• Graham Ashton, trumpet (Conservatory of Music, Purchase College)

Piano Accompanists

• Carina Inoue (Collaborative Piano Student)
• Olga Kim (Collaborative Piano Student)
• Sheng-Yuan Kuan (Lynn University)
• Tatiana Lokhina (Collaborative Piano Student)
• Darren Matias (Collaborative Piano Student)
• Ricardo Pozenatto (Collaborative Piano Student)
• Dr. Marina Radiushina (Guest Accompanist)
• Anastasiya Timofeeva (Collaborative Piano Student)

Canvassers

• Roberta Burns
• Jack Kracke

Final Round

• Alla Sorokoletova, flute and Anastasia Tonia, flute - Franz Doppler, Concerto for Two Flutes (Matias)
• Zongxi Li, trombone …

Instrumental Music And The Deaf, Marina Doss

Undergraduate Research Conference

No abstract provided.

A Comparison Of The Music Of The Lord Of The Rings And Richard Wagner's Ring Cycle, Joel Livsey

Undergraduate Research Conference

No abstract provided.

Triads And Text In Ariettes Oubliées, Nathan Fleshner

Undergraduate Research Conference

No abstract provided.

Contemplating E-Scores: Open Ruminations On The E-Score, The Patron, The Library, And The Publisher, Lisa Hooper

Charleston Library Conference

For several years now, libraries, publishers, and vendors have worked out a means of creating, licensing, and delivering e-books in academic settings. While the art of the academic e-book is perhaps not quite yet perfected, conservatively speaking, today’s students and faculty will find and use at least one e-book in the course of their academic career and be more or less satisfied with the experience. E-scores, however, are only now coming to occupy the attention of librarians and not a moment too soon as commercial e-score vendors with subpar quality content manage to meet the functionality needs of most users. …

Global Music Perspectives: Music Outside The Western Canon In Local Schools, Jane A. Best, John F. Grimsley, Alan C. Heise, Lauren M. Mascioli, Samantha F. Moroney, Lauren A. Satterfield, Emily I. Zeller

Celebration

As a class, we are designing a research project for investigating how music teachers from counties in South-Central Pennsylvania use music from outside the Western canon (i.e. "world music"). We are performing a qualitative study by interviewing k-12 music teachers from school districts in South-Central Pennsylvania. Teachers may choose to participate in a focus group interview with other teachers or in one-on-one interviews. The focus group interview will not exceed two hours and the one-on-one interviews will not exceed an hour. The interviews will be guided using a questionnaire (see attached), but the conversation may deviate from these questions at …

A New Approach: The Feminist Musicology Studies Of Susan Mcclary And Marcia J. Citron, Kimberly Reitsma

The Research and Scholarship Symposium (2013-2019)

One of the currently prevalent analytic approaches in academia is feminist theory and criticism. Its combination with musicology has influenced the field for the past four decades. The goal of the new approach, loosely termed “feminist musicology,” was to discover, analyze, discuss, and promote the representation of women and the “feminine” essence in various disciplines of music. Today, feminist musicology is highly researched, research is published in books and journals, and scholarly papers are presented at various musicological conferences around the world. This new approach introduces the ideologies of feminism to the study of music. Susan McClary and Marcia J. …

What Are The Hills Really Alive With?: Spectacle Versus Narrative Driven Musical Theatre, Kevin A. Hicks

The Research and Scholarship Symposium (2013-2019)

American Musical Theatre is known for its entertaining qualities, but what holds the audience’s attention to stick around for the second act? Is it the dance numbers, the fancy lighting, and the spectacular numbers or is it the story and the characters? Musical theatre always uses a combination of the two elements, but one of two tends to drive an individual musical forward and engage the audience's attention. The conflict of emphasizing spectacle or narrative can bee seen initially at Musical Theatre's conception all the way down to recent shows written by Webber and Sondheim. Spectacle can be understood as …

You Are What You Hear - The Formative Powers Of Music, Anna Raquet

The Research and Scholarship Symposium (2013-2019)

Our choice of music defines what we become. Adults often perceive the musical listening habits of the young as extreme, excusing them because they perceive their choice of music as simply another aspect of their rebellion against authority or society. However, this connection between character, interests, lifestyle, and the music of choice should be extended to include people of every age. Small children and adults are just as affected by the music to which they listen. My purpose in writing this paper was to find evidence for a connection between the music we hear and the people we become. I …

Sing To The Lord A New Song: John Calvin And The Spiritual Discipline Of Metrical Psalmody, Brandon J. Bellanti

The Research and Scholarship Symposium (2013-2019)

The purpose of this essay is to evaluate the way that psalmody - specifically metrical psalmody - serves as a sort of spiritual discipline. In other words, this essay seeks to demonstrate how the singing of psalms can be a tool to aid in spiritual growth. Much of the research for this essay focuses on the theological writings of the Protestant reformer John Calvin, as well as the way in which he incorporated metrical psalmody into his liturgical framework. The research also comprises primary writings from Aristotle, Plato, Saint John Chrysostom, Saint Basil, and Saint Augustine - all of whom …

“We Don’T Need No Instrumentation”: The Educational Benefits Of Pop A Cappella, Jeremy C. Witt

The Research and Scholarship Symposium (2013-2019)

A cappella singing has been a standard in American vocal music for many decades. The first a cappella choir in America is said to be the St. Olaf Choir founded by F. Melius Christiansen. As we progressed through the nineteenth century many other a cappella ensembles formed, such as the Glee club. The start of collegiate a cappella is most often credited to the Whiffenpoofs from Yale. They began in 1909 and are still running today. Also, at this time we began to see the barbershop quartet take form and gain popularity across the country. It was best known for …

Gorecki's Symphony No. 3, Op. 36, "Sorrowful Songs", Alyssa K. Griffith

The Research and Scholarship Symposium (2013-2019)

The experience of listening to Gorecki’s Symphony no. 3, op. 36 “Sorrowful Songs” is one that is not easily forgotten. It is not only musically captivating, but also historically fascinating. After its premiere in 1977, Gorecki’s piece captivated listeners across the globe as it became a cultural phenomenon in both Europe and America. The music was a stunning success in both the Classical and popular cultures. What is it about the music that is so captivating? How did the trending, popular thoughts compare to Gorecki’s original ideas and compositional motives? What actually inspired this piece? By looking at the composition …

A Somewhat Silent Protest: How Dmitri Shostakovich Used His Music, Not His Words, To Rebel Against The Soviet Government, Michael J. Wood

The Research and Scholarship Symposium (2013-2019)

Dmitri Shostakovich composed in an environment which was extremely hostile toward artists—especially those that were innovative. Shostakovich was denounced by the Soviet government and had to be cautious with his compositions. If the government disapproved of his work, they could have killed him, as they did other artists. Shostakovich obviously had to keep his opinions to himself for fear of being killed. Although he had to keep his unfavorable views of the Soviet government private, he found ways to make bold, rebellious statements through his music. This paper will seek to show several pieces in which Shostakovich demonstrated his disapproval …

The Effect Of Music Familiarity On Students’ Reading Comprehension Performance, Heidi J. Johnson, Ben B. Holdredge, William T. Mckinley

The Research and Scholarship Symposium (2013-2019)

The current study examined 85 university students’ performance in a reading comprehension task under three conditions: silence, familiar, or unfamiliar music. The results indicated that the students in the familiar music condition performed significantly worse than those in the silent conditions, as well as those in the unfamiliar music condition.

Working Memory In Musicians Versus Non-Musicians: A Differential Study Using The N-Back Task, Kara Nonnemacher

The Research and Scholarship Symposium (2013-2019)

The current study investigates whether long-term musical training and practice are associated with greater working memory abilities. Other studies have shown that musicians have cognitive advantages over non-musicians, including working memory. Forty-six college-aged participants were given an auditory-spatial n-back test. The n-back test requires participants to determine whether or not each auditory and spatial stimulus in a sequence matches the stimulus n stimuli ago. In this study, n=2. Participants were classified as either a musician or non-musician based on their years of musical training. Comparing n-back scores between musicians and non-musicians showed no significant findings. Since …

Can Musicians Tell Sharp From Flat?, Cathryn Volk, Joseph Plazak, Faculty Advisor

John Wesley Powell Student Research Conference

A musician’s awareness of intonation (i.e. “being in tune”) is an important skill. While musicians are highly sensitive to “out of tune” notes, research suggests that this sensitivity is categorical rather than absolute (Siegel & Siegel, 1977). If intonation is heard “categorically,” musicians’ classification of intonation errors (both magnitude and direction), would be expected to be poor. This experiment was designed to determine whether or not musicians could categorically perceive mistuned musical intervals, as well as to investigate the relative limits of absolute intonation perception. Ten undergraduate music students were tested on their ability to identify intonation errors within an …

A Look At The Musical And Poetical Language Of Secular Vocal Music Of The Seicento Through Selected Works By Barbara Strozzi, Kylee E. Slee

Seaver College Research And Scholarly Achievement Symposium

In this study, I seek to explore the poetical and musical language of the "cantata" genre of Baroque secular vocal music. The focus is on Italian poetry and music of the Seicento (1600s) with a particular focus on the works of Barbara Strozzi, who was a prominent female composer of the time. I will examine the poetry that Strozzi used in her compositions from a socio-historical standpoint, which will enable a better understanding of how the poetry was written and why the poetry was written in that manner. I will also examine Strozzi’s personal compositional style through the way she …

P-08 A Composition Project: An Original 12-Tone Fugue Modeled After J.S. Bach’S Bwv 847, Ilana Cady

Honors Scholars & Undergraduate Research Poster Symposium Programs

The specific goal of this project is to explore the compositional techniques of the 12-tone system developed by Arnold Schoenberg in 1921 and apply these techniques to fugal writing. In this process I am taking Bach’s fugue, BWV 847, and using it as the blueprint for my original 12-tone fugue. I will follow the same overarching structural pattern of BWV 847—retaining the number of voices, subject entries, and usage of the middle development section, while submitting them to the paradigms of 12-tone serialism. My composition will push the fugue form in an unexpected and more progressive direction. The 12-tone system …

A Survey Of Choral Ensemble Memorization Techniques, Margaret A. Alley

Phi Kappa Phi Research Symposium (2012-2016)

Choral ensembles memorize music for concerts and other performances. Previous research in memorizing musical material is mostly anecdotal and primarily applied to individual instrumentalists. Research in choral memorization is nonexistent. This study aimed to systematically find out what memorization techniques are used in choral ensemble settings and to examine them based on existing literature in music memorizing. A survey was sent to choral directors and teachers in Southeast Georgia, collecting data on whether or not choral ensembles memorize their music and why, specific memorization techniques, and the aspects of memorization that present challenges for ensemble members. Fourteen choral directors and …