Musicology Commons^™

About This Issue, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

Towards The Recovery Of Authentic Organ Continuo Practice In Haydn's Concerted Sacred Music, Tom Mueller

HAYDN: Online Journal of the Haydn Society of North America

During the classical era, full-size church organs were used in the performance of concerted sacred music. Historical evidence such as treatises and surviving organs offer useful information that can be used to reconstruct organ continuo performance practices. In spite of this evidence, modern performances and recordings of this repertoire often make use of small positive organs that cannot match the capabilities, timbre, and dynamics of larger instrument. Furthermore, the continuo realizations published in modern performance editions rarely reflect the style and techniques of historic practice.

This article explores issues in the performance practice of continuo playing on large church organs …

A Model For Patron-Driven Acquisition Of Print Music Scores: From Conception To Reality, Alan Asher, Trey Shelton, Jason Heckathorn, Aimee Barrett

Charleston Library Conference

This paper and presentation will explore the process of developing a unique patron-driven acquisition program for print music scores and monographs from concept to reality at an American Association of Research Libraries institution. Areas to be discussed include collection development considerations, information technology infrastructure needs, acquisitions workflows, and plan evaluation. The paper and the presentation will examine how partnering with a vendor to implement an innovative collection development plan can support the needs of the library users and the goals of library collection development officers and increase access to music scores and monographs in a fiscally responsible way. Readers can …

From The Concert Hall To The Cinema: The Journey Of The Classical American Sound, Rebecca Stegall

Masters Theses

American classical music has enjoyed a long-standing presence around the world as its own entity within the classical music genre. As early as the 1920s, American classical music has had its own unique sound. The early 20th Century was a time of musical experimentation and social unrest in America. Due to its relative newness and experimentation by numerous composers, identifying the defining characteristics of American music, an experimental music itself, became difficult and ambiguous. Also, the continuation of American classical music became increasingly problematic as classical music was replaced in popular culture by other genres of music. The research for …

Entrepreneurship And Pr Skills For Music Students, Tomás Cotik

School of Music + Theater Faculty Publications and Presentations

In a successful ensemble, not only do musicians need to spendcountless hours mastering their instruments and improving their ensemble playing, they also need to be entrepreneurial, media savvy, and their own managers and promoters—in otherwords, able to deal with a variety of non-musical endeavors.

No Stone Unturned: Defining The Role Of A Worship Assistant, Brittany Mcgilberry

Masters Theses

This paper will encompass information and the philosophy of the role of a worship assistant in ministry regarding the vision of the church, the use of appropriate equipment, and effective rehearsal strategies.

The Romanian Church Musician: Biblical Foundations For Training Musicians To Serve The Romanian Evangelical Church, Gary Mathena

Doctoral Dissertations and Projects

Emanuel University of Oradea, Romania, was founded in 1986 as an underground training school for pastors and missionaries during the brutal regime of communist dictator Nicolae Ceaușescu. In December of 1989, Ceaușescu’s government was overthrown. The new democratic government not only officially recognized the school (then the Baptist Biblical Institute) as a theological seminary, but also commissioned the institution to train teachers for the newly emerging, publicly funded religious schools being established across the country. The school accepted that mandate and in 1998 changed its name to Emanuel University of Oradea. The music program began in those early days for …

Engaging The Public With New Music: The Roles Of The Public, The Composer, And The Educator, Maria Confer

The Research and Scholarship Symposium (2013-2019)

Concerning new music, when the public knows what to listen for, composers who wish to more directly involve the public with new music remain open to dialogue regarding it, and educators inform and engage the public about it, there is a higher chance of active public acceptance of new music. The tripartite relationship between the public, composers, and educators benefits from open communication and community education, in addition to each participant knowing their responsibility and contribution in the relationship. A history of this relationship since 1900, including a delineation of who and what qualifies as an “educator,” leads into a …

Next Time Won’T You Sing With Me? The Role Of Music Rooted In Oral Tradition As A Resource For Literacy Learning In The Twenty-First Century Classroom, Catherine Milliron

The Research and Scholarship Symposium (2013-2019)

Most children learn music by rote long before they begin to learn by note. Early music learning is often facilitated through the oral transmission of music – a practice that has existed since long before the emergence of standardized music notation. Orality has long been linked to literacy and the relationship between the two – both in the past and in the present – has been studied in depth by modern scholars. Although it could be supposed that the innovation of music notation has negated the necessity for oral music transmission, in reality the two music transmission methods work in …

Music Theory For Student Composers: A Course Designed For Engagement By Using Both A Flipped Classroom And Praxial Philosophy, Michelle Nagy

Masters Theses

In a world filled with innovation, technology and hands-on learning, the subject of music theory in the high school classroom has stayed relatively the same for the past fifty years for the student composer. By using the same tried-and-true methods, teachers are introducing concepts through lectures, while students reinforce concepts on their own during their homework assignments. Music examples are given on a regular basis and they are usually played on the piano by the professor or through recording. These methods, while effective, are not meeting the needs of today’s tech savvy and hands-on generation. While students are engaging with …

About This Issue, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

Developing A Natural And Relaxed Approach To String Playing - Part 2, Tomás Cotik

School of Music + Theater Faculty Publications and Presentations

Portland State University professor Dr Tomas Cotik gives an introduction to kinesthetic feelings and demonstrates techniques and exercises