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Full-Text Articles in Musicology
Gender, Self-Identity, And Vocal Music Education: Student Experiences At The University Of Puget Sound In The 1990s, Liana Greger
Gender, Self-Identity, And Vocal Music Education: Student Experiences At The University Of Puget Sound In The 1990s, Liana Greger
Summer Research
Vocalists are the only music students whose instruments are their bodies. As a result, “finding a voice” is an incredibly sensitive process shaped by systems of education. Based on twelve semi-structured interviews with University of Puget Sound choir and voice alumni from the 1990s, this research examines the effects of collegiate music education on the musical identity negotiation of undergraduate vocalists, specifically concerning the effects of gender conceptions embedded in classical music cultures. Interview analysis revealed the salience of gender in mediating choral belonging, the importance of body image in shaping singer identities, the impact of masculine music theory education …
Soundscape Composition As Environmental Activism And Awareness: An Ecomusicological Approach, Megan A. Reich
Soundscape Composition As Environmental Activism And Awareness: An Ecomusicological Approach, Megan A. Reich
Summer Research
Soundscape composition is a musical field that has converged from a diverse array of philosophies and methods of listening. Informed by the common mission of raising awareness towards the current environmental crisis, soundscape composers aim to re-connect audiences to the natural soundscapes of their everyday lives. To achieve this mission, soundscape composers interact with soundscape ecology, a scientific field that also addresses environmental issues like global warming and declining biodiversity through the study of sound. In so doing, soundscape composers repurpose scientific technology, transforming it into a tool that challenges the traditional nature/culture dichotomy and integrates listeners with their environments …
Joseph Haydn (?): Attribution And Reception, Robert B. Wrigley
Joseph Haydn (?): Attribution And Reception, Robert B. Wrigley
Summer Research
Due to multiple causes, the most dramatic of which is surely the widespread publishing fraud in the during the eighteenth century, but also including the more mundane cases of clerical errors, lapses of memory, and sheer laziness, a great many compositions were attributed to Joseph Haydn that were actually written by his contemporaries. Consequently, one of the major loci of Haydn research (especially in the decades following World War II) was authentication, the attempt to correctly attribute dubious compositions, whether to affirm Haydn’s authorship or to dismiss it and affirm the authorship of one of his contemporaries. This branch of …
The Crossroads At Midnight: Hegemony In The Music And Culture Of Delta Blues, Taylor Applegate
The Crossroads At Midnight: Hegemony In The Music And Culture Of Delta Blues, Taylor Applegate
Summer Research
The blues gave rise to the many forms of Afro-American popular music, among them bebop, ragtime, jazz, funk, soul and rap. The origins of the blues itself, however, is less clear; many origin stories cite a simple fusion of West African musical traditions with Western ones while others are founded in the mythos of the lone guitarist at the crossroads in league with the devil. In reality, the origin of blues music, like any other cultural production, probably arose from a series of interacting factors under unique social and economic circumstances. This project investigates the probable origins of the blues, …
Questions Of Authorship In Josquin, Monteverdi, And Mozart: Documentary Versus Stylistic Evidence, Jillian Andersen
Questions Of Authorship In Josquin, Monteverdi, And Mozart: Documentary Versus Stylistic Evidence, Jillian Andersen
Summer Research
No abstract provided.
From Modality To Tonality: The Reformulation Of Harmony And Structure In Seventeenth-Century Music, Lukas Perry
From Modality To Tonality: The Reformulation Of Harmony And Structure In Seventeenth-Century Music, Lukas Perry
Summer Research
The syntax of common practice tonality creates the potential for expansive musical works, with almost guaranteed gratification for the listener through a harmonic interplay between tension and resolution. The evolution of common practice tonality from the older system of modes spans the sixteenth and seventeenth centuries. With a focus on the seventeenth century, this study endeavors to clarify how, when, and, to some extent, why the monumental shift between modality and tonality occurred. A discussion of crucial differences between the two systems of musical organization—mainly the melodic basis of the modes versus the harmonic basis of the tonal major and …