Music Performance Commons^™

Northern Iowa Symphony Orchestra, February 26, 2021 [Program], University Of Northern Iowa. School Of Music.

Music Recital Programs

Program of a music recitals given by faculty, students, or guest artists from the School of Music at the University of Northern Iowa.

2020-2021 Junior Recital - Shuyi Wang (Violin), Shuyi Wang, Sheng Yuan Kuan

Junior and Senior Recitals

No abstract provided.

Symphonic Winds, February 26, 2021, F. Mack Wood, Lauren Bobarsky

School of Music Programs

Center for the Performing Arts
February 26, 2021
Friday Evening
8:00 p.m.

Marshall University School Of Music Presents The Twelfth Annual Festival Of New Music, Mark Zanter

All Performances

No abstract provided.

Marshall University School Of Music Presents The Twelfth Annual Festival Of New Music, Mark Zanter

Festival/Concert Programs

Anthony Almendaréz, Alumni composer

Shelby Ard, Alumni composer

Dalton Carney, MU student composer

Alli Feamster, MU student composer

Jarohn Grandstaff, Alumni composer

Esin Gündüz, Alumni composer

Mark Haas, Alumi composer

Lily Lauffer, MU student composer

Zack Merritt, Alumni composer

Sean Price, Alumni composer

Rodrigo Teodoro, MU student composer

John Shuff, MU student composer

James Stamm, Alumni composer

Eli Wisen, MU student composer

Mark Zanter, Festival Host, Marshall University

Symphonic Band, February 24, 2021, Anthony C. Marinello Iii

School of Music Programs

Center for the Performing Arts
February 24, 2021
Wednesday Evening
8:00 p.m.

Uni Jazz Combos February 23, 2021 [Program], University Of Northern Iowa. School Of Music.

Music Recital Programs

Program of a music recital given by faculty, students, or guest artists from the School of Music at the University of Northern Iowa.

Convocation Recital: Jenn Carver, Timpani And Electronics; Erica Gallermo, Piano; Ya Chun Lee, Piano; Xingchen Liu, Piano; February 23, 2021, Jenn Carver, Erica Gallermo, Ya Chun Lee, Xingchen Liu

School of Music Programs

Center for the Performing Arts
February 23, 2021
Tuesday Morning
11:00 a.m.

Illinois State University String Orchestra, February 21, 2021, Glenn Block

School of Music Programs

Center for the Performing Arts
February 21, 2021
Sunday Afternoon
3:00 p.m.

Stage & Screen: Wind Symphony Winter Concert, Department Of Music

Concerts and Event Programs 2020-2021

The Andrews University Wind Symphony presents their winter concert entitled "Stage & Screen". Featuring works by Gershwin, Webber, Williams, and others, from Oh, Kay!, The Phantom of the Opera, Star Wars: The Force Awakens, and more.

Young Artist Celebration: Part 1, Department Of Music

Concerts and Event Programs 2020-2021

The Department of Music presents the 2021 Young Artist Concert, this year in a two-part concert series. This first concert features student soloists Emily Jurek, piano, Jeremy Myung, violin, and Simon Luke Brown, violin. Featuring works by Chopin, Tchaikovsky, and Brown. In addition, the world premiere of DOM faculty member Dr. Max Keller's orchestral work The Genesis.

2020-2021 Junior Recital - Devin Lamarr (Cello), Devin Lamarr, Sheng Yuan Kuan

Junior and Senior Recitals

No abstract provided.

2020-2021 Performance Forum - February 9, 2021, Davron Ziyadjanov, Sheng Yuan Kuan

Performance Forum

No abstract provided.

2020-2021 Junior Recital - Robiyakhon Akromova (Piano), Robiyakhon Akromova

Junior and Senior Recitals

No abstract provided.

2020-2021 Performance Forum - February 2, 2021, Devin Lamarr, Sheng Yuan Kuan, Robiyakhon Akromova, Jasmin Abdunazarova

Performance Forum

No abstract provided.

Charles W. Bolen Faculty Recital Series: Cora Swenson Lee, Cello; February 2, 2021, Cora Swenson Lee

School of Music Programs

Kemp Recital Hall
February 2, 2021
Monday Evening
8:00 p.m.

“A Space Where You Can Imagine In”: Queer World Building With Wynne Greenwood’S Tracy + The Plastics, Colleen M. O'Shea

Dissertations, Theses, and Capstone Projects

Tracy and the Plastics was a video and music project conceived and performed by artist Wynne Greenwood from 1999 - 2006. In it, Greenwood played lead singer Tracy alongside keyboard player, Nikki and drummer, Cola (both also played by Greenwood) where Tracy performed live alongside prerecorded images of Nikki and Cola. For Greenwood, the interaction between Tracy, the Plastics, and the audience provided an opportunity to create new, intentional worlds together. In this paper, I will demonstrate that Greenwood relies on collisions and alternative temporalities to instigate the creation of these worlds with her audience. I will incorporate the principles …

Empty Chairs At Empty Tables: Opera In The Time Of Covid-19, Opera Chapman

Printed Performance Programs (PDF Format)

No abstract provided.

Emulating The "Country Fiddler": A Performance Analysis Of Fiddle Parodies And Impressions In Charles Ives's Second Violin Sonata, Emily Vold Weiss

Dissertations, Theses, and Capstone Projects

In his violin sonatas, Charles Ives frequently parodies fiddling style, both through overt quotes of fiddle tunes, as well as inventive compositional devices that mimic the fiddler’s style of bowing, ornamenting a melody, or generally rustic performance. Given the breadth of these fiddling allusions, it is important that violinists who perform Ives’s sonatas understand the distinctive aesthetics of fiddle performance, including the numerous ways in which it diverges from classical performance. In this dissertation, I survey pedagogical writings on fiddling, notated tunes, and recorded fiddling performances in an effort to characterize the performance practices of fiddlers from Ives’s native New …

The Singing Self: An Exploration Of Vocality And Selfhood In Contemporary Vocal Practice, Emily C. Eagen

Dissertations, Theses, and Capstone Projects

Every vocal training technique relies on understandings of how a singer’s “voice,” both literal and metaphorical, participates in the act of interpreting the works of composers. Western classical singing, as codified by the early twentieth century, typically puts the singer in the role of the “medium” or “channel” for the composer. Later twentieth-century reactions promised liberation from the composer’s “voice” with a validation of the singer’s “authentic” or “natural” voice. This dissertation questions both sides of this binary and asks: what alternative models are possible? This work is in three parts. The first section provides an overview of pedagogical constructions …