Music Commons^™

A Graduate Recital In Voice, Morgan Horning-Griffin

Dissertations and Theses @ UNI

Artists have long been captivated by the myth of Ariadne. Her story is depicted in a multitude of musical settings, and in a range of genres dating back to the early seventeenth century. In addition, there are many dramatic works and visual art this legendary female has inspired. This leads one to question: what is it that creators and audiences alike continue to find so compelling about Ariadne? To understand this question, it is necessary to revisit the Ariadne myth. The story begins with the grotesque Minotaur, a monster trapped within a labyrinthine prison and appeased by offerings of Athenian …

Performance Review Of Rhapsody In Blue By The Royal Scottish National Orchestra, Abigail Telander

Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal

This review explores the exceptional performance of the piece Rhapsody in Blue by George Gershwin. Although this piece wasn’t viewed in person, the live video captured all of the excitement and passion from this performance. This performance took place in April of 2024 at the Royal Albert Hall in London. Throughout the review paper, there are details regarding the historical significance of this piece, the spread of jazz music during this time period, the talented Royal Scottish National Orchestra featuring impressive pianist, Hayato Sumino, and descriptions of the venue and sensational musicality.

Using Handwriting Text Recognition (Htr) Technology To Create A Language Learning Model (Llm) For Blythe Owen’S Handwriting, Aiko J. Ayala Rios, Marianne Y. Kordas

Journal of Adventist Libraries and Archives

Handwriting Recognition Technology (HTR) has proven to be a valuable support for the fields of digital humanities and archival resources, as more scholars strive to make documents machine-readable and accessible. With this in mind, the newest phase of the Blythe Owen letter transcription project commenced in the summer of 2025, utilizing Transkribus, a software that aids in transcription and the creation of Language Learning Models (LLMs) tailored to specific writing styles. This report outlines the progress made in learning to use the program, the various issues that arose, and provides suggestions for the project's future as well as for similar …

Proceedings: Nownet Arts Conference 2019, Sarah Rose Weaver, Chris Chafe, Scott Oshiro, Margaret Schedel

Journal of Network Music and Arts

Proceedings of the 2nd Annual NowNet Arts Conference 2019 “Social Purpose in Contemporary Network Arts.” The conference was held November 7–10, 2019. The primary in-person site was the Institute for Advanced Computational Science (IACS), Stony Brook University. Satellite in-person sites included Center for Computer Research in Music and Acoustics at Stanford University, Edinburgh Napier University, Orpheus Institute in Belgium, and Electronic Studios at the Technical University, Berlin. More locations participated remotely via the internet.

Proceedings: Nownet Arts Conference 2018, Sarah Rose Weaver, Chris Chafe, Margaret Schedel, Min Xiao-Fen

Journal of Network Music and Arts

Proceedings of the NowNet Arts Conference 2018, “Network Music: Artistic and Technological Strategies for Public and Private Networks.” This was the first of the NowNet Arts Conferences, which have been held annually from 2018 to the present. The conference took place from April 19–22, 2018, at the Institute for Advanced Computational Science (IACS), Stony Brook University, and at multiple remote locations connected via the internet.

Comparing Text Score Strategies For Online Music Making, Craig Pedersen, Lindsay R. Vickery, Stuart James

Journal of Network Music and Arts

This paper investigates a range of approaches to using text scores in online and networked music performance, focusing on their alignment with strategies proposed by Wilson (2020) for aesthetic and technical approaches to networked music performance. Text scores, emerging from the experimental music movement of the 1960s, communicate musical ideas through words rather than traditional notation, taking instructional, allusive, and hybrid forms. Although there are many aesthetic and pragmatic approaches to text score composition, the temporal openness of many such works makes the medium well-suited to the latency-challenged practice of telematic performance. The study evaluates four text scores—Craig Pedersen’s July …

Listening Ahead Ever So Slightly, Chris Chafe, Mike Dickey

Journal of Network Music and Arts

This paper presents a novel packet loss concealment system called “Regulator,” designed for interactive network audio applications, particularly server-mediated “jam rooms” in the cloud, where large ensembles of musicians perform together synchronously. The system addresses the critical challenge of maintaining continuous high-quality audio output while minimizing latency penalties in unreliable network environments including Wi-Fi. The Regulator architecture combines four core components: a central Regulator class orchestrating packet loss concealment operations; a BurgAlgorithm class implementing maximum entropy autoregressive prediction to reconstruct missing audio samples; a Channel class providing per-channel independent modeling for multi-channel streams; and a RegulatorWorker class offering asynchronous processing …

Pulse Before Sound: Reimagining Presence And Liveness In Telematic Music Performance Through Midi-Native Collaboration, Matt C. Bray

Journal of Network Music and Arts

Telematic Music Performance heralds a new paradigm for human creativity, seeking to extend the practical limits imposed by physical co-presence and to permit the cooperative, simultaneous creation of music among geographically remote collaborators. This paper examines how MIDI-native interaction provides a structurally robust alternative to audio-centric telematic systems constrained by latency, bandwidth, and waveform fidelity. Drawing on practice-led research, including over 34 hours of documented improvisation across 91 networked sessions in the SHOALZ series—a longitudinal Telemidi performance research initiative (2022–2024)—the study examines how the Telemidi system employs MIDI as a primary substrate for remote musical collaboration by establishing a synchronized …

Editorial, Sarah Rose Weaver

Journal of Network Music and Arts

No abstract provided.

Evaluation Of Music Education Implementation Under The Merdeka Curriculum At The Junior Secondary School Level In Tanggamus Regency, Andrean Pramudyo, Kun Setyaning Astuti

Jurnal Pendidikan: Teori, Penelitian, dan Pengembangan

Music education in Indonesian junior high schools often faces persistent structural challenges, particularly in regions where the implementation of Kurikulum Merdeka remains uneven and under-evaluated. This study evaluates the implementation of Music Education under Kurikulum Merdeka at state junior high schools in Tanggamus Regency, Lampung Province. Stufflebeam's (1966) CIPP evaluation model, encompassing Context, Input, Process, and Product components, was employed within a quantitative descriptive-evaluative design. Data were collected simultaneously using three instruments: a primary questionnaire and two supplementary instruments comprising structured observation sheets and documentation analysis sheets. Respondents included 6 school principals and curriculum vice-principals, 10 Music Education teachers, and …

Teaching Through Sound: Approaches To The Use Of Fixed Media In Pedagogical Viola Etudes, Roberto C. Mochetti Jr.

LSU Doctoral Dissertations

This dissertation examines the pedagogical possibilities of fixed media in newly composed viola etudes. While fixed media is commonly treated as accompaniment or as a performance medium, this project argues that it can also serve as an active component of technical and musical training. By providing stable and repeatable sonic environments, fixed media can support forms of listening, intonation, sound production, and performer awareness that are difficult to cultivate through traditional etudes alone. This argument responds to a broader pedagogical gap in string training, where long-established etudes and models of technical development remain central even as contemporary viola performance increasingly …

Perpetual Purgatory: Lamennais's Religious Influence On The Persona And Music Of Franz Liszt, Matthew Peter Wood

LSU Doctoral Dissertations

For generations, musicological consensus has treated Liszt’s signature technique of “thematic transformation” as musical form born out of structural and sonic experimentation. This study argues that the impetus for Liszt to create his signature compositional device of thematic transformation proceeds from the influence of the post-Revolutionary liberal Catholicism of the French Abbé Félicité de Lamennais. By exploring the historical, cultural, and artistic intersections between Lamennais’s texts and Liszt’s manuscripts, this dissertation builds on existing scholarship to replace a conventional analysis of thematic transformation with new religio-philosophical analytical lens through which to view Liszt’s most significant contribution to the historical trajectory …

Counted In: Including Female Composers In Orchestral Horn Audition Repertoire, Hope K. Ayers

LSU Doctoral Dissertations

The Institute of Composer Diversity and the Boulanger Initiative focus on music written by composers who have been historically excluded from the profession. The focal point of the Institute of Composer Diversity is discovery, study, and programming of such composers through its database and reports, while The Boulanger Initiative advocates for women and all gender-marginalized composers. Because of limited exposure, incomplete records, difficulty of procuring music, and identified bias, female composers’ orchestral works are underrepresented in orchestral programming. Professional orchestral horn audition repertoire is no different, with professional orchestras, such as the New York Philharmonic, only very recently including a …

Pedro Ximénez Abrill Y Tirado: Another And Deeper Look, Richard Savino

Soundboard Scholar

Born in Arequipa, Peru, Pedro Ximénez Abrill y Tirado was a virtuoso cellist and guitarist who composed over forty symphonies, forty masses, dozens of chamber pieces with interesting instrumentations, and over three hundred solo pieces for the guitar. He moved to Lima for a period and later became Maestro di Capilla at the Sucre Cathedral in Bolivia. At the time Sucre was one of the wealthiest cities in South America, if not the wealthiest.

Abrill's renown was such that he was published in Paris by Richault and was written about in Hugh Bonelli's published travel diary (London, 1854). His music …

An Analytical And Performance Guide To Jake Heggie's Of Gods And Cats And Thought Unspoken For Baritone And Piano, Wenxin Sha

LSU Doctoral Dissertations

This dissertation provides a comprehensive performance guide to two song cycles by Jake Heggie: Of Gods and Cats and Thoughts Unspoken for baritone and piano. This study aims to assist singers in preparing these cycles to achieve an expressive performance that is word driven and, just as Mr. Heggie says “Words first, then music.”

Chapter 1 introduces Heggie’s biography and compositional style, emphasizing his text-driven approach, lyrical melodic writing, and close collaboration with poets and performers. Chapter 2 introduces the poets John Hall and Gavin Geoffrey Dillard, and highlights how their texts shape the dramatic and emotional content of the …

Musical Objects, Territories, And Otherness, Andrew Farrar

LSU Doctoral Dissertations

As the materials that composers work with have become increasingly focused on elements outside traditional pitch relations such as timbre or register, so have their approaches to form. One such stream in modern composition, starting from electronic composers such as Pierre Schaeffer, is the use of ”sound” or ”musical” objects. These materials are marked by their wholistic nature, where qualities such as timbre, density, and con- tour are as important to their identity as pitch relationships. Composers such as Schaeffer, James Tenney, and Denis Smalley have all discussed these sound objects in their writings, though they refer to them under …

A Survey Of Open Educational Resources Appropriate For Constructing And Teaching An Upper-Level, Undergraduate Course In The History Of Music Prior To 1800 For Music Majors, Jamie Weaver

Faculty Publications

Many open education resources are available for the study of music history. Yet, the majority ofsources I discovered are intended for students who are not music majors or who are at thebeginning of their historical study. The purpose of my study of open educational resources is tolocate and evaluate resources that would facilitate the creation and instruction of the first-semester survey course of an undergraduate survey in music history for music majors, the focusof which is the study of music before 1800. What follows is a broad, preliminary survey ofsources that could be used, mixed, reworked, or adapted to fulfill …

Moments

DePaul Magazine

Photo spread of the DePaul Symphony Orchestra performing during the School of Music's annual Spring Gala

Foundational Ear Training: Solfège Student Edition, Max Keller

Open Educational Resources

Overview:

This book is intended to facilitate the development of aural skills in a variety of ways over the course of a two-year ear training course. Included are sixteen chapters of exercises that progressively develop the reader's abilities in the areas of: interval recognition, rhythmic pattern detection and performance, rhythmic sight-reading and dictation, scale degree recognition, melodic sight-singing and dictation, chord recognition, and harmonic dictation. Hymn tunes with choral settings and lyrics are also included to further develop the sight-reading ability and musicality.

Subject:

Performing Arts

Level:

Community College / Lower Division, College / Upper Division, Adult Education

Material Type: …

Review Of: “Singen Is A Part Vu Unsern Lebm”: Musik Bei Den Hutterern Von Fairholme/Manitoba—Judith Rubatscher, Vlatka Škender

Journal of Amish and Plain Anabaptist Studies

In winter 2012, I serendipitously stumbled upon a recording of the Hutterites singing which, to my bewilderment, mesmerized me with a swiftness and intensity thus unbeknown. It was a splendid exhibition of YouTube’s algorithmic erraticism: the aural acrobatics of Bach and the melancholy-inducing Händel’s Sarabande were succeeded by a chant that was—as per Henrik Ibsen’s (alleged) final words—“quite the contrary.” The choir sung of transcendence in a manner so basal and blissful, and so barefacedly human as only a folk song can be, that one was compelled to listen with downcast eyes. And thus began my journey to the Anabaptists: …