Music Commons^™

Ensemble Concerts: Symphonic Band And Symphonic Winds, October 5, 2018, Doug Morin, Anthony C. Marinello, Zachary A. Taylor

School of Music Programs

Center for the Performing Arts
October 5, 2018
Friday
8:00 p.m.

Fostering Cultural Inclusivity In Our Church Music, John Macinnis

Faculty Work Comprehensive List

"Openness to hearing, engaging, and loving other cultures is not a musical issue; it is a heart issue."

Posting about ­­­­­­­­musical variety in corporate worship from In All Things - an online journal for critical reflection on faith, culture, art, and every ordinary-yet-graced square inch of God’s creation.

https://inallthings.org/fostering-cultural-inclusivity-in-our-church-music/

Redbird Road Concert, October 4, 2018, School Of Music

School of Music Programs

Westminster Village
October 4, 2018
Thursday Evening
7:00 p.m.

2018-2019 Performance Forum - October 4, 2018, David Brill, Lydia Roth, Daniel Graber, Meng Hsin Shih, Dunia Andreu, Mirna Monclova, Guzal Isametdinova, Yue Yang, Sheng Yuan Kuan, Kevin Karabell, Olga Konovalova, Nicole Marie P. Cortero, Ying Peng Wang

Performance Forum

No abstract provided.

Percussion Studio Fall Concert, October 4, 2018 [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.

New Music Series, The Atlantic Brass Quintet, October 3, 2018, Lawrence University

Conservatory of Music Concert Programs

Memorial Chapel

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Chamber Winds, October 3, 2018, School Of Music

School of Music Programs

Kemp Recital Hall
October 3, 2018
Wednesday Evening
8:00 p.m.

Syriac Chant And The Limits Of Modality, Sarah Bakker Kellogg

Yale Journal of Music & Religion

A book review is presented for Sense and Sadness: Syriac Chant in Aleppo, by Tala Jarjour. Oxford: Oxford University Press, 2018. 250 pp. ISBN: 978-0-190-63525-1.

Guest Recital, Ken Thomson Sextet, October 2, 2018, Lawrence University

Conservatory of Music Concert Programs

Harper Hall

Syracuse University Wind Ensemble; Dr. Bradley P. Ethington, Conductor; Dr. Timothy W. Diem, Conductor; Ms. Samantha Ryan, Graduate Conducting Associate, Syracuse University Wind Ensemble, Setnor School Of Music, Bradley P. Ethington, Timothy W. Diem, Samantha Ryan

Setnor School of Music - Performance Programs

No abstract provided.

Physicality And Devotion In Heinrich Ignaz Franz Biber’S Rosary Sonatas, Roseen Giles

Yale Journal of Music & Religion

The Rosary Sonatas of Heinrich Ignaz Franz Biber (1644–1704) for solo violin were likely composed in the late 1670s, and were dedicated to the composer’s patron, the Archbishop of Salzburg Maximilian Gandolph von Kuenburg. The sonatas in this remarkable set of fifteen are preceded by copperplate engravings, each depicting one of the mysteries of the rosary. The pieces display Biber’s extensive use of scordatura, an unusual “discordant” tuning, notated with a semi-tablature in which the visual contours of the notation on the page are at odds with the audible contours of the phrases. Biber’s sonatas are intentionally enigmatic, revealing …

James Macmillan's Mass Of Blessed John Henry Newman And The Culture Of Liturgical Music-Making In The Scottish Catholic Church, Michael Ferguson

Yale Journal of Music & Religion

James MacMillan composed his Mass of Blessed John Henry Newman as a congregational setting for the visit of Pope Benedict XVI to the United Kingdom in 2010. The work was heralded as the first setting of the new English Missal translation, and MacMillan expressed hope that it would make a longer-term contribution to music-making in the Roman Catholic Anglosphere. However, in Scotland at least, Mass of Blessed John Henry Newman has not made a widespread impact. The purpose of this article is to understand why MacMillan was unable to add his setting to the body of congregational music in Scotland. …

The Material Of The Servant: Theology And Hermeneutics In Handel’S Samson, Sara E. Eckerson

Yale Journal of Music & Religion

George Frideric Handel’s Samson oratorio (HWV 57, 1743) has posed critical difficulty for scholars because of its libretto. The librettist, Newburgh Hamilton, is often accused of making a poor adaption of John Milton’s Samson Agonistes (1671). One of the main points of criticism centers on how Hamilton removed much of Samson’s deliberation from the source text. In this article, however, it will be argued that the way ideas and commentary pass through different voices (namely, from Samson and Micah to the Chorus of Israelites) contributes to the unique interpretation the oratorio puts forward of the Samson narrative. The method to …

Musical “Covers” And The Culture Industry: From Antiquity To The Age Of Digital Reproducibility, Babette Babich

Articles and Chapters in Academic Book Collections

This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of the mass consumer but also a reflection on the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements a similarly brief reference to Jankelevitch’s “ineffable.”

From Organ To Gamelan: Javanese Catholic Musical Traditions In Yogyakarta, Central Java, Elizabeth Hamilton

Independent Study Project (ISP) Collection

No abstract provided.

Halfway Between Oratorio And Opera: Early Moravians Love Of Sacred Dramatic Music, Barbara J. Strauss

Michael Schwartz Library Publications

Imagine being in the Moravian settlement of Nazareth, Pennsylvania during January and February, 1797. The weekly concerts at the Nazareth Paedagogium included selections from Handel's Messiah, symphonies by Haydn, Eichner, Pleyel and Stamitz, Rolle's Thirza und ihre Sohne (divided over three weeks), Haydn's Stabat Mater (divided over two weeks) and the first section of Graun's Der Tod Jesu. This schedule of performances were recorded in the Verzeichniss derer Musicalien welche im Concert sind gemacht worden, Nazareth, Pennsylvania, 1796 zum 1845.

The early Moravians loved sacred dramatic music (musikalishes Drama). How do we know? Through the evidence in the Register of …

Destruction Du Monde, Alex Shawver

Music Theses and Dissertations

Destruction du monde is composed for a small orchestra comprised of piccolo doubling flute, flute doubling alto flute, oboe, clarinet, bass clarinet, bassoon doubling contrabassoon, two horns, two trumpets, trombone, bass trombone, tuba, piano, timpani, three percussionists, and chamber strings. The piece duration is 26 minutes. The title of the work is a play on Darius Milhaud’s ballet La Creation du monde. The instrumentation is similar to the Milhaud, the only additions being one horn, one trombone, tuba, viola in place of alto saxophone, and strings in threes rather than one per part. The form is similar only in that …

Ua12/2/2 Talisman: Movement, Wku Student Affairs

WKU Administration Documents

2018 Talisman yearbook.

• Good, Hannah. Movement
• Kinser, Nicholas. Tunnel Trap
• Cozer, Claire. A Day in the Life of a Food Truck – Mike Wilson, Pop’s Street Eats
• Fletcher, Griffin. Beauty in Power – WKU Women’s Rugby Club
• Gordon, Zora. The Mixed Experience
• Hornsby, Morgan. Bonfire
• Waters, Adrianna. Mispoken – Communication Disorders
• Chu, Phi. Home Base – Jessica Barks
• Cooksey, Catrina. Rerouted – Sydney Clark, Austin Clark, Blake Perkins, Sheila Flener, Handicapped Persons
• Good, Hannah. Not Safe for Work – Prostitution
• Chu, Phi. Transfigured Night
• Carter, De’inara. Passing the Plate – International Students, Recipes
• Robb, Hayley. From Sole to Soul – …

Holy Cross Choirs Newsletter (Fall 2018), Choir, College Of The Holy Cross

Holy Cross Choirs Newsletter

No abstract provided.