A Comparative Study Of Music Between Mongolia And The Mongolian Ethnic Minority In China: Cultural Backgrounds, Musical Styles, And Modern Developments, Yile Huang

UNLV Theses, Dissertations, Professional Papers, and Capstones

This thesis conducts a comparative study of Mongolian music traditions as they have developed both within Mongolia and among the Mongolian ethnic minority in China, exploring their cultural backgrounds, musical styles, and contemporary developments. By investigating the historical, geographical, and socio-cultural influences that shape the music in these regions, this study highlights the unique musical identities of each group while uncovering their commonalities and cultural exchanges. Drawing from a wide range of sources—including ethnographic studies and analysis of specific musical pieces—this research examines foundational elements such as the Mongolian long song, throat singing, and horsehead fiddle music. These traditional forms …

East Meets West In Chinese Orchestral Repertoire: The Fusion Of Chinese Nationalism And Western Musical Influence, Tianxi Wen

UNLV Theses, Dissertations, Professional Papers, and Capstones

This doctoral document explores the intersection of Chinese musical traditions and Western orchestral influences, focusing specifically on how Chinese composers have navigated this blend to create distinctive orchestral works. Grounded in my background as a doctoral student in orchestral conducting and enriched by my ethnomusicological expertise, this document examines how these composers have integrated both traditions into their music.CHAPTER 1, “Introduction”, introduces the document’s structure, central argument, and the selection of orchestral works for analysis. It also defines the document's purpose and scope. CHAPTER 2, “A Brief History of the Orchestra in China”, examines the origins, evolution, and development of …

Elements Of Greek Identity In The Eight Dances From The Greek Islands By Yiannis Constantinidis, Afroditi Mitsopoulou

Dissertations, 2020-current

The purpose of this research is to present elements of Greek style and identity in the composition for solo piano, Eight Dances from the Greek Islands (Οκτώ Νησιώτικοι Ελληνικοί Χοροί, για πιάνο) (1954) by Yiannis Constantinidis. What is regarded as Greek national identity? How was it formed and developed throughout the centuries, and what compositional techniques did Greek composers before Constantinidis use in their works to define Greek identity? A topic examined in this document was the construction and deconstruction of Greek identity, and the question addressed was whether Greek identity can ultimately be defined. Constantinidis (1903-1984) was …

Hearing Caste: Dalit Resistance Through Folk Music In West Bengal, India, Antara Bhattacharyay

Music Honors Projects

Caste—a graded structure of hierarchy—has historically shaped identities in South Asia and persists to this day. In opposition, Dalits (caste-marginalized communities) have utilized diverse mediums to communicate their resistance. In this thesis, I analyze the role of music in Bengali Dalit resistance through the work of Dalit singer-songwriter Smritikana Howlader (b. 1960). Based on ethnographic research, I investigate how folk music becomes a mode of Dalit historiography. In particular, I explore how Howlader aims to transcend caste boundaries through song, evoking shared humanity. I argue that Howlader’s performances combat dominant caste discourse and Dalit erasure, furthering Bengali Dalit resistance.

Charles W. Bolen Faculty Recital: May 4, 2025, Elizabeth Thompson, Tuyen Tonnu, Daniel Baer

School of Music Programs

University Galleries

May 4, 2025

Sunday Afternoon

2:00 p.m.

Voice As Dual Striving: Spiritual Resonance And Psychological Negotiation In South Indian Musical Practices, Ramya Thiyagarajan

Theses and Dissertations

This thesis explores the intricate dynamics of voice within South Indian musical traditions, examining it as both a spiritual medium resonating with the divine concept of Nāda-Brahman and a psychological instrument navigating modernity, identity, and cultural hybridity. Employing the Self-Rasa-Chakra framework, derived from Upanishadic and tantric philosophies, alongside autoethnographic narratives and case studies, it investigates how the voice serves as a site of striving. Through an interdisciplinary lens combining ethnomusicology, psychoanalysis, and sound studies, this research delves into the paradox of voice: its role in sacred surrender within Carnatic music, juxtaposed against its individualistic expression in contemporary independent music. Case …

White Supremacy In Music Theory Academia, Tristan Gianelli

Capstone Projects and Master's Theses

This paper explores the history of music theory academia in the West, and examines the hierarchical power structures from which music theory pedagogy was constructed.

Harmonic Innovators And Cultural Catalysts In American Jazz: The Social Impact And Musical Innovations Of Louis Armstrong In The Real Ambassadors, Duke Ellington's Sacred Concerts And John Coltrane's A Love Supreme, Marcia C. Vandervinne

Capstone Projects and Master's Theses

Abstract This capstone project explores how three landmark jazz works—Louis Armstrong’s The Real Ambassadors (1961), John Coltrane’s A Love Supreme (1965), and Duke Ellington’s Sacred Concerts (1965–1973)—responded to the social challenges of the Civil Rights era while advancing the artistic stature of jazz. Each composition challenged systemic racism through its unique blend of innovation and cultural expression: Armstrong’s performance in The Real Ambassadors used satire to critique American racial hypocrisy; Coltrane’s A Love Supreme presented a spiritual and musical journey grounded in modal development and personal transformation; and Ellington’s Sacred Concerts fused jazz with sacred and classical traditions to elevate …

Heartbeat Of The Heartland: Sonic Engagement With Hip-Hop In The American Midwest, Lauren R. Millhorn

Department of English: Dissertations, Theses, and Student Research

This project analyzes Hip-Hop artists from the American Midwest through the context of the Midwest’s construction as a nostalgic, peaceful area where conflict seems nonexistent. This study applies Adam Ochonicky’s concept of nostalgic spatiality, or “instances in which nostalgia is projected onto a physical environment, thereby altering the perception, understanding, and/or experience of that space and its accompanying cultural sphere” (Ochonicky 29) to close readings on Midwest Hip-Hop texts. In the case of the Midwest, projected nostalgia is rooted in whiteness and propels the narrative that the Midwest is predominantly occupied by white people who maintain its peace and serenity …

Tuning Out The Dark: Music As A Defense And Folk Solution, Melanie Kimball

All Graduate Reports and Creative Projects, Fall 2023 to Present

Music across cultures and throughout history is a tool for engaging with the supernatural. It shares similarities with apotropaic magic. Through research and ethnographic fieldwork, I argued that even in modern times, individuals use music as an apotropaic remedy for fear and negative emotions. These remedies reflect strategies identified by Jeannie Thomas, including companionship, magical substance, neutralization, and displacement. Modern apotropaic music regulates emotions, re-establishes personal relationships, creates safe environments, and provides a means of control.

Contributors used music to combat various negative feelings, selecting genres that matched their emotional needs. In the absence of family and friends, music reaffirmed …

Filipino Music In The Sphere Of Multicultural Music Education: A Survey Of Preservice Teachers, Lauren Johnson

Honors Theses

The purpose of this study was to explore how preservice music teachers (i.e., students who are preparing to become music teachers) viewed diversifying music curricula, specifically regarding music from the Philippines, an archipelagic nation in Southeast Asia. Additionally, this research explored preservice music teachers’ cultural identities and how those identities influenced their beliefs and opinions about teaching. “Culture” was defined by Merriam-Webster (n.d.) as “the customary beliefs, social forms, and material traits of a racial, religious, or social group.” Although there is a diverse population of students throughout schools in the United States, limited research has been conducted about incorporating …

Lauryn C. Salazar: A Life History Of Mariachi Leadership, Berta Alicia Guerra

Theses and Dissertations

The purpose of this qualitative study was to analyze Lauryn C. Salazar’s mariachi/educational leadership style by focusing on her contributions to the community of Texas Tech University and Tarleton State University. Leadership styles, as defined by Northouse, 2021, refer to the distinct approaches leaders use to guide, motivate, and influence their teams. After examining Salazar’s background to place her motivations and actions in the proper context, this study analyzed what Salazar did, how she perceived her actions, and how others perceived her actions. The life history written by the researcher was primarily based on data collected through eight interviews; however, …

Not Just A Good Ole Boys Club: Studying The Personal, Performance, And Professional Roles Of Women In Bluegrass, Lydia Hamby

Electronic Theses and Dissertations

This study investigates gender disparities in professional bluegrass music. Through a mixed methods approach, combining quantitative data from festival lineups and qualitative interviews with six professional female bluegrass musicians, this research provides a comprehensive view of gender dynamics in the industry. The quantitative analysis of eight major festivals in the Appalachian region reveals that women comprise on 8.87% of performers on average, indicating systemic exclusion. Qualitative data from interviews and participant observations at Blue Highway Fest explores the social and institutional practices that sustain these disparities, revealing roles such as the “singer girl” sex appeal, manager, and token female. This …

Beyond Just The Negros’ Art: Langston Hughes And The Poetic Renewal Of Black Musical Tradition, Samuel Adewumi

All Theses

Where do we begin the study of Black music in America? Is there even a beginning to it? As a poet, how does Langston Hughes contribute to its continuance during the Harlem Renaissance? These are some of the questions that shape the trajectory of this research. In it, I set a precedent for African orature in future studies of Black music in America. Essentially, I trace the survival of African orature and Langston Hughes’s role in the sustenance and utility of its style and themes in the early 20th century. Through it, I argue that Hughes’s poetry serves not as …

"All The Songs I Stole": Ballad Collection And The Conditions Of Collective-Making In Johnny Cash's Prison Concert-Albums, Camryn J. Bruce

All Theses

In the mid-to-late twentieth century, singer-songwriter Johnny Cash recorded and released three live prison concert-albums composed of many ballads and songs drawing upon a ballad tradition. I question the degree to which these albums, as performed and commercialized ballad collections, create realities of unity between Cash and his audiences. Reviewing three ballads for their aspects of balladry and performance, this thesis finds that Cash’s albums echo and make echoes of isolating conditions and possible collectivities, demonstrating a fragility of “folk” in the shifting scenes of music and prison.

“Death Leaves A Heartache No One Can Heal:” Musical Subversion In The Irish Caoineadh Tradition, Charissa Joy Garrigus

Graduate Thesis Collection

My thesis details the subversive, inherently feminine nature of Irish caoineadh (keening). This research focuses on how a practice with pagan, druidic roots survived in a culture that was experiencing intense religious and structural upheaval including the arrival of Protestant English settlers, tensions with the Catholic church, and longstanding pagan traditions. I contend that early modern Irish lament (caoineadh/keening) was inherently subversive due to its feminine liminality, its origins from druidic ritual, and its musical, poetic, and lyrical content that was often condemnatory of patriarchal Christian and English power structures. This thesis investigates three main topics occurring from ancient times …

"Sunda Modern"; Gendered Modernity In Sundanese Performing Arts, Andrew N. Weintraub

Wacana, Journal of the Humanities of Indonesia

In this article, I offer new ways of seeing and hearing Sundanese women singers in modern post-independence Indonesia. I propose a dynamic and historical approach to show how individual female singers shaped new material realities and symbolic meanings of modern Sundanese identity (Sunda modern) from the early 1950s through the mid-1970s. My approach emphasizes difference, uniqueness, and novelty in singers’ public image, on-stage presentation, vocal style, and musical repertoire. I contend that singers’ ability to branch out and cross over – by engaging the national (for example, singing in the national language) and the global (for example, Western-inflected …

Sundanese Performing Arts In The Us As Legacy Of The Center For World Music, Kathy Foley

Wacana, Journal of the Humanities of Indonesia

Presentation of Sundanese arts in the US by non-Sundanese grew from a program of the Center for World Music (CWM), an incubator for Sundanese performing arts practice in the San Francisco Bay area in the 1970s. Those (both Sundanese and American) coming out of that encounter engaged in intercultural teaching and performance of music, dance, and wayang (puppet/human dance theatre) in the US in the then developing programs leading to a BA or graduate degree in ethnomusicology, dance, or theatre arts. Performances by Sundanese gamelan groups with American artists in and beyond the university also developed. While such groups persist, …

Antimelody, Field Recording, Gerakan Musik Eksperimental, Dan Hantu Baru Yang Menolak Hantu Lama Hauntology, Aris Setyawan

Multikultura

This article challenges the traditional definition of music, limited to seven fixed elements: melody, harmony, rhythm, pitch, tempo, dynamics, and texture. The author suggests that all sound can be considered 'sound art,' blurring lines between music and other auditory experiences. In Mark Fisher’s hauntology, modern music is depicted as stagnant, trapped in a neoliberal pastiche that cancels the future by repeating past styles without innovation. However, this article highlights alternatives through experimental music, such as the album ANTIMELODY (2024), which uses field recording to present raw environmental sounds, challenging conventional musical structures. Movements like Jogja Noise Bombing and experimental music …

University Band: April 30, 2025, Mack Wood, Colby Powers, Jenny Gehrke, Charlie Miller, Christopher Bulding, Kendra Chaney, David Lukaszczyk

School of Music Programs

Center for the Performing Arts

April 30, 2025

Wednesday Evening

8:00 p.m.

Decolonizing Java: Rethinking Gamelan, Bodies, And Cultural Authenticity, Citra Aryandari

Paradigma: Jurnal Kajian Budaya

This article critically examines the complex interactions between Javanese identity, colonial influence, and karawitan (traditional Javanese music) through an autoethnographic methodology. By introducing the innovative concept of the ‘body as archive,’ the research explores how embodied experiences function as repositories of cultural memory and resistance. It deconstructs colonial interventions in karawitan, uncovering how documentation, standardization, and systematic recording processes altered the transmission and cultural significance of the art form. The research traces the transition from oral traditions to written documentation, highlighting the commodification of Javanese artistic expressions and the emergence of cultural stereotypes. A central focus of this study …

Spring Concert: April 27, 2025, Andrew Bruhn

School of Music Programs

Center for the Performing Arts

April 27, 2025

Sunday Afternoon

6:00 p.m.

Spring Concert: April 27, 2025, Mark Grizzard, Tim Fredstrom, Andrew Bruhn

School of Music Programs

Center for the Performing Arts

April 27, 2025

Sunday Afternoon

3:00 p.m.

Wind Symphony: April 25, 2025, Anthony C. Marinello, Colby Powers, Wes Smith, Jennifer Budlong-Brewers

School of Music Programs

Center for the Performing Arts

April 25, 2025

Friday Evening

8:00 p.m.

Notes From The Field - Conference Proceedings, Summer Fellows 2024, Center For Latin American, Caribbean, And Latino Studies (Clacls)

Center for Latin American, Caribbean, and Latino Studies

CLACLS presents proceedings papers from the second CLACLS Summer Fellows Showcase Conference, held on November 7, 2024. The day-long event showcased fieldwork results of CLACLS 2024 Summer Fellows, and was curated into five panels: “Feminist and Queer Critical Perspectives”, “Transnational Exchanges/Diasporic Experiences”, “Ecocritical Lenses”, “Social Movements, Cultural and Economic Practices and Political Imagination", and "Countering State/Official Narratives.”

Olympia Hs Concert Band And Isu Symphonic Band: April 22, 2025, James Spencer, T.J. Mack, Colby Powers, Alexis Piña

School of Music Programs

Center for the Preforming Arts

April 22, 2025

Tuesday Evening

7:00 p.m.

“En Clave” Tania León And Roberto Sierra: Autochthonous Music Of Cuba And Puerto Rico, Contemporary Music Composition And The ‘Puente’ In Between, Omar A. Ramirez

LSU Doctoral Dissertations

This document is in two parts. The first examines selected works of Latin-American composers Tania León and Roberto Sierra. Both composers cite their cultural background as a force that shapes their artistic expression. Many of their works are titled in Spanish, with compositions referencing their homelands in subject and narrative, and incorporate the autochthonous music(s) of Cuba and Puerto Rico. Elements of these afrodiasporic musical traditions can be found in their works: Alegre, Batá, Stride, (León), Loiza, and Concerto for Viola (Sierra), each examined here.

Autochthonous musical elements are highlighted in score excerpts and described using …

Horizonte Fronterizo: The Vitality Of Community And Contemporary San Diego-Tijuana Border Art, Ruben L. Loza

Chicana and Chicano Studies ETDs

This research dedicates attention to different examples of music and visual art that encompass contemporary San Diego-Tijuana border-integrated art. By employing a participant-observer approach with the music component and conducting plática-based interviews with all involved artists, this work underlines the vitality of the artworks’ manipulation of the U.S.-Mexico border wall and community as a driving force in the elaboration and growing influence of these projects and pieces. By analyzing how these works act as vehicles for response, light is also cast on greater matters that lie beyond the border zone: propagation of fear, anti-immigrant sentiment, and misinformed anxieties.

26th Annual Isu Jazz Festival: April 11, 2025, Andy Martin

School of Music Programs

Center for the Performing Arts

April 11 and 12, 2025

Sobre El Arcoíris: The Queering Of Mariachi, Tyician Charles Knight

Music ETDs

Mariachi is an internationally renowned artform and tradition whose history spans over decades and several continents. However, there are many aspects still embedded in mariachi culture that remain problematic; machismo (toxic masculinity), alcoholism, and homophobia to name a few. While there has been an increase of mariachi scholars who have critically examined these issues, mariachi culture itself has yet to address the challenges brought forth by its history of gender discrimination and homophobia and embrace practical changes that would enable the creation of a more equitable environment and further develop this living tradition. This thesis analyzes the trajectory of queering …