Digital Commons Network^™

Observed Internal Mechanisms Of Clarinet Performance: Annotated Bibliography, Michael Dirnberger

Musicology and Ethnomusicology: Student Scholarship

Woodwind instrumental pedagogy is a complex and broad field of study, and its traditions and misconceptions of teaching and playing are deeply ingrained in our modern methods of instrumental pedagogy. These lingering misunderstandings within our teaching traditions turn people away from the practice of instrumental music-making and hold others back from reaching their true potential. Comparing the observed physical realities of performing musicians with the physical effect produced by some of the most popular tools in clarinet pedagogy has revealed that the syllabic guide to pedagogy is not always using the most optimal syllables to guide students in the right …

The Evolution Of The Bel Canto Technique Through The 20th And 21st Century: Annotated Bibliography, Claudia Diaz

Musicology and Ethnomusicology: Student Scholarship

The Bel canto technique is the quintessential technique of opera performance. Throughout history, it has adapted itself and survived through pedagogies, composers, influential artists, and scientific specialists from the field. Although the bel canto technique has a wide range of sources and complete history, this will focus more on the evolution occurring through the 20^th and 21^st centuries. How the bel canto technique has managed to survive is key to understanding its future.

Assuming An Editorial Role To Establish Performance Interpretations: Annotated Bibliography, University Of Denver

Musicology and Ethnomusicology: Student Scholarship

As more and more sources in musical scores become available nowadays, made possible by the discovery and editing of composers’ manuscripts and the publication of and multiple critical editions, performers often find the need to consult multiple editions of the same piece and the original sources (if available) to come up with one’s own performance edition. This process has become essential in my own music making experience as a performer, because it lays down a foundation for making appropriate interpretive decisions and gaining a more thorough understanding of the music for analytical and performance purposes. I refer to the process …

Ensemble Concerts: Symphony Orchestra, Civic Chorale, And Concert Choir; October 30, 2022, Glenn Block, Cora Swenson Lee, Michelle Vought, Elizabeth Thompson, Justin Vickers

School of Music Programs

Center for the Performing Arts
October 30, 2022
Sunday Afternoon
3:00 p.m.

Recital: Celebrating Lgbtq+ History Month, October 13, 2022, Illinois State University School Of Music

School of Music Programs

Center for the Performing Arts
October 13, 2022
Thursday Evening
7:00 p.m.

Ensemble Concerts: Philharmonia, October 12, 2022, Glenn Block, Katherine Shindledecker

School of Music Programs

Kemp Recital Hall
October 12, 2022
Wednesday Afternoon
7:00 p.m.

Ensemble Concerts: Symphonic Band And Symphonic Winds, October 6, 2022, F. Mack Wood, T.J. Mack, John Gonzalez, Jeason Lopez, Andy Rummel

School of Music Programs

Center for the Performing Arts
October 6th, 2022
Thursday Evening
8:00 p.m.

Ensemble Concerts: Wind Symphony, October 2, 2022, Anthony C. Marinello Iii, Ben Stiers

School of Music Programs

Center for the Performing Arts
October 2, 2022
Sunday Afternoon
3:00 p.m.

Changes In Identity: How Mongolian Musicians And Performers Have Responded To Geopolitical Transition, Heather Cook

Independent Study Project (ISP) Collection

During Mongolia’s socialist period, traditional forms of Mongolian music were deliberately altered as the government, heavily influenced by the Soviet Union, attempted to modernize Mongolian culture. Throughout this period, traditional instruments were modified, the types of music that could be performed were strictly censored, and the structure of performances was set to strictly mimic those of Western orchestras. After Mongolia’s Democratic Revolution of 1990, the artistic freedom of Mongolian musicians has greatly increased, but even now, socialist cultural policies are deeply intertwined with Mongolian musical culture. Why is this the case? What is the common perception among performers about the …

Ensemble Concerts: Symphony Orchestra, September 25, 2022, Glenn Block

School of Music Programs

Center for the Performing Arts
September 25, 2022
Sunday Evening
7:00 p.m.

Choral Showcase, September 25, 2022, Illinois State University School Of Music

School of Music Programs

Center for the Performing Arts
September 25, 2022
Sunday Afternoon
3:00 p.m.

Ensemble Concerts: Fall Collage Concert, September 18, 2022, Illinois State University School Of Music

School of Music Programs

Center for the Performing Arts Concert Hall
Sunday Afternoon
September 18, 2022
3:00 p.m.

Toybox: A New Approach For Auxiliary Percussion Instruments At The Beginning Level, Spencer Craig Jones

LSU Doctoral Dissertations

Currently, there exist little materials to introduce elementary students to auxiliary percussion instruments. There is a need for the creation of more instructional material for this age group that provides pedagogy descriptions for the instruments as well as playing examples. The purpose of this project is to create a method book that provides pedagogy examples for auxiliary percussion instruments while also providing playing examples to use.

Adapting North American Fiddle Bow Technique To The Double Bass, Spencer Jensen

Theses and Dissertations

Because of the pioneering work of Edgar Meyer in expanding the role of the double bass in American folk music, many bassists are inspired to engage with fiddle music in the way fiddlers do. Thus, bassists who perform in fiddle and string band traditions may seek greater artistic freedom and expression by shifting between a variety of accompanying textures to playing melody and improvised bowed solos.

In seeking to discover how bassists successfully adapt fiddle bowing techniques to the double bass, I have interviewed two bassists who are deeply involved in Americana music traditions, Paul Kowert and Ethan Jodziewicz. From …

Homage To Eleanora: A Musical Journey Through The Billie Holiday Songbook, Keith A. Dames

Dissertations, Theses, and Capstone Projects

Billie Holiday was a singer, songwriter, vocalist, bandleader and composer in the fields of music, black culture and more specifically the genre of jazz. The primary focus of this study is Billie Holiday’s discography, music, and compositions as treated in relation to the black culture of production. This study will explore a secondary content analysis of Billie Holiday’s music, musicianship, musicality and compositional skills within the American jazz mainstream, broader jazz audience and world at large. This project will take an analytical look at the structure and form of the compositions of Billie Holiday. Billie Holiday is credited with composing …

Three Etudes For Marimba And Pandeiro: Contemporary Marimba Music As A New Setting For The Brazilian Pandeiro, Eduardo Marques Do Prado

Doctoral Projects

The history of frame drums and idiophones has thousands of years. The modern versions of the pandeiro and the marimba are relatively new to those families of instruments. While the marimba found its niche in contemporary music, the pandeiro has been mostly used in Brazilian traditional music. The current project brings those two instruments together, allowing the pandeiro to express its versatility. Executing the intricate rhythms, uneven patterns, and alternating time signatures from within the Three Etudes for Marimba and Pandeiro is an example of what can be done with this amazing frame drum. These three pieces provide the pandeiro …

Decolonizing And Enriching Opera: A Nigerian Folktale One Act Opera, Miracle O. Amah

Dissertations, 2020-current

Aligned with the decolonial aims of this project, this English and Yoruba language opera promotes an international understanding of African operatic styles which reflect literary, musical, instrumental and dance cultural traditions. This paper addresses some of the issues faced by people of color in the opera world, ways that people of color have been resilient in this genre and ways to enrich the opera world with the aim of decolonizing and deframing the white racial structure. This opera was first performed on March 29th, 2022 and was created as a workshop for performances in high schools, colleges, music institutions, and …

Choral Collage, April 24, 2022, Illinois State University School Of Music

School of Music Programs

Center for the Performing Arts

April 24, 2022

Sunday Afternoon

3:00 p.m.

Illinois State University Symphony Orchestra, April 24, 2022, Glenn Block, Matthew Clarke, Guilherme Rodrigues, Daniel King

School of Music Programs

Center for the Performing Arts

April 24, 2022

Sunday Afternoon

3:00 p.m.

Ensemble Concerts: Symphonic Winds And Wind Symphony, April 23, 2022, Anthony C. Marinello, F. Mack Wood, Lauren Bobarsky, John Gonzalez, Samantha Wyland

School of Music Programs

Center for the Performing Arts

April 23, 2022

Saturday Evening

7:00 p.m.

A Performance Practice Guide For :Only.Just.Almost.Never For Solo Vibraphone By Jay Alan Yim, Dustin Ray Haigler

LSU Doctoral Dissertations

Abstract

Currently, there exists little scholarship on Dr. Jay Alan Yim’s percussion music, and none exists for :only.just.almost.never for solo vibraphone. Establishing a performance practice guide will allow future percussionists a glimpse into the compositional process of Yim and allow them to expand their repertoire to include this challenging music. The purpose of this project is to create a comprehensive performance practice guide for :only.just.almost.never for solo vibraphone by Jay Alan Yim.

Resources Required

This project relies mainly on the score of :only.just.almost.never for solo vibraphone. I have also conducted multiple interviews with Yim regarding his compositional process, sketches, and …

Ensemble Concerts: University Band And Symphonic Band, April 20, 2022, F. Mack Wood, Tj Mack, Lauren Bobarsky, John Gonzalez, Seth Marshall

School of Music Programs

Center for the Performing Arts

April 20, 2022

Wednesday Evening

8:00 p.m.

Misticismo Y Arcadismo En El Villancico Novohispano. Manuel De Sumaya Y Sus Contemporáneos, Luciana Kube Tamayo

Vernacular: New Connections in Language, Literature, & Culture

El siglo XVIII trajo consigo una evolución estilística vertiginosa en todas las artes. La plástica, la literatura y la música confluyen y sirven de soporte a un arte nuevo, el Rococó. La floración churrigueresca está intensamente presente, además de en lienzos y biombos, en el vocabulario de la lírica de la Nueva España; a la vez que se afianzan los modelos religiosos, por un lado, se asientan los modelos pastoriles por otro. En cuanto a la espiritualidad, los modelos se encuentran encajados en la miniatura poética y el ingenio dieciochesco, desbordante de naturaleza y fantasía. En el presente trabajo me …

Walking With My Ancestors: Elmina Castle, April 8, 2022, Ama Oforiwaa Aduonum

School of Music Programs

Kemp Recital Hall

April 8, 2022

7:00 p.m.

Storyteller Of The Shadowland: Marginalized Identity At The Roots Of ‘Americana’, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Ensemble Concerts: Concert Choir And Madrigal Singers, April 3, 2022, Illinois State University School Of Music

School of Music Programs

Center for the Performing Arts

April 3, 2022

Sunday Afternoon

3:00 p.m.

Illinois State University Symphony Orchestra And String Project Sinfonia, March 27, 2022, Glenn Block, Guilherme Rodrigues, Katherine Lewis

School of Music Programs

Center for the Performing Arts Concert Hall

March 27, 2022

Sunday

7:00 p.m.

Ensemble Concerts: Men's Glee, Treble Choir, Belle Voix; March 20, 2022, Illinois State University School Of Music

School of Music Programs

Center for the Performing Arts

March 20, 2022

Sunday Afternoon

3:00 p.m.

La Ricarda, Mestres Quadreny I L'Experimentalisme Musical Català Dels Anys Seixanta: De Com L’Arquitectura Va Esdevenir Música I La Música, Arquitectura, Antoni Pizà

Publications and Research

Eren uns temps magnífics per a la creació: els concerts semblaven obres de teatre i les obres de teatre, concerts. Els músics feien d’actors i aquests havien de fer de músics. I la distinció entre el públic i els intèrprets també es diluïa, si és que no s’eliminava del tot. Els semiòlegs —o són semiòtics?— havien explicat que en tot acte comunicatiu hi havia un emissor, un missatge i un receptor; i precisament d’això es tractava, d’eliminar aquestes distincions. Ah, i en molts casos, tampoc no hi havia escenari, ni sala de concerts.

Illinois State University Symphony Orchestra, February 27, 2022, Glenn Block, Maurizio Colasanti

School of Music Programs

Center for the Performing Arts Concert Hall

February 27, 2022

Sunday

3:00 p.m.