Arts and Humanities Commons^™

Svatopluk Havelka: Symphony No. 1 [In B-Flat Minor]. Supraphon Sua 18138 (Lp, 196?)., Stephen Thomson Moore, Tom Moore

Music & Musical Performance: An International Journal

No abstract provided.

Thomas Schippers In Cincinnati: A Forgotten Episode In The Life Of A Conductor Renowned For Opera, Nancy Spada

Music & Musical Performance: An International Journal

Thomas Schippers’s experience as a conductor of symphonic literature, for which he seems to have been quite overlooked and nearly forgotten, is related in this article in some detail. There are interesting facts concerning his work as Music Director of the Cincinnati Symphony Orchestra where he expounds on some of his ideas about conducting such an orchestra and describes certain innovative programs he produced during his tenure there. Several well-known performers who worked with him give their opinion or recount their experiences under his baton. In addition, two of his former conducting students share some fascinating details of what it …

Two Essays On Contemporary Music, Bálint András Varga

Music & Musical Performance: An International Journal

Bálint András Varga (1941–2019) was an advocate for and a keen critic of contemporary music, first on radio, and later as an acquisitions editor for both Editio Hungarica and Universal-Edition. He interviewed many musical figures and planned to interview visual artists before he died. His interlocutors were impressed with Varga’s insightful questions and frequently answered them much more comprehensively than they would ones from standard journalists. These two essays were intended to be published in Varga’s third book, From Boulanger to Stockhausen: Interviews and a Memoir. The first, “What to Listen for in Music,” refers to Aaron Copland’s book of …

The Japanese Shakuhachi: Comparing The Ancient Tuning With The Modern One, Nick Bellando, Bruno Deschênes

Music & Musical Performance: An International Journal

The difference between traditional and modern shakuhachi construction and tuning is significant in that it represents a paradigm shift in the psychological aim and embodied techniques employed in association with the instrument. Beginning in Edo-era Japan as an ostensibly religious instrument, the shakuhachi was at first played with a similar technique to its predecessor, the hitoyogiri, using the breath to modify pitch and giving priority to tone color. Coming into the modern era, the shakuhachi came to be used increasingly as a modern musical instrument; the resulting higher priority of pitch-precision brought about changes in construction and playing techniques that …

The Ossianic Maiden Colma In Compassionate View: Ferdinand Hiller’S “Colma’S Klage” (1873) And Vinzenz Lachner’S Die Klage Der Kolma (1874), James W. Porter

Music & Musical Performance: An International Journal

The widespread, positive reception of Ossianic poems in Germany and Austria inspired many musical settings from Beethoven, Schubert, Mendelssohn, and perhaps also Schumann. Settings of the poetic narrative of Colma, which relates the anguish of a maiden discovering that her brother and her lover have slain each other in mortal combat, were composed by Zumsteeg, Reichardt, Schubert, and Weber. This essay examines two later settings composed in the 1870s by Ferdinand Hiller and Vinzenz Lachner. While the settings are undeniably effective in their use of common idioms of German composition in the third quarter of the nineteenth century, they are …

Expanding Access To Latin American Art Song: A Study Of Theodoro Valcárcel's Andean-Influenced Art Songs, Douglas E. Perez

LSU Doctoral Dissertations

EXPANDING ACCESS TO LATIN AMERICAN ART SONG: A STUDY OF THEODORO VALCÁRCEL’S ANDEAN-INFLUENCED ART SONGS advocates for the exploration and performance of underrepresented Latin American composers. Multiple methods of increasing access are discussed, including the creation of a central source for IPA, literal, and poetic translations of Latin American art songs; the study of seldom-performed composers, their output, and influences; and the application of these elements through informed performance. This document centers on the Peruvian composer Theodoro Valcárcel and analyzes the intersection of his indigenous heritage with his Latin American and European musical training as reflected in his compositional style …

Christopher Luna-Mega: Time’S Arrow. Other Minds Om 1031-2, 2022 [Review], Rob Haskins

Music & Musical Performance: An International Journal

No abstract provided.

Christopher Fox: Trostlieder. Kairos 0220005kai, 2022 [Review], Rob Haskins

Music & Musical Performance: An International Journal

No abstract provided.

Sylvie Bodorová: Snow And Stars. Cesky Rozhlas Cr 1117-2, 2021 [Review]., Tom Moore

Music & Musical Performance: An International Journal

No abstract provided.

Romances For Voice And Guitar, Arranged By Hector Berlioz. Atma Classique Acd2 2800, 2020 [Review], Peter Bloom

Music & Musical Performance: An International Journal

No abstract provided.

‘Brillez, Astres Nouveaux!’ Arias And Other Excerpts From Eighteenth-Century French Operas By Rameau, Leclair, Boismortier, And Others. Aparte Cd Ap223, 2020 [Review], Ralph P. Locke

Music & Musical Performance: An International Journal

No abstract provided.

Defying The Conventional: Musical Performance, Embodied Cognition, And The Reconfiguration Of Institutional Discourse, Dillon Parmer

Music & Musical Performance: An International Journal

This essay confronts the dialectic between theory and practice through a comparison of an idea basic to how we understand music (the notion that pitch moves up and down in vertical space) with how pitch is thought of in actual music-making. The comparison leads to both a new conceptual model for thinking about pitch, what might be called Pitch Horizontality, as well as a proposal for how to bring institutional discourse about music into sync, not with how scholars in other disciplines think about their subject matter, but with the thinking that goes on in contexts of real-world artistic production.

Ludwig Van Beethoven: Leonore. Harmonia Mundi 902414, 2019 [Review], Ralph P. Locke

Music & Musical Performance: An International Journal

No abstract provided.

A “Free Artist Of Color” In Late-Eighteenth-Century Saint-Domingue: The Life And Times Of Minette, Bernard Camier

Music & Musical Performance: An International Journal

This article sets forth, for the first time in detail, the life and career of Minette, who was the main female opera singer in Port-au-Prince at the end of the eighteenth century. The city was the capital of the thriving and wealthy French colony of Saint-Domingue (which, upon gaining independence in 1804, took the name Haïti). Theatrical activity in Port-au-Prince was comparable to what one could find in any large provincial city, and the success that Minette gained was all the more remarkable for her being categorized as colored (mestive). The details of Minette’s origins, life, and career …

Student Voice Practices In Kentucky Schools, Cassandra D. Adams

Morehead State Theses and Dissertations

A capstone submitted in partial fulfillment of the requirements for the degree of Doctor of Education in the Ernst and Sara Lane Volgenau College of Education at Morehead State University by Cassandra D. Adams on March 23, 2026.

The 2025-26 Neumann Lecture On Music: Gurminder Bhogal, Speaker, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Senior Recital: Neil Alford, Voice; March 21, 2026, Neil Alford, Pepe Guillen Prados

School of Music Programs

This is the one hundred and twenty-third program of the 2025-2026 season.

Kemp Recital Hall

March 21, 2026

Saturday Evening

7:30 p.m.

Junior Recital: Sam Kapus, Flute; March 21, 2026, Sam Kapus, Lu Witzig

School of Music Programs

This is the one hundred and twenty-second program of the 2025-2026 season.

Kemp Recital Hall

March 21, 2026

Saturday Evening

6:00 p.m.

Songs Of John Bucchino: The Dr. Justin Vickers Studio Recital; March 20, 2026, Illinois State University School Of Music

School of Music Programs

This is the one hundred and twentieth program of the 2025-2026 season.

Kemp Recital Hall

March 20, 2026

Friday Evening

7:30 p.m.

Performance Forum - March 20, 2026, Mia Cotton, Sheng Yuan Kuan, Virgilio Vazquez, Dj Combs, Ay Kawasaki, Yilian Concepcion, Jon Cruz, Aidan Quintana

Performance Forum

No abstract provided.

Chicago Brass Band And Symphonic Winds: March 20, 2026, Dr. Mark Taylor, Dr. F. Mack Wood, Dr. Damon S. Talley, Madison Mueller-Howell

School of Music Programs

This is the one hundred and twenty-first program of the 2025-2026 season.

Center for the performing Arts

March 20, 2026

Friday Evening

8:00 p.m.

2025-2026 Senior Recital - Caroline Dratnal (Piano), Caroline Dratnal

Junior and Senior Recitals

No abstract provided.

From Tab To Standard Notation, Abigail J. Ferrell

SPARK Symposium Presentations

This poster will be over my Ed TPA portfolio.

State Normal College Glee Club Christmas Concert, State Normal College

Documents

State Normal College Glee Club Christmas Concert Program--December 17, 1909

State Normal School Glee Club, State Normal School

Documents

State Normal School Glee Club Program for the 1913-1914 Season

Rollin Pease In "Elijah" By Mendelsshon, State Teachers College Choral Club

Documents

FSTC Choral Club Program-Performance of "Elijah" May 24, 1931

A Mother Is Not For Sale (Part 1): March 19, 2026, Nana Ama Oforiwaa Aduonum, Aisha Nelson, Kwesi Otuoba, Kountiala Some, Cynthia Nwakudu

School of Music Programs

This is the one hundred and nineteenth program pf the 2025-2026 season.

Kemp Recital Hall

March 19, 2026

Thursday Evening

7:30 p.m.

Let It Ring! And A Red, Red, Rose: Transcriptions Of Brian Nabors’ Orchestral And Chamber Works For Wind Band, Lawrence Williams

LSU Doctoral Dissertations

The goal of this project is to create a wind band transcription of the orchestral work “Let It Ring!” and chamber work “A Red, Red, Rose” by Brian Raphael Nabors. Nabors' music has been described as music that elicits joy and draws deeply from his roots in Birmingham, Alabama, and the rich cultural tapestry of Black musical traditions such as gospel, R&B/neo-soul, funk, and marching band culture. He describes himself as a “fuser of worlds” and “boundary destroyer,” intent on crafting a space where listeners can meet themselves, reflect on deeper questions of humanity, and feel grace.^[1] His compositional …

No Pulse, Only Breath: Understanding The Creative Rhythms Of Tyler Kline, Catherine Van Wey

Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal

The creative life and artistic philosophy of composer, audio engineer, and radio host Tyler Kline unfolds at the intersection of structure and surrender, sound and silence, motion and stillness. His work integrates composing, engineering, and curatorial listening into a unified practice shaped by patience, attention, and trust. Influenced in part by the concept of wabi-sabi, Kline embraces imperfection and impermanence, allowing breath, resonance, and performer agency to guide musical form rather than strict pulse or metrical control. This approach finds clear expression in his piano work TATTOO, which eliminates traditional pulse orientation and asks performers to measure time through listening …

Using Zines To Explore Oppression And Musical Gatekeeping In Music Therapy, Kendall Joplin

Expressive Therapies Dissertations

The purpose of this arts-based study was to investigate music therapists’ personal experiences and thoughts on whether the music therapy profession is engaging in oppressive practices and musical gatekeeping in education, training, and clinical practice. Seven participants engaged in either a focus group or individual interviews to discuss their experiences related to the topic, then created a zine article to artistically explore the topic. All participants’ articles were put together to form one full zine, which was sent to everyone for final comments and feedback. Transcripts from the focus group and interviews, the zine articles, and any comments provided about …