Arts and Humanities Commons^™

Mid-Century Modern: American Songs From 1945-1965. Thomas Meglioranza, Baritone; Reiko Uchida, Piano, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Celebrating Women In Music By Sigma Alpha Iota: March 29, 2026, Illinois State University School Of Music

School of Music Programs

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

Kemp Recital Hall

March 29, 2026

Sunday Evening

6:00 p.m.

Popper Day Celebration! Hosted By The Isu Cello Studio And Dr. Cora Swenson Lee; March 29, 2026, Dr. Cora Swenson Lee, Bianca D'Avila Do Prado

School of Music Programs

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

Center for the Performing Arts

March 29, 2026

Sunday Afternoon

2:30 p.m.

Senior Recital: Bennett Lammers, Horn; March 29, 2026, Bennett Lammers, Lu Witzig

School of Music Programs

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

Kemp Recital Hall

March 29, 2026

Sunday Afternoon

3:00 p.m.

Senior Recital: Cadence Rice, Piano, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Senior Recital: Kyle Gilles, Horn; March 28, 2026, Kyle Gilles

School of Music Programs

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

Kemp Recital Hall

March 28, 2026

Saturday Evening

5:30 p.m.

2025-2026 Master Of Music Recital - Michael Shipps (French Horn), Michael Shipps, Rebeca Sierra

Master of Music Recitals

No abstract provided.

2025-2026 Senior Recital - Devin Salazar (Horn), Devin Salazar, Sheng Yuan Kuan

Junior and Senior Recitals

No abstract provided.

2025-2026 Master Of Music Recital - Joseph Muhl (French Horn), Joseph Muhl, Nabil Hetman

Master of Music Recitals

No abstract provided.

Transcribing Shakuhachi Honkyoku For Bassoon: Notation, Orality, And Perfomance Practice, Adrian Fonseca Tellez

LSU Doctoral Dissertations

This project consists of transcriptions of two pieces from the shakuhachi honkyoku (“original pieces”) repertoire, Kumoi Jishi (Cloud Lion) and Sanya Sugagaki (Three Valleys), with the aim of extending the bassoon’s repertoire outside of the Western canon while exploring the capabilities of the bassoon to emulate the performance practices of the shakuhachi, which include both extended techniques found in current bassoon literature as well as techniques unique to shakuhachi performance. Included in the written document is a brief overview of the shakuhachi and its applications in traditional Japanese music, a description of honkyoku and its characteristics, and the Japanese concept …

Teaching And Performing Ginastera: A Stylistic And Pedagogical Exploration Of Ginastera’S Pampeana No. 1, Paula Toral Navarro

LSU Doctoral Dissertations

This project examines Alberto Ginastera’s Pampeana No. 1 for violin and piano through both stylistic performance and pedagogy approach. The research has two primary objectives: (1) to propose a performance perspective that draws on traditional Argentine musical idioms alongside Western classical practice, and (2) to create a pedagogical guide that supports the development of the technical and stylistic skills required for the work, including a sequence of preparatory pieces. The written document provides an overview of Ginastera’s life, including cultural and political context and an examination of his compositional style within his nationalist period. It also examines selected elements of …

In The Realm Of Dreams: The Feminine Imagination In Music, Katie Scarlett Ellender

LSU Doctoral Dissertations

This project examines selected works by Clara Schumann, Rebecca Clarke, and Lili Boulanger that contain representations of night, dream, and mythology. These composers were influenced by the prevailing artistic movements during their lives, including German Romanticism, Impressionism, and Symbolism, which emphasized nocturnal landscapes, supernatural beings, and liminal states. Descriptive analysis and performance recommendations are provided for selected Lieder by Clara Schumann, Rebecca Clarke’s Morpheus, and Lili Boulanger’s Nocturne. Particular emphasis is given to how each composer uses night, dream, and myth imagery as expressive frameworks that inform decisions on harmonic language, level of cadential resolution, motivic repetition and transformation, texture, …

Graduate Recital: Yuzhuo Wang, Mezzo-Soprano; March 27, 2026, Yuzhuo Wang, Dennis Gotkowski

School of Music Programs

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

Kemp Recital Hall

March 27, 2026

Friday Evening

6:00 p.m.

Senior Recital: Joe Brackmann, Cello; March 27, 2026, Joe Brackmann, Momoko Gresham

School of Music Programs

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

Kemp Recital Hall

March 27, 2026

Friday Evening

7:30 p.m.

Performance Forum - March 27, 2026, Dj Combs, Sheng Yuan Kuan, Jon Cruz, Leah Flynn, Seha Ok, Lillian Platte, Ethan Sanchez

Performance Forum

No abstract provided.

2025-2026 Junior Recital - Nia Morgan (Viola), Nia Morgan, Sheng Yuan Kuan

Junior and Senior Recitals

No abstract provided.

Max Bruch: Die Lorelei, Ralph P. Locke

Music & Musical Performance: An International Journal

No abstract provided.

The Way Of The Moderns: Six Perspectives On Modernism In Music, Edited By Antoni Pizà, Rob Haskins

Music & Musical Performance: An International Journal

No abstract provided.

Leonard Bernstein In Context, Edited By Elizabeth A. Wells, James Leve

Music & Musical Performance: An International Journal

No abstract provided.

Afterword: On Reinstating An Arts Agenda In Our Schools, Leonard Slatkin

Music & Musical Performance: An International Journal

No abstract provided.

Chapter 4. A Shared Dream, Robert S. Freeman

Music & Musical Performance: An International Journal

No abstract provided.

Chapter 3. The Remarkable Career Of Leonard Slatkin, Robert S. Freeman

Music & Musical Performance: An International Journal

No abstract provided.

Interlude. A Colloquy On The Future Of Music, Music Education, And The American Orchestra, Robert S. Freeman

Music & Musical Performance: An International Journal

No abstract provided.

Chapter 2. Music Education And How To Save The American Orchestra, Robert S. Freeman

Music & Musical Performance: An International Journal

No abstract provided.

Chapter 1. A Brief History Of The American Symphony Orchestra And Its Future, Robert S. Freeman

Music & Musical Performance: An International Journal

No abstract provided.

Foreword, Mark Adams

Music & Musical Performance: An International Journal

No abstract provided.

Front Matter

Music & Musical Performance: An International Journal

The late Robert S. Freeman (1935–2022) was a pianist, conductor, and musicologist, but most of all a major administrator in the field of higher education in music: the director of the University of Rochester’s Eastman School of Music (for twenty-four years), president of the New England Conservatory, and, finally, dean of the College of Fine Arts at the University of Texas (Austin). The present book was intended by Freeman to draw together a number of arguments and suggestions—his own and those of notable American figures in American musical life—that aim at reviving the American symphony orchestra.

Freeman’s four chapters trace …

Contributors To Issue 7

Music & Musical Performance: An International Journal

No abstract provided.

Voyage D’Hiver: Franz Schubert/Wilhelm Müller, Winterreise, Op. 89, D. 911. B Records Lbm057, 2024 [Review]., Jennifer Ronyak

Music & Musical Performance: An International Journal

No abstract provided.

Helen Beach Jones, The Eurydice Club, And Women Musicians In Early Toledo, Ohio, Mary Natvig

Music & Musical Performance: An International Journal

Toledo, Ohio native Helen Beach Jones (1857–1940) was a professionally trained church organist, choral conductor, and music teacher who paved the way for northwest Ohio’s art-music community today. Her story sheds light on the vibrant community of women musicians living in Toledo, Ohio, at the turn of the twentieth century, and as the founder and director of the Eurydice Club, a women’s chorus that was one of the city’s earliest and most prestigious music ensembles, she provided a home for women musicians throughout the region that lasted far longer than her tenure as conductor. In addition to her choral work, …