Arts and Humanities Commons^™

Trombone Studio Recital, January 28, 2025, Mark Babbitt

School of Music Programs

3rd Annual Bordogni Project

Kemp Recital Hall

January 28, 2025

Tuesday Evening

7:30 p.m.

2024-2025 Senior Recital - Shuqi Yang (Piano), Shuqi Yang

Junior and Senior Recitals

No abstract provided.

2024-2025 Senior Recital - Anttuan Rios Pelaez (Cello), Anttuan Rios Pelaez, Sheng Yuan Kuan

Junior and Senior Recitals

No abstract provided.

2024-2025 Scholarship Fund Concert At The Club At Quail Ridge, Jon Cruz, Yilian Concepcion, Aneliya Novikova, Keegan Neely, Paola Garcia, Caroline Dratnal

Friends of the Conservatory Events

No abstract provided.

Jury Recognition Recital: January 27, 2025, School Of Music,

School of Music Programs

Kemp Recital Hall

January 27, 2025

Monday Evening

7:30 p.m.

Wind Symphony: January 26, 2025, Mark Iwinski, Anthony C. Marinello Iii, Darius Botley, Isabella Greene, Deshawn Mckinney, Nia Scott

School of Music Programs

Center for Performing Arts

January 26, 2025

Sunday Afternoon

3:00 p.m.

2024-2025 Performance Forum - January 24, 2025, Caroline Dratnal, Jenna Salliman, Dj Combs, Pablo Camacho

Performance Forum

No abstract provided.

2024-2025 Master Class - Bob Koenig (Piano), Robert Koenig, Caroline Dratnal, Zion Montebon, Reagan Nguyen, Hanting Peng, Aidan Quintana, Jenna Salliman, Gabrielle Siena, Elisabeth Thomashoff, Ana-Maria Uzunova, Shuqi Yang, Yu-Hsuan Feng, Nabil Hetman, Brenda Lorenzo, Aneliya Novikova

Master Classes

No abstract provided.

Guest Artist Recital: January 21, 2025, Shaoai A. Zhang

School of Music Programs

Kemp Recital Hall

January 21, 2025

Tuesday Evening

7:30 p.m.

2024-2025 Master Class - Stephen Williamson (Clarinet), Stephen Williamson, Nataniel Farrar, Chase Hogan, Noah Suarez, Rishi Gurnani

Master Classes

No abstract provided.

2024-2025 Master Class - Scott Hostetler (English Horn), Scott Hostetler, Hoon Chang, Daniel Cruz, Juan Fernandez Villegas, Olivia Oakland, Amanda Rearden

Master Classes

No abstract provided.

2024-2025 Master Class - Cynthia Yeh (Percussion), Cynthia Yeh, Christian Bartholomew, Jose Ignacio Diaz, Anna Dunford, Jeremiah Grace, Steven Halpner

Master Classes

No abstract provided.

2024-2025 Performance Forum - January 17, 2025, Jenna Salliman, Ana-Maria Uzunova, Miriam Smith, Amanda Rearden, Noah Suarez, Kyle Mechmet, Nataniel Farrar, Jacob Lomboy, Ingryd Herrera, Santiago Moreno, Devin Salazar, Miguelangel Garcia Marquez, Dj Combs

Performance Forum

No abstract provided.

2024-2025 Master Of Music Recital - Brenda Lorenzo (Collaborative Piano), Brenda Lorenzo, Giah Bush, Brooke Gunter, Nataniel Farrar

Master of Music Recitals

No abstract provided.

2024-2025 Ppc Recital - Rachel Miner (Viola), Rachel Miner, Sheng Yuan Kuan, Brenda Lorenzo

PPC/PSDP Recitals

No abstract provided.

2024-2025 Master Of Music Recital - Gabrielle Malaniak (Viola), Gabrielle Malaniak, Sheng Yuan Kuan

Master of Music Recitals

No abstract provided.

2024-2025 Ppc Recital - Rachel Miner (Viola), Rachel Miner, Sheng Yuan Kuan, Brenda Lorenzo

PPC/PSDP Recitals

No abstract provided.

Vincenzo Pocci: Cataloguer, Editor, Digital Pioneer, Marco Vinicio Bazzotti, Adriano Sebastiani

Soundboard Scholar

An obituary of Dr. Vincenzo Pocci, author of the Guide to the Guitarist’s Modern and Contemporary Repertoire and an internationally recognized scholar of twentieth-century guitar music.

Jazz And Politics: Was Ornette Coleman Inspired By The Civil Rights Movement?, Jason Dreher, Josiah Boornazian

The IASJ Journal of Applied Jazz Research

Due in part to increasing intellectual and political polarization in the United States in recent decades, there has been a resultant decrease in viewpoint diversity and an increase in instances of groupthink and widespread conceptual bias in the construction of many jazz history narratives. One example of these phenomena is the historiographical narratives linking free jazz and avant-garde jazz with the Civil Rights Movement in twentieth-century America. In the past several decades, the narrative that free jazz and/or avant-garde jazz was predominantly artistically inspired by the Civil Rights Movement has become broadly espoused by a wide variety of both scholarly …

2024-2025 Master Of Music Recital - Reagan Nguyen (Piano), Reagan Nguyen

Master of Music Recitals

No abstract provided.

Sentimental Aesthetics In D-Flat Major: Adagio Of Haydn’S Hob. Xvi:46, Keri Hui

HAYDN: Online Journal of the Haydn Society of North America

Although the concept of key characteristics was widely affirmed in the eighteenth century, the key of D-flat major was rarely adopted by composers. The so-called Romantic period, however, saw a remarkable increase in the use of this key, as demonstrated in the many well-known pieces written by composers such as Chopin. The article first reviews the different receptions of D-flat major in the eighteenth century and explores how the clavichord might have allowed Haydn to hear D-flat major as a key of sentimentality, one that echoes Christian Daniel Friedrich Schubart’s interpretation. It then examines ways in which Haydn presents the …

2024-2025 Piano Passion From The Studio Of Roberta Rust, Gabrielle Siena, Aidan Quintana, Shuqi Yang, Zion Montebon, Caroline Dratnal, Hanting Peng, Jenna Salliman, Ana-Maria Uzunova, Reagan Nguyen, Elisabeth Thomashoff

Studio Recitals

No abstract provided.

2024-2025 Performance Forum - January 10, 2025, Shuqi Yang, Gabrielle Siena, Hanting Peng, Zion Montebon

Performance Forum

No abstract provided.

Lee Konitz’S Use Of Standards’ Melody In Improvisation, Gonçalo Pazeres, Ricardo Pinheiro

The IASJ Journal of Applied Jazz Research

The main goal of this article is to examine the mechanisms through which Lee Konitz uses the melody of jazz standards in his improvisation process. Beginning with the transcription and comprehensive analysis of five improvised solos, and using the thematic analysis method, we identified melodic ideas coming from the songs on which the saxophonist builds some of his solos. Our conclusion is that Lee Konitz, besides clearly quoting the melody of jazz standards on which he improvises, also frequently uses some of its notes as target-notes, and develops melodic motifs inspired by that same melody.

Scale Choices, Modal Harmony, And The Interpretation Of Slash Chord Notation For “Naima” By John Coltrane, Josiah Boornazian

The IASJ Journal of Applied Jazz Research

This analysis of Naima is intended to provide useful conceptual tools for those who are interested in analyzing the harmonic language of modal jazz. The goals: to demonstrate the value of thinking about jazz harmony using slash chords, to suggest specific scale choice options to fit each chord in “Naima,” and to offer an explanation of how jazz composers can use modal harmony to create a sense of harmonic tension, release, and motion. Such an approach can provide a useful framework which will open new vistas of harmonic and melodic vocabulary for jazz composers, performers, and educators.

Audiotactile Music Theory And Jazz Education: Historical And Pedagogical Perspectives, Stéphane Audard

The IASJ Journal of Applied Jazz Research

The Audiotactile Music Theory offers new perspectives for considering the issues associated with the institutionalization of jazz education and the gradual transition from informal transmission situations to formalized curricula. The aim of this article is to show how certain central the concepts of the ‘Audiotactile Music Theory’ can be used in a dual historical and pedagogical perspective, to overcome certain dichotomies that structure discourses on jazz teaching at different times: written/oral, formal/informal and art/popular music. The Audiotactile Music Theory also allows us to question the place of jazz in music teaching institutions today, and our own pedagogical practice.

Twin Sons Of Different Mothers: Harmonic Convergence In Jazz And Classical Music, Kurt Ellenberger

The IASJ Journal of Applied Jazz Research

Jazz and classical music are two of the most celebrated genres of “art music.” Their origins could not be more disparate. The two genres are, on the surface, very different from one another. Yet, the humanity and creativity that shines through across time and space speak to something else at play: an unfathomably deep connection that defies the temporal, geographical, racial, and cultural differences, revealing instead the shared human spirit that is manifested in these powerful artistic expressions.

The Shape(S) Of Jazz To Come. Jazz Studies, Interpretation, Theory And Education Research Project, Ricardo Pinheiro

The IASJ Journal of Applied Jazz Research

Jazz Studies: interpretation, theory and education is a research project developed at Escola Superior de Música de Lisboa, Polytechnic University of Lisbon, that involved the collaboration between the Jazz and Composition Departments. The focus of the project coordinated by Ricardo Pinheiro (with the collaboration of Carlos Caires and Carlos Marecos) was to rethink artistic research outputs in the field of jazz studies, questioning the hegemony of the current musicological paradigm (Cook, 2014; Pinheiro and Caires 2019; Pinheiro, Caires and Neto 2024), and to explore the broad academic, scientific and artistic scope that this field can provide.

‘Keeping It Real’ Goes Wrong: Deconstruction Of Masculinity In The Work Of Jay-Z And Kendrick Lamar, Leo Mcmahon

Theses and Dissertations

Jay-Z and Kendrick Lamar use their latest albums, 4:44 and Mr. Morale and the Big Steppers, to address the wake of damage their behaviors have caused. On a personal level each artist apologizes to their wife for infidelities, but along the way they deconstruct performances of masculinity that have dominated popular hip-hop music since the late 1980's. Highlighting the pressure the music industry puts on hip-hop artists to perform a hyper-sexual, hyper-violent masculinity, I argue that the artists join the genre of African-American autobiography to reveal the inauthentic performances of 'realness' in hip-hop. Posturing as representatives of African-American men, …

European Jazz Does Not Exist, Wouter Turkenburg

The IASJ Journal of Applied Jazz Research

Marion Dunkel and Josiah Boornazian have critically analyzed and evaluated important questions such as: What is jazz, and what it is not? How have its histories been written in the past? What are the various approaches in jazz historiography? Both authors provide useful suggestions to move past the confusing, standard teleological presentation of jazz history, and the methods used in the construction of jazz historiographies. I argue that jazz history must function as a dynamic and life-long applicable tool assisting the jazz musician in the decisions to be taken in musical, social, and cultural interactions.